Creative hands are rarely tidy
Those three things - autonomy, complexity, and a connection between effort and reward - are, most people agree, the three qualities that work has to have if it is to be satisfying. It is not how much money we make that ultimately makes us happy between nine and five. It's whether our work fulfills us. If I offered you a choice between being an architect for $75,000 a year and working in a tollbooth every day for the rest of your life for $100,000 a year, which would you take? I'm guess the former, because there is a complexity, autonomy, and a relationship between effort and reward in doing creative work, and that's worth more to most of us than money. Work that fulfills those three criteria is meaningful.
"The desire to create is one of the deepest yearnings of the human soul. No matter our talents, education, backgrounds, or abilities, we each have an inherent wish to create something that did not exist before."Everyone can create. You don't need money, position, or influence in order to create something of substance or beauty."Creation brings deep satisfaction and fulfillment. We develop ourselves and others when we take unorganized matter into our hands and mold it into something of beauty. . ". . . Remember that you are spirit daughters of the most creative Being in the universe. Isn't it remarkable to think that your very spirits are fashioned by an endlessly creative and eternally compassionate God? Think about it—your spirit body is a masterpiece, created with a beauty, function, and capacity beyond imagination."But to what end were we created? We were created with the express purpose and potential of experiencing a fulness of joy (see 2 Nephi 2:25). Our birthright—and the purpose of our great voyage on this earth—is to seek and experience eternal happiness. One of the ways we find this is by creating things.
I am convinced that all of us have a biologic guarantee of musicianship. This is true regardless of our age, formal experience with music, or the size and shape of our fingers, lips, and ears.... We all have music inside us and can learn how to get it out, one way or another.
Take a Nicodemus and put Joseph Smith’s spirit in him, and what do you have? Take a da Vinci or a Michelangelo or a Shakespeare and give him a total knowledge of the plan of salvation of God and personal revelation and cleanse him, and then take a look at the statues he will carve and the murals he will paint and the masterpieces he will produce. Take a Handel with his purposeful effort, his superb talent, his earnest desire to properly depict the story, and give him inward vision of the whole true story and revelation, and what a master you have!
Perhaps most annoying: use of the term "design thinking." When the word “critical” is attached to the word “thinking,” the result, “critical thinking,” is a term that has clear, well defined, and well-understood meaning — certainly in the academic community, if not generally. As a counter example, the same cannot, for instance, be said about the term “art thinking.” This is not a term that can be used in any precise or meaningful way. Why? Because it could mean painting or sculpture; it could mean figurative or abstract; it could mean classical or modern or contemporary. Because it embodies so many contradictory notions, it is imprecise to the point of being meaningless — and therefore, completely understandably, it is not much used, if at all.
“Design thinking” is as problematic a term as “art thinking.” Design thinking could refer to architecture, fashion, graphic design, interior design, or product design; it could mean classical or modern or contemporary. It’s imprecise at best and meaningless at worst. More muddled thinking.
In contrast, an example of simple, straightforward, “unmuddled” thinking is Thomas Watson’s dictum "Good design is good business."