In this study, we tentatively defined high and low creativity scores for creative works as the degree of agreement with creativity ratings by art and design professionals, and examined the relationship between high and low creativity scores and general creativity scale (ATTA), and scores on the Creativity Scale for Art Students. The results of an online survey of 46 general public showed that the correlation coefficients between creativity scores on the ATTA and the evaluation capabilities for illustrations (r = −.03) and for clay sculptures (r = .19) were extremely low, but a certain correlation was found with the evaluation capabilities for photographs (r = .33).

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In recent years, the demand for incorporating design thinking and attitudes in businesses and public sectors has been recognized in society. In response to this, the Creative Leadership Course at the Musashino Art University Graduate School was established to provide advanced design education for working professionals. This paper presents a case study of the Creative Leadership Course, with a focus on its curriculum, teaching methods, and outcomes based on self-evaluation and practical examples. First, we provide an overview of the course curriculum and its alignment with the “Advanced Design Human Resources Development Guidelines” established by the Ministry of Economy, Trade, and Industry of Japan. We then describe the teaching methods employed in the course, which emphasize project-based learning, dialogues with industry-leading creative leaders, and hands-on experiences in art and design. The paper also reports on the outcomes of the course, as perceived by the students and their growth in terms of learning attitudes and the acquisition of skills. Finally, we discuss the challenges and future prospects of the Creative Leadership Course in nurturing the desired skills and mindsets in working professionals. The findings of this case study may serve as a reference for other institutions aiming to develop similar educational programs for working professionals in the field of design.

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Under the current mass production/consumption economy, innovation patterns have become saturated and the creation of new business models may have reached its limits. As the next new economic dominant logic to come, we would like to build a business model utilizing “co-creation” that does not divide producers and consumers. Therefore, we will first focus on DIY, where production and consumption are carried out by the same person, and unravel the history and value of this activity to date. Next, we discuss the claims and contradictions of the Maker movement, which attempted to expand DIY activities and update them into business, and clarify the challenges of establishing a DIY/Maker culture under a mass production/consumption business model. On the other hand, I define the traditional mass production/consumption business model as the goods dominant logic, and focus on the service dominant logic, which discusses a new economic dominant logic as its counterpart. Among several concepts that constitute the service dominant logic, we will focus on ”co-creation” and explore the commonalities and fusion points with the aforementioned DIY/Make culture.

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