1 Introduction

Creativity arises not merely from spontaneous insights but in the deliberately created space between stimulus and response. Stephen R. Covey describes this space as the locus of our power to choose freely:

Between stimulus and response there is a space. In that space lies our power to choose our response. In our response lies our growth and our freedom.

(Covey, 1989, p. 66)

In this essay, I treat drawing as an intentionally guided practice for idea generation. I show how the “fluttering line” of the Sketch&Draw method creates a drawing-specific intermediate space that—analogous to Covey’s sphere of action—enables creative unfolding and the experience of flow (Csikszentmihalyi, 1990). In the following theoretical section, I link Covey’s spatial metaphor with Csikszentmihalyi’s flow concept and Merleau-Ponty’s notion of embodiment to illuminate the relationship between presence, drawing “noise,” and creative performance.

2 Theoretical Framework

2.1 The Space as a Site of Action

Stephen R. Covey (1989) emphasizes that between an external stimulus and our response lies a free space in which we can consciously decide: “Between stimulus and response there is a space. In that space is our power to choose our response. In our response lies our growth and our freedom.” (Covey, 1989, p. 66) This space is not an empty void but a kind of mental canvas—a field of possibilities where creative impulses can germinate. We open this space in drawing when we allow lineations consciously without immediately controlling them.

2.2 Flow as a State of Complete Presence

Mihály Csíkszentmihályi (1990) describes the flow state as that experience in which action and conscious awareness merge. Characteristics include total focus, effortlessness, and intrinsic reward. Creative flow arises precisely when we abstract control over our lines and fully engage in the process (Csíkszentmihályi, 1990). This opens a space where new ideas emerge without pursuing preformed goals.

2.3 Embodiment and Perception in Drawing

Maurice Merleau-Ponty (1945) emphasizes that perception and corporeality are inseparable. Drawing is not merely a visual act but an embodiment of intentionality—our body “knows” where and how the line should go before we consciously intervene. The fluttering line generates visual noise through light, associative line impulses, placing the body in a state of spontaneous reaction and meaning formation.

3 The Principle of the “Fluttering Line”

The principle of the fluttering line is based on deliberately allowing light, interrupted or uninterrupted line impulses. Instead of precisely following a contour, the draftsman creates a network of many fine, trembling lines that interweave to form “visual noise.” This noise of multiple lines presents possible options, which is crucial for triggering the inner images of our imagination. At the same time, it prevents premature control and censorship, creating space for associative perception.

With a relaxed attitude but maximal attention, one lets the hand “flutter” loosely over the paper, allowing intuitive lines to arise. This uses direct motor control of the hand in the flow state. Effect: The fluttering loosens habitual expectations and thought patterns and dissolves automatic interpretations. The idea emerges in the gap between the lines when the brain attempts to organize the emerging shapes.

Connection to Flow: In the state of light effortlessness described by Csíkszentmihályi (1990), the sense of controlling disappears. The fluttering line supports this flow by revealing strict intention and making room for spontaneous inspirations.

4 Case Study & Workshop Analysis

4.1 Visualizing the Creative Space

In a Sketch&Draw workshop, participants performed two central exercises to explore the creative space through drawing:

Fluttering Line Exercise: Draw a group of three trees. Draw the Rhine Valley as it appears from the city of Chur.
Crossing Line Exercise: Experiment with various strokes using the motif of plant leaves.

4.2 Participant Perspective

Participants report how the fluttering line and the visual noise immediately led to new ideas:

“When I look at my sketches afterward, perhaps the next day, I often ask myself: ‘Did I create this, or did someone whisper it to me?’ And that’s when I realize that by letting the lines flutter, I drew the creative gap of full presence and action to allow space for creativity.” (Participant, Sketch&Draw Module Course 2024)

** “After about 20–30 seconds, when a sense of effortlessness sets in and I can let the lines flutter: that’s when I’m creative and can create entirely new things I had no idea existed before.”** (Participant, Sketch&Draw Module Course 2024)

4.3 Analysis: Heard Impulses and Flow State

These reflections illustrate how the sketches are later understood as “whispered impulses” that reveal the flow state. The visual noise of the fluttering line acts like a creative fractal: each line contains in its micro-noise the potential for infinite forms. Through the playful back-and-forth movement of the hand, a non-linear sequence of structures arises that is only afterward translated into coherent ideas. This process corresponds to the flow in which, according to Csíkszentmihályi (1990), we become fully absorbed in the activity and discover new possibilities without conscious thought.

5 Discussion

The preceding analysis shows that the principle of the fluttering line creates a drawing space where flow and conscious decision-making merge. Key potentials include: Promotion of non-linear thinking processes through visual noise that breaks fixed thought patterns. Strengthening of creative self-confidence, as spontaneous impulses are recognized as valid ideas. Adaptability to technical disciplines such as design, engineering, or product development, where sketches enable rapid ideation. Limitations exist:

6 Conclusion & Outlook

This text demonstrates that the creative space between stimulus and response can be activated through drawing. The fluttering line of the Sketch&Draw method connects Covey’s space for action (1989) with Csíkszentmihályi’s flow (1990) and Merleau-Ponty’s embodiment (1945), creating a conscious space for idea generation and innovation. Future research aims to:

In this way, the fluttering line of Sketch&Draw can become an established method for creative research and development.

6 References

Covey, S. R. (1989). The 7 Habits of Highly Effective People: Powerful Lessons in Personal Change. New York, NY: Free Press.

Csíkszentmihályi, M. (1990). Flow: The Psychology of Optimal Experience. New York, NY: Harper & Row.

Merleau-Ponty, M. (1945). Phenomenology of Perception [Phénoménologie de la perception]. Paris, France: Gallimard.

Sketch&Draw. (2025). Fluttering-Line-Exercise [Figure 1]. Retrieved June 30, 2025, from https://sketchanddraw.com/?page_id=47130

Sketch&Draw. (2025). Crossing-Line-Exercise [Figure 2]. Retrieved June 30, 2025, from https://sketchanddraw.com/?page_id=47734