Principles and Criteria for the Classification of Creativity Techniques

Problems of Classifying Creativity Methods

The classification of existing creativity methods faces a number of fundamental difficulties arising from their diversity, dynamic nature, and varying levels of complexity.
The main obstacles to creating a unified classification system can be grouped into several key issues.
One of the key problems is the impossibility of selecting a single criterion of classification, since methods differ in their goals, structure, type of thinking, mode of interaction, and level of innovativeness.
The choice of a single criterion is impossible because methods may only be effective within specific contexts and areas of application, which complicates the creation of a universal classification. In addition, creativity methods borrow elements from different fields of knowledge, which makes it difficult to unambiguously assign them to specific categories.
A second fundamental difficulty is the multi-level nature of methods in terms of complexity and scale of application. Some represent simple techniques that can be mastered in a few minutes, while others are complex methodological systems requiring long-term training. Such integrative methods may incorporate many partial techniques, blurring the boundaries between individual tools and complicating their classification.
In addition, many methods overlap in principles of operation or are modifications of one another, yet carry different names, which creates terminological confusion. Often the same or very similar methods are referred to under different titles depending on the author or school. At the same time, the opposite situation also occurs—when substantially different approaches are hidden under the same name.
Finally, there is the problem of dynamism and continuous evolution of creativity methods, which constantly develop and transform, generating new versions, combinations, and virtual applications. Solving this problem requires the creation of a flexible classification system capable of continuous adaptation.

These factors collectively hinder the development of a clear and universal system of classifying creativity methods, necessitating a flexible and integrated approach that accounts for their diversity, specificity, and interconnections.

The Role of Classification in Enhancing the Application of
Creative Techniques

Methods for enhancing creativity encompass various techniques, ranging from free association to structured problem-solving models.
Categorizing these techniques is essential for organizing, gaining a deeper understanding, and applying them effectively in the process of creating innovations and solving problems.
Classification supports targeted selection, allowing practitioners to align techniques with specific objectives, such as ideation, problem-solving, or decision-making. Additionally, it clarifies relationships between methods, facilitating cross-disciplinary application in fields like design, business, and technology.
Besides, a clear classification system helps organize creative techniques in education and work, making it easier for instructors to teach and learners to understand and apply them.

Stages of the Problem-Solving Process as a System-Forming Principle of Classification

Choosing the staged nature of the problem-solving process as a criterion for classifying creativity methods is of particular practical value, as it reflects the natural logic of creative thinking and corresponds to the actual sequence of actions when working on a task.
This approach makes it possible to structure methods according to the phases of the real creative process: from idea generation to their evaluation and implementation.
Using this classification provides an opportunity to apply different creativity techniques sequentially, depending on the current phase of problem solving.
Such a classification increases the effectiveness of applying methods by considering their functional specificity and facilitates the development of integrated methodologies in which methods of different stages organically complement each other, creating a synergistic effect.
The universality of the staging criterion makes it applicable to a wide range of creative tasks regardless of the field.

The Three-Act Model of Creativity as a Criterion and Basis of Classification

There exists a whole series of models describing the staged nature of the creative process, ranging from the two-stage model: Random combinations and choice (Henri Poincaré, 1908), the Three-Act Model of Creativity: 1. Emergence of an idea. 2. Logical formulation of the idea. 3. Implementation (P. K. Engelmeier, 1910), the classical four-stage model: 1. Preparation. 2. Incubation. 3. Illumination. 4. Verification (Graham Wallas, 1926), up to seven-stage models of various authors, including Donald Koberg, Jim Bagnall, 1981.
The most optimal model for classifying creativity methods is the three-stage model of the creative process (the Three-Act Model of Creativity), which demonstrates high practical usefulness and effectiveness compared to two-stage and multi-stage alternatives.
The three-act model optimally balances between ease of application and comprehensiveness of coverage of the creative process, including implementation as an independent stage—something particularly important for practical creativity, where the value of an idea is determined by its successful realization.
Compared with the classical four-stage model of Graham Wallas, which corresponds more to scientific creativity, the three-act model demonstrates an optimal balance between detail and practicality. This model minimizes the confusion associated with multi-stage structures, while providing sufficient flexibility for integrating various methods while maintaining their connection with specific tasks of the creative process.
The three-act model covers three key stages of the creative process: Idea Generation, corresponding to methods of stimulating creativity such as brainstorming, the method of associations, or synectics. Systematic analysis and directed idea search, supported by analytical approaches such as TRIZ or morphological analysis. Implementation, oriented toward methods of evaluation and realization, including prototyping, design, or trial-and-error.
This model corresponds to the psychological structure of creativity, which includes intuitive, logical, and practical components, making the classification of methods psychologically grounded.
Moreover, it is applicable to various types of creative activity—from scientific and inventive to artistic creativity—ensuring the broad applicability of the classification system.

Basic Classification of Creative Methods

I. Methods of Psychological Activation of Creativity and Idea Generation
These methods are aimed at stimulating divergent, associative, and lateral thinking, awakening intuition, and achieving insight.
II. Methods of Systematic Analysis and Directed Idea Search
These are convergent methods focused on systematic analysis, structured combination, transformation, and the progressive development of ideas.
III. Methods of Creative Design, Implementation, and Problem Solving
These methods are oriented toward the realization of ideas and the evaluation of their practical viability.

I. Methods of Psychological Activation of Creativity and
Idea Generation

The proposed classification of methods for the psychological activation of creativity and idea generation is based on the logic of the internal structure of the creative process and the dominant cognitive mechanisms. The foundation of this classification rests on two criteria: the primary one—dominant mental processes or types of thinking—and an additional one, representing the degree of structuring of the techniques.
The division into spontaneous and directed methods reflects the degree of structuring in the creative search, corresponding to the essential balance between freedom and constraint in creativity.
This classification systematizes techniques according to the dominant mental processes underlying idea generation: divergent thinking, associative connections, lateral thinking, the use of intuition and the unconscious, as well as reliance on visual and game-based forms that stimulate imagination. Such structuring ensures logical coherence and makes it possible to correlate each method with a specific mental process.
In addition, it reflects not only cognitive processes but also the deeper psychological mechanisms of creativity that underlie the generation of novelty: spontaneity, association, analogy, metaphor, combination, provocation, intuition, imagination, empathy, and personification.
The classification has pronounced practical significance, as it enables the transition from a theoretical understanding of the mechanisms of creativity to the selection of the most effective techniques depending on the task, the context, and the individual characteristics of the subject, for solving specific creative problems.

1. Methods of Spontaneous Idea Generation
Approaches that encourage divergent thinking and the production of a large number of ideas.
1.1. Free Idea Generation
Techniques based on an unconstrained, spontaneous flow of ideas without predetermined frameworks or limitations.
1.2. Directed Idea Generation
Methods employing predefined frameworks or constraints that orient and structure the search process.

2. Methods of Associations and Analogies
Techniques for generating novel ideas by employing analogies, metaphors, imagery, and unexpected connections.
2.1. Free Associations
Approaches based on the natural, unstructured flow of images and associations.
2.2. Directed Search for Analogies and Metaphors
Methods that rely on predefined sources or systematic algorithms for constructing analogies and metaphors.

3. Methods of Lateral Thinking
Systematic strategies for overcoming habitual patterns and identifying non-obvious solutions by breaking stereotypes and conventional problem perceptions.

4. Methods of Intuition and the Unconscious
Intuitive techniques that minimize conscious control and open access to hidden, deep-seated ideas.
4.1. Work with Altered States of Consciousness
Methods that utilize natural states of reduced conscious activity.
4.2. Intuitive Writing
Techniques of automatic writing are carried out without critical reflection.
4.3. Stimulation through External Sensory Signals
Methods that employ external stimuli to provoke novel and unexpected associations.

5. Visual–Graphic Methods
Approaches to idea visualization through images, diagrams, maps, and drawings.
6. Playful and Role-Based Methods
The use of play, role modeling, and scenario enactment to generate ideas by viewing the problem from diverse perspectives.

II. Methods of Systematic Analysis and Directed Idea Search

In turn, the level of methods of systematic analysis and directed idea search can be represented as a system of sub-levels that reflect the natural stages of the creative process: from rethinking the problem and finding its better formulation, through analysis, combination, and transformation, to rigorous algorithmic solutions.
At the first stage, reframing methods help to overcome psychological inertia and ensure the correct problem definition by revealing its systemic essence. The logical–structural approach makes it possible to decompose complex problems into analyzable components, identifying key interrelations and resources. The third stage, represented by methods of transformation and combination, stimulates the process of selecting new and non-obvious ideas.
Finally, algorithmic techniques bring rigor and reproducibility to the process, ensuring a high level of innovativeness through the identification of systemic contradictions and the use of checklist questioning.
This classification has significant practical value, as it transforms the spontaneous creative process into a clear step-by-step system—from proper problem definition to the generation of strong solutions. Such a staged structure helps practitioners select the most effective methods for each specific task.

1. Reframing and Problem Re-definition
Techniques aimed at shifting perspective, overcoming psychological inertia, and uncovering the essential nature of the problem.

2. Logical–Structural Approaches to Creative Problem Solving
Methods of analysis, decomposition, and task structuring to support the search for and development of solutions.

3. Methods of Analysis, Transformation, and Idea Search
Systematic approaches to investigation, combination, transformation, and the development of innovative solutions.
3.1. Parameterization and Idea Generation
Techniques for identifying and varying parameters and attributes of objects.
3.2. Combinatorial Methods
Methods for combining diverse elements and ideas.
3.3. Transformational Methods
Approaches involving the transformation, restructuring, or modification of objects and tasks.
3.4. Methods of Inversion and Contrast Enhancement
The pursuit of solutions through opposites and contrasts.

4. Algorithmic Methods of Analysis and Solution Search
Rigorous, step-by-step procedures and algorithms that guide the thought process in addressing specific classes of problems.
4.1. Systemic, Algorithmic Methods of Creative Problem Solving
Techniques for identifying and resolving systemic contradictions based on laws of system development, leading to optimal solutions.
4.2. Checklist Questioning Techniques
The systematic use of questions, analytical procedures, and heuristics to identify new directions, combining convergence, analysis, and divergence.

III. Methods of Creative Design, Implementation, and Problem Solving

These methods are oriented toward the realization of ideas and the evaluation of their practical viability.
1. Modeling, Creative Action, and Problem Solving
Approaches designed to create simplified models, test and implement them, and generate solutions to complex challenges.
1.1. Modeling
The construction of simplified solution models for exploring structures, assumptions, and risks without incurring the costs of full implementation.
1.2. Prototyping
The rapid, low-cost development of working prototypes to test critical hypotheses.
1.3. Testing
Systematic evaluation of ideas, hypotheses, and solution quality using data and user feedback.
1.4. Creative Action
Experimental implementation of ideas in real-world contexts with adaptive modification “on the fly.”

2. Integrative Methods of Problem Solving
Comprehensive approaches that synthesize multiple techniques to address complex creative challenges.
2.1. Classical Methods of Creative Problem Solving
Foundational methods of modern creative practice, distinguished by their stepwise processes and balance between analysis and idea generation.
2.2. Contemporary Integrative Creativity Methods
Innovative, flexible, interdisciplinary approaches oriented toward the individual, the team, and the broader context.

This classification structure accounts for all the main components of the creative process—from idea generation and conception to realization—making it possible to classify methods according to their functional purpose.
The model simplifies the selection of an appropriate method depending on the current stage of the creative process, making the classification intuitively clear and applicable for practitioners working on problem-solving across diverse professional fields.

Meta classification of Creative Techniques: A Systematic Approach to Method Organization

Meta classification refers to a higher-order framework for categorizing the classification systems themselves used to organize creativity techniques.
It’s essentially “classification of classification systems, which involves a meta-level analysis of different systems, systematically structuring methods for fostering creativity.
This approach recognized that varying contexts and user needs necessitate distinct organizational structures, thereby rejecting the notion of a universal classification system. By enabling the selection of optimal categorization schemes, meta classification enhances the practical applicability of creativity techniques.
At the same the process of meta classification itself is a creative exercise, reflecting how we structure knowledge to enhance usability.

Meta Classification Framework

This Meta-Level Categorization Model proposes several distinct approaches to systematizing creative techniques, each with a unique structure and purpose:

1. Contextual Classification
Groups techniques by application scenarios, such as startup innovation, education, or research. Ensures relevance by aligning methods with specific goals, resources, and constraints of each domain.
2. Linear Classification
Arranges techniques along a single scale, such as complexity, time, or skill level. Enables easy comparison, sequencing, and adaptation to user expertise or time constraints.
3. Dichotomous Classification
Divides techniques into two mutually exclusive categories, for example, divergent vs. convergent. Provides easy access and clarity, especially for beginners or time-limited decisions.
4. Multilevel Classification
Organizes techniques hierarchically by combining multiple criteria. Balances broad categorization with detailed subdivisions for depth and precision.
5. Matrix Classification
Maps techniques on two intersecting criteria, e.g., structure and application area. Reveals intersections, gaps, and hybrid approaches, aiding strategic selection.

Creativity Methods Evaluation Matrix
(Degree of Structure × Area of Application)

Dichotomous Classification: Algorithmic and
Heuristic Methods of Creativity

Another possible dichotomous classification is the division into algorithmic and heuristic methods. Such a classification is useful because it makes it possible to understand which method is better suited for a specific task, depending on its complexity, as well as on the goals, resources, and constraints involved.
Algorithmic methods are effective for structured tasks, whereas heuristic methods are more appropriate for exploratory tasks and prove indispensable under conditions of uncertainty.
1. Algorithmic methods follow strict, predefined rules and steps, relying on mathematical models, logic, or computation. When applied correctly, they provide an exact solution.
2. Heuristic methods employ intuitive or empirical approaches, relying on experience or assumptions. They guide the search, accelerate it, but do not guarantee an exact solution.
In essence, heuristic methods are not a separate group but rather an approach or a style of thinking that permeates many concrete methods, including algorithmic ones. Their goal is to reduce the search space and direct thinking toward the most promising path in order to find an optimal solution within a limited time. They function as “shortcuts” of thought based on experience, intuition, and analogies.
Many divergent and convergent methods contain heuristic elements.
Examples include:
1. Methods of free idea generation: Brainstorming, Method of Focal Objects, Synectics.
2. System-analytical methods: 40 Inventive Principles of TRIZ, Checklist Method.
3. Implementation methods: Trial-and-Error Method, Design Thinking.
This classification makes it possible to combine methods to achieve better results, using heuristics to expand the possibilities of formal algorithms.

Classification of Creativity Methods Based on
Combined Criteria

Popularity, Universality, Scope of applicability.

The use of these criteria makes it possible to clearly represent the full richness of creativity methods, and to distinguish the “golden fund” of techniques, tested by time, from newer and more narrowly specialized ones.
This multilayered and comprehensive map of methods enables experienced practitioners to navigate them with ease and quickly select the appropriate tool, while allowing beginners to see both the historical trajectory of development and the heuristic potential of the methods.

List of Methods for Stimulating Creativity

I. The Three Pillars of “Creativity Stimulation”
1. Classical Brainstorming (Alex Osborn, 1939, 1953).
2. Synectics (William Gordon, 1961).
3. Morphological Analysis (Fritz Zwicky, 1948, 1969).

II. Classical Methods: Universally Recognized and Broadly Applicable Frameworks

1. Lateral Thinking and Six Thinking Hats Method (Edward de Bono, 1967, 1985).
2. Mind Mapping Method (Tony Buzan).
3. TRIZ – Theory of Inventive Problem Solving (Genrich S. Altshuller, 1956–1969).
4. Design Thinking (Rolf Faste, Tim Brown, 1980s–1990s ).
5. Method of Focal Objects (Charles Whiting, 1958).
6. Control and Heuristic Questions Methods (George Pólya, Rudyard Kipling, Alex Osborn, Tony Aylouart).
7. SCAMPER (Bob Eberle, 1971).
8. Methods of Associations, Bisociations, Analogies, Metaphors (1960s).
9. Reversal Method, Problem Inversion Method (Charles Thompson, 1950s).
10. Gamification (Nick Pelling, 2002).
11. What if…” Method (1960s–1970s ).
12. Wishful Thinking (Arthur Van Gundy, 1988).

III. Specific and Structured Creativity Techniques

1. Reframing Matrix (Michael Morgan, 1993).
2. Attribute Listing and Method of Attribute Associations (Robert Crawford, Arthur Van Gundy, 1980s ).
3. Lotus Blossom Technique (Yasuo Matsumura, 1979).
4. System “The Universal Traveller” (Don Koberg, Jim Bagnall, 1972).
5. Method of Component Detailing (Erich Wäykin, 1950s–1960s ).
6. Forced Relationships and Forced Comparisons (James Vycöff, 1944).
7. Relation Algorithm (George Krawitz, 1965).
8. Method of Associations, Method of Garlands of Chance and Associations (Genrich Busch, 1976).
9. Method of Multiple Reframings (Tudor Rickards, 1988).
10. Progressive Abstraction Method (Horst Geschka, 1970, 1983).
11. Catalogue Method (Fridrich Kunze, 1926).
12. Working with Dreams and Images (David Glauberman, 1980s).
And other techniques…

The Structure of the Classification of Creativity Techniques by Key Criteria

Creativity techniques can be classified according to various specific key criteria, which provides a more structured approach to their selection and application. Each criterion reflects distinct aspects of creativity methods, including their theoretical foundations, degree of structuring, and practical orientation. The identification of key criteria and their combinations make it possible to align techniques with the goals of a project, the characteristics of the context, and the available resources.

The most significant criteria for the Classification of creativity techniques
1. Purpose of Application or Goal Orientation
This criterion is supreme as it directly aligns methods with specific creative objectives, ensuring relevance and effectiveness. Techniques are classified by their intended function: idea generation, problem-solving, process structuring, or outcome evaluation. It acts as a crucial initial filter, ensuring alignment with the task.
The criterion’s universal applicability makes it particularly valuable for framing creative challenges.
Usefulness: This criterion ensures that the technique is fit for the session’s specific creative goal.
• Idea Generation: Methods aimed at creating a maximum number of new ideas.
(Classic brainstorming (Alex Osborn, 1953), Wishful Thinking, Analogy Technique, What If?)
• Overcoming Creative Blocks: Techniques that help eliminate psychological or cognitive barriers.
Examples: Provocation method (Edward de Bono, 1992), Wildest Idea technique.
• Problem Reframing: Methods that allow redefining the problem to find new solutions. (Six Thinking Hats (de Bono, 1985), Five Whys, Role Storming, SCAMPER)
• Idea Evaluation and Selection: Techniques focused on analyzing and selecting the best solutions.
(Priority Matrix, Delphi method, Phoenix Checklist, SWOT, Impact-Effort Matrix)
• Idea Implementation: Methods supporting the realization of ideas into practical (Design Thinking, Prototyping technique, Pilot Testing).

2. Context or Application Area
Creative techniques can be classified according to their primary domain of application, including business innovation, artistic creation, scientific discovery, and education. Each method demonstrates domain-specific efficacy: for instance, design thinking proves highly effective in product development but may constrain artistic freedom, while improvisational methods are great for boosting artistic creativity, but lack the methodological rigor required for scientific innovation. Such classification allows practitioners—whether in business, education, the arts, or the sciences—to identify and apply the most suitable techniques for their specific contexts.
Usefulness: Maximizes impact by applying in domains where they are most effective.
• Business and Innovation: Techniques for product development, marketing, or strategy (Design Thinking, TRIZ, Gamification, Business Model Canvas).
• Education: Methods for teaching and developing creative skills (Six Thinking Hats, Mind Mapping, Role Playing).
• Personal Development: Techniques for self-realization and solving personal tasks (Mind Mapping, Dream Journaling, What if? Wishful Thinking, SMART Goals method).
Art and Design: Methods for creating aesthetic or functional solutions.
(Metaphor Technique, Storyboarding, Wishful Thinking, Idea Collage, Sketching technique).
• Science and Technology: Techniques for invention and research (Morphological Analysis, TRIZ Contradiction Matrix, Analogy Technique).

3. Cognitive Orientation or Type of Thinking
Techniques can be categorized according to their core cognitive function: divergent techniques focus on generating numerous ideas, convergent techniques specialize in evaluating and refining solutions, while integrative techniques balance both approaches. The criterion helps researchers and facilitators choose techniques deliberately, aligning them with task needs—expansive ideation, critical refinement, or radical innovations.
Usefulness: Clarifies whether the chosen method is intended to generate, refine, or integrate ideas.
3.1. Divergent Techniques: Generating multiple ideas without restrictions (Brainstorming, Free Association, Wishful Thinking).
3.2. Convergent Techniques: Evaluating and selecting the optimal solution.
narrow options, refine, and select best solutions (Phoenix Checklist, Kipling Method, Five Whys, Paired Comparison Analysis).
3.3. Integrative/Balanced Techniques: Blending divergent and convergent approaches (Synectics, Six Thinking Hats, Design Thinking).
3.4. Lateral Thinking: Seeking unconventional approaches by breaking patterns.
(de Bono’s Provocations, Lateral thinking technique, Reversal technique).

4. Degree of Structure
Creative methods are grouped by their organizational framework: unstructured approaches encourage free-flowing ideation with minimal constraints, while structured techniques follow clearly defined, often time-bound procedural steps. Methods exist along a continuum from rigidly procedural to completely improvisational. Structured approaches benefit novices and time-constrained projects, while unstructured methods facilitate breakthrough thinking in experienced groups.
Usefulness: Helps match techniques to the desired level of procedural structure for effective outcomes.
Highly Structured: Methods with clear stages and rules.
(TRIZ, Theory of Inventive Problem Solving, Altshuller, 1986), Morphological Analysis (Zwicky, 1969).
• Semi-Structured: Techniques with partial structure, allowing flexibility.
(Six Thinking Hats technique, Lotus Blossom Technique, Metaphor technique)
• Unstructured: Methods based on free improvisation.
(Association method, Freewriting, Dream Journaling).

5. Mode of Interaction / Number of Participants
Methods fundamentally differ in their individual versus group implementation requirements. They are grouped by participation scale: individual, small group, large group, or hybrid (solo preparation followed by group work).
Individual methods allow for a deeper understanding of the problem, while group methods take advantage of collective thinking. This distinction is especially important when aiming to enhance either collaboration or individual performance.
Usefulness: Matches methods to team size, collaboration style, and available resources.
• Individual: Techniques that can be applied independently.
(Freewriting, Mind Mapping (Buzan, 1993), Dream Journaling).
• Group: Methods designed for collaborative work.
(Brainstorming, Gallery Method, Role Playing).
• Combined: Techniques adaptable for both formats.
(635 Brainwriting Technique, Synectics (Gordon, 1961), Nominal Group Technique)

6. Time Frame
Techniques are categorized by duration—short (minutes), medium (hours), or long (days)—to facilitate practical planning and match methods with project constraints.
In time-sensitive settings, duration is key, helping teams balance creativity with available resources. By clarifying time requirements, this classification prevents overcommitment to lengthy methods under tight deadlines, enabling more realistic project planning.
Usefulness: Supports planning creative sessions within time constraints.
• Short-Term: Techniques taking from a few minutes to an hour.
(Five Whys method, 5-Minute Brainstorming, Free Association).
• Medium-Term: Methods requiring several hours or days.
Examples: Design Thinking, 635 Technique).
• Long-Term: Techniques spanning weeks or months.
Full TRIZ Analysis, Iterative Prototyping method).

7. Degree of Innovativeness
Techniques are grouped by the type of creative change they promote: small improvements, bold innovations, or a mix of both. While results can’t be guaranteed, some methods are more likely to lead to gradual progress, while others boost breakthrough ideas.
This classification helps supports researchers in analyzing creative outcomes retrospectively, though its predictive value is limited by the unpredictable nature of creative processes.
Usefulness: Helps teams choose the right approach—improving current ideas or creating bold, new ones—based on their goals.
• Incremental Innovation Techniques: Techniques for improving existing solutions (SCAMPER, Fishbone Diagram, Focal Objects Method).
• Radical Innovation Techniques: Methods for creating breakthrough ideas (Wishful Thinking, Reversal / Inversion, de Bono’s Lateral Thinking, Bono’s Provocations, Wildest Idea technique).
• Hybrid Innovation Techniques: Combine improvement and radical change.
(TRIZ, Design Thinking, Synectics).

8. Participant Preparation Level
Techniques scale from simple to advanced based on required expertise. Simple methods like random stimulus minimize cognitive load for beginners, while advanced approaches like Synectics demand specialized knowledge. This classification helps facilitators, educators and trainers match methods to participants’ competencies, preventing frustration while maximizing creative output.
Usefulness: Ensures technique complexity matches participant capability.
• For Beginners: Simple techniques requiring no special knowledge.
(Brainstorming, Free Association, Wishful Thinking).
• Intermediate Level: Methods requiring basic understanding of the creative process. (SCAMPER, Morphological Analysis, Analogy Technique, Focal Objects method).
• For Advancer: (TRIZ, Synectics, Advanced Scenario Planning).

9. Medium of Expression / Output Type
Techniques are classified by mode of expression: verbal discussion-based, visual diagrams or sketches, physical prototypes or role-play, or textual recorded ideas. This classification proves valuable when creative outputs must interface with existing workflows or measurement systems.
These modalities reflect different cognitive pathways for creativity—verbal (language-based reasoning), visual (spatial and structural thinking), and kinetic (embodied cognition)—and can be selected based on context, team preferences, and innovation goals.
Usefulness: Aligns techniques with desired creative output format.
• Verbal Techniques: Methods that rely on spoken or written language to generate, explore, or refine ideas (Storytelling, Six Thinking Hats, Five Whys).
• Visual Methods that use visual structures to organize, connect, or expand ideas (Mind Mapping, Lotus Blossom Technique, Morphological Matrix).
• Physical / Kinetic Methods involving physical interaction, movement, or tangible engagement to stimulate creativity (Role Playing, Prototyping, Gamification Activities).

10. Participant Engagement
Techniques are grouped by participant engagement level—high, medium, or low—based on cognitive and emotional involvement demands. High-engagement methods generate energy but risk exhaustion, while low-engagement approaches support sustained thinking.
Usefulness: Enables facilitators to match methods with group dynamics and energy levels, optimizing creative performance across different personality types and work contexts.
• High Engagement Techniques: Methods requiring active interaction and energy. (Role Playing, Synectics, Gamification Techniques).
• Medium Engagement Techniques: Techniques combining discussion and reflection (Six Thinking Hats, Brainstorming, SCAMPER, Design Thinking).
• Low Engagement Techniques Methods involving calm or individual work (Freewriting, Dream Journaling, Mind Mapping).

11. Tools Required
Techniques are classified by necessary resources: no tools, simple materials, digital tools, or physical objects. Methods range from no-tools-needed to tech-dependent, affecting how easy they are to use in different settings. This is especially important when working with limited resources, remotely, or in education, where special tools may not be available.
Usefulness: Enables facilitators or individuals to select techniques that fit available resources, especially in constrained or remote environments.
• No Tools Required Techniques requiring only cognitive effort. (Free Association, Five Whys, Lateral Thinking).
Simple Materials: Methods using paper, markers, or sticky notes.
(Mind Mapping, Morphological Analysis, Sticky Notes technique).
• Digital Tools: Techniques requiring software or technology.
(Online boards (Miro, Mural), TRIZ Software Tools, AI idea generators, AI Creativity Tools).
• Physical Objects / Prototyping Tools: Methods using prototypes or props.
(LEGO Serious Play, Prototyping technique, Gamification).

12. Theoretical Basis
In this case, the techniques are classified by their theoretical foundations: psychological, cognitive, systemic, and heuristic—drawing respectively on principles of emotions and the subconscious, structured thinking, systems theory, and intuitive trial and error.
Usefulness: Helps select techniques aligned with users’ cognitive preferences, training background, or academic orientation. It is especially relevant in education, research, and method design.
• Psychological-Based Techniques: Use theories of motivation, emotions, or the unconscious. (Freewriting, Dream Journaling, C. Jung’s 16 Associations Test).
• Cognitive-Based Techniques: Focused on thinking and perception processes. (Mind Mapping, Analogy Technique, Kipling Method).
• Systemic-Based Techniques: Use systemic analysis or modeling.
(TRIZ, Morphological Analysis, Design Thinking).
• Heuristic-Based Techniques: Based on intuition and empirical rules. (Wishful Thinking, Trial and Error method, What If?).

Choosing the Most Effective Creativity Technique

To select the optimal creativity method, one should begin by defining the goal and context of the task, and then refine the choice by considering the type of thinking, the degree of process structuring, and the mode of participant interaction.
The five fundamental criteria—purpose of application, field of application, type of thinking, degree of structuring, and number of participants—form the basis for selecting any creativity technique. These criteria are universal: they are equally important for both novices and experts and can be applied in any domain, from business to the arts. Their practical value lies in providing answers to the key questions about creativity methods: why to apply them, where to use them, how to act, and who is involved.
The remaining seven criteria are situational in nature, yet remain important for more precise adaptation of the chosen method to specific conditions and the defined task.