Abstract:

Creativity is defined within this research and in relation to graphic design education as ‘problem solving’, which is explained also as a cultural activity, or a cultural production. Graphic designers can involve themselves effectively in solving communication, social, and cultural problems that are classified as ‘wicked problems’, which usually require creative solutions. It is argued that Omani graphic designers should be creative problem solvers and able to find effective solutions for these problems. Yet this is not the case in Oman, at least from perspective of this paper. The research problem is that the Omani design education system lacks a framework that recognizes creativity as an important concept in education. Such a lack creates twofold problems: 1) underestimating the importance of creativity in Omani design education; and 2) a shortage of pedagogical structured programs that can enhance students’ creativity. It is argued that this problem is a result of the neglected situation of creativity in Arabic traditional education in general.

Traditional education usually does not support creative thinking in design students, which consequently minimizes their roles in social and cultural change.
Based on the above, this research suggests that, in order to enhance and promote creative potential of Omani graphic design students, it is important to develop a pedagogical model for this purpose. Such, model can offer a systematic approach for lecturers, to guide them into the best practice to enhance the creative potential of their students. Yet, it is more important firstly to re-establish the position of creativity within Omani design education and educators should value it as integrated part of graphic design education.

To achieve this aim, the relevant literature has been reviewed, especially that study techniques and strategies that employed internationally to improve the creative potential of graphic design students. A qualitative interpretative methodology was used for this purpose. A survey approach was used, implementing two methods: questionnaires and interviews. The online questionnaire was conducted with 33 international participants. It investigated how creativity is defined within graphic design contexts; whether creativity can be taught or enhanced; if yes, how, and by which techniques and strategies?. The same set of questions was asked in face-to-face interviews conducted with 39 design lecturers. The interviewees were local lecturers who teach graphic design courses at some Omani institutions. All of the collected data were analyzed by a thematic analysis method.
The outcome of this research are; 1) defining the concept of ‘creativity’, 2) this research has collected ideas, insights and trends about creativity in graphic design education and how it can be developed, 3) this research has advanced knowledge of the relationships among graphic design, creativity, and education. It is believed that the proposed model is the first step towards improving the position of creativity in Omani design educational system. The model would help Omani graphic design students to develop their creative problem solving abilities, which can allow them to effectively find solutions for several social and cultural ‘wicked problems’ faced in Oman, such as the increased rate of car accidents nationally). The model suggested containing some creative-thinking techniques, and some pedagogical strategies that are already used internationally in education to improve creativity. The model would be suggested to the Omani Ministry of Higher Education that the model should be part of the Omani undergraduate graphic design curriculum.

Keywords: Creativity enhancement, Graphic Design education, Omani students, Pedagogical Model