CLAY AS A MEDIUM FOR JOURNALING MENTAL WELL-BEING:

A GAME-BASED APPROACH

By

CODY G. THOMAS

A CAPSTONE RESEARCH PROJECT PROPOSAL PRESENTED TO THE COLLEGE OF

THE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARTS

UNIVERSITY OF FLORIDA
2023

Abstract

My research aims to design an engaging prompt game that will allow the user to

experience working with clay, whether it is their first-time experiencing clay or as an everyday

potter. This prompt game will be able to be used by educators in a K-12 classroom and even in a

community setting. This research and game prototype will offer unique and powerful means for

the individual(s) that use it and will be able to express themselves, engage in exploration and

reflection, and use it as a communication tool. The player can dive into their inner self to

communicate three-dimensionally, which may be difficult to articulate through traditional

writing or speaking.

In addition to the game, the research is parallel as minimal research has been done on

using clay as a tool for journaling. Through arts-based research with a narrative inquiry

approach, I have gathered an insightful understanding of clay and its effects on the brain and

body, clay as a tool for communication, and gamification and prompts in art. I am designing a

successful and meaningful prompt game that promotes a meaningful, unique, and powerful

experience for the player allowing for deep exploration of oneself through a tactile and process-

oriented medium.

Committee Members
Chair: Dr. Jodi Kushins
Supporting Committee Member: Dr. Tracey Hunter-Doniger

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Table of Contents

Title Page ......................................................................................................................................... 1

Abstract............................................................................................................................................ 2

Table of Contents Page .................................................................................................................3-4

Introduction ..................................................................................................................................... 5

Statement of the Problem .................................................................................................5-6

Goals of the Study ............................................................................................................... 6

Research Questions ..........................................................................................................6-7

Significance ......................................................................................................................7-8

Assumptions ........................................................................................................................ 8

Definition of Terms ........................................................................................................8-10

Literature Review .....................................................................................................................10-20

Research Methods ....................................................................................................................20-23

Subjects (if applicable) ...................................................................................................... 23

Site (if applicable) ............................................................................................................. 24

Research Focus (for non-IRB studies) .............................................................................. 24

Data Collection Procedures ............................................................................................... 23

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Data Analysis Procedures .............................................................................................24-25

Limitations .................................................................................................................................... 25

Public Presentation of Research .................................................................................................... 25

Summary........................................................................................................................................ 25

References ................................................................................................................................26-29

Author Biography .......................................................................................................................... 30

Timeline ....................................................................................................................................31-35

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Introduction

In times of deep sadness and overwhelming despair, it is often the smallest and most

unexpected things that bring us comfort. For me, that sanctuary was found within the embrace of

clay during my undergraduate years. As my mother became ill from lung cancer, I noticed I

spent all of my time in the ceramic’s lab, if I was not at the hospital visiting her. As I navigated

through the painful journey of losing both my mother and father to cancer, just within a year and

a half of another, the ceramics lab had become my sanctuary, offering respite, solace, and a

means of healing.

Within the realm of clay, I discovered an extraordinary therapeutic medium that was able

to transcend the physicality of its form. As I sculpted, molded, and shaped this material, an

intricate dance unfolded between my hands and clay. This associated connection aided a deep

reflection, drawing my focus away from the overwhelming weight of my emotions. It was with

the use of clay that I instilled each piece with fragments of memories and stories, preserving the

essence of my parents within these ever so delicate porcelain sculptures. I was able to process

my grief and honor the profound impact my parents had on my life. As I reflected upon the

transformative power of clay in my own life, I am impassioned to explore its potential as a

journal for mental well-being. By embarking on this capstone project, I aspire to research and

shed light on the profound benefits of working with clay and extend its healing embrace to

individuals facing their own emotional challenges. Through understanding the innate capabilities

of using clay to journal, we can unlock new pathways of self-expression, self-discovery, and

mental well-being.

Statement of the Problem

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There lacks research about the beneficial nature of clay as a tool for journaling, there is a

need to explore and understand the potential benefits of using this medium to foster mental well-

being. There is great potential to provide valuable insights into a unique and powerful approach

to self-exploration and personal growth. Completing research on the effects of clay journaling

through a gamification approach for mental well-being, researchers can contribute to the

development of innovative interventions and practices that promote emotional health and self-

discovery in a healthy and safe manner. This research is not one grounded from mental health

professionals or art therapists’ perspective but from an art educator perspective that invites others

into clay as a practice of well-being. This research and discovery is relevant to the art education

field as it adds a new approach to journaling and gamification as one way to address the

challenges we face when encountering our own well-being. By integrating clay journaling into

for personal or educational settings, we can create supportive and nurturing environments that

value emotional well-being, creativity, and individuality. This can contribute to a positive home

or classroom environments as part of a social emotional learning pedagogy practice.

Goals of the Study

My goal throughout my research is to bridge the gap between clay and mental well-being

through journaling by developing a prototype prompt game.

Research Questions

Primary Inquiry: How can I develop a reflective card game of creative prompts to guide

and engage others in an exploration of oneself through a tactile and process-oriented medium

such as clay?

Developing a card game that is based on prompts is the overall goal of my research. In

order to complete this task, I will research existing prompts from various art journals, art therapy

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books, and read about scholarly articles about gamification in art. The art making prompts will

allow the user to engage in a deep exploration of oneself by meaningful, unique, and powerful

experiences.

Supporting Inquiry 1: What are the benefits and challenges of using clay as a

practice/tool for mental well-being?

Despite all of the positive reasons using clay as a journaling tool to help with mental

well-being there are also setbacks. In order to fully grasp the benefits and challenges of using

clay, I will complete research on what the possibilities and limitations may be when using clay as

a journaling medium. This will include discovering solutions in order for individuals whether

student or teacher to find a path through any concerns when incorporating clay into their

journaling.

Supporting Inquiry 2: How does the process in creating and interacting with clay

influence self-reflections, emotional expressions, and personal growth related to mental health

and well-being?

Building on knowledge of what is already current with studies on clay and journaling as

tool for mental well-being, I will also research how working with clay interacts with the body:

mentally and physically.

Significance

With the many studies of arts as therapy and the therapeutic benefits of creative

expression and self-discovery, there is still limited research that focuses solely on the use of clay

as a journaling tool for mental well-being. Conducting this study and gathering research will fill

in these missing holes and help bridge the gap and assist in projecting a deeper understanding of

the unique benefits of the clay as a tool for journaling and what that can offer an individual.

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When investigating mental well-being, I hope to contribute to more comprehensive approaches

and understandings of such practices, as well as shed light on what the specific advantages of

clay journaling for mental well-being. I believe that clay as a medium could be more visible as

an alternative approach into community and educational settings for wellness.

When researchers and educators discover research-based evidence of clay as a journaling

tool, they can better tailor their approaches to meet the needs of individuals who may benefit

from clay journaling and alter the design of interventions and teaching pedagogy that is more

inclusive for said individuals.

Assumptions

There are several assumptions when considering the use of clay as a journaling tool for

mental well-being. My first assumption is that working with clay can promote positive energy

through emotional expression. The second is that working with clay allows the creator to engage

in a sense of Zen. This medium can promote relaxation and reduce stress. As clay is used in art,

it’s a form for self-expression and a creative outlet. The imagination can build a fantasy in real

world in a three-dimensional space.

I assume that some people may not have access to clay materials which could deter the

process and hope to address the topic of accessibility. Not everyone has clay suppliers close to

them, may find it difficult to work with the clay physically, or not be able to afford the material

at all. There is also the chance that working with clay could have a negative impact on an

individual’s experience. Lastly, individuals may not want to use clay due to its mess and cleanup.

This could also lead to questions surrounding space and the individual’s ability to engage in clay

play. These assumptions are all based on the individual. Everyone is different so it is important

to have an open mind and think from different perspectives.

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Definition of Terms

Amygdale – serves as the core for processing emotions, emotional behavior, and

motivation. The amygdala communicates in two directions through major pathways in the brain

that consist of both outgoing and ingoing fibers. (Wright, 2020)

Exteroceptors – detect stimuli that comes from externally from the body. These

receptors are located close to the skin’s surface and play a major role in processing visual,

auditory, smell, and skin related sensations such as pain, vibration, touch, temperature, tickling,

and itching. (Udayangani, 2021)

Interceptors – detect stimuli from within the internal organs and blood vessels. They

transmit information to the central nervous system regarding the body’s internal condition. These

receptors are specifically monitoring digestive, reproductive, respiratory, cardiovascular, and

urinary systems. (Udayangani, 2021).

Major Depressive Disorders (MDD) – Bain and Abdijadid (2022) define Major

Depressive Disorder diagnosis as, “When an individual has a persistently low or depressed

mood, anhedonia or decreased interest in pleasurable activities, feelings of guilt or

worthlessness, lack of energy, poor concentration, appetite changes, psychomotor retardation or

agitation, sleep disturbances, or suicidal thoughts” (Bain & Abdijadid, 2022).

Meaning-making – when the creation of the artworks that hold significance, enjoyment,

and purpose for the artist/creator and those who engage with the art. (Gude, 2008)

Right Medial Parietal Lobe – connected with non-verbal memory. It also has control

over making things, drawing ability, and even being able to sense denial of deficits such as not

being able to recognize other health conditions and problems one may have. (Mclead, 2023)

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Sensorimotor process – involved how our brain processes information from our senses

such as vision, hearing, and feeling, then use that information to guide our movements.

Sensorimotor allows us to control our bodies movements, coordination’s, and be ware to our

surrounds. (Mcleod, 2023)

Wet Clay Stage – clay body that has the consistency to be used straight from the bag and

to wheel throw or hand-build. This is also known as plastic clay due to its plasticity. (Fern, 2022)

Literature Review

Recently, an interest in exploring the therapeutic potential of practices in prompting

mental health and well-being has grown. Ceramics has developed as an area of interest to use as

a tool for individuals to engage in visual journaling, offering a unique path for self-expression,

personal growth, and emotional healing. Clay being used as a restorative avenue for oneself has

great significance of impact that with the assistance of creative activities with the help of being

prompted by guidelines can have a positive effect on an individual’s mental health and well-

being. Throughout time, this ancient material has been associated with many different cultures,

rituals, artistic expressions, and to be used in our everyday lives.

The primary objective of this literature review is to discuss the development of clay as a

tool in use of visual journaling to foster better mental health and well-being. Despite the

popularity of using clay as a tool for visual journaling, more research needs to be performed on

how it effects individuals. This could be that there is a lack of confidence from practitioners and

some educators in handling and manipulating this material as some believe it is too dirty

(Meighan, 2021). I am not a therapist but believe that clay can impact well-being in those who

would like to engage with it. In fact, 25% of therapists use clay in their practice, but surprisingly

99% of therapists state that clay is a great form to be used and is considered therapeutic

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(Meighan, 2021, p. 177). The literature review also discusses the benefits of implementing

gamification with art for mental health and well-being. The focus of this review is based on these

enduring questions: (1) What are the benefits & challenges of using ceramics as a tool to engage

in practices of well-being? (2) What ceramics processes most lend themselves to restorative

mental well-being? (3) How does developing a game help individual’s in fostering their mental

well-being by exploring oneself through clay? It is apparent, based on the findings that will be

highlighted by scholars such as Tula-Krcmarikova and Lessner-Listialova (2018), Meighan

(2021), and Sholt and Gavron (2016), that art for well-being is imperative for all. Therapeutic

benefits, expressive possibilities, symbolism, and personal narrative are insights these authors

have intertwined upon completing research on how ceramics is used as a tool for journaling for

mental health and well-being.

Visual Journals

Visual journaling is a powerful artistic practice that combines the benefits of journaling

with the expressive potential in art. This growing popularity in books such as Wreck this Journal

(Smith), Burn After Writing (Jones), Visual Journaling: Going Deeper than Words (Fox) and an

ever-so popular book for men titled MindJournal (Aplin), has made self-reflection and personal

growth therapeutic by exercises and prompts. Artist Christopher Strickland defines visual

journaling as “a reflective process that involves exploring concepts, ideas, and thoughts visually

in order to understand and create personal meaning” (Menon & Gutmann, 2023). This meaning-

making approach allows individuals to engage in a therapeutic journey that will transform their

lives in positive ways. Most of these visual journaling is used in a journal manner through

scribbles, notes, and drawings. However, a more tangible medium serves as more beneficial than

others and that is with clay (Tula-Krcmarikova & Lessner-Listiakova, 2018, p. 101-102).

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Clay serves as a tangible medium through which an individual’s imaginative ideas and

emotions can be skillfully brought to life right in front of them. This leads to expression of their

specific thoughts and feelings (Bae & Kim, 2018, p. 6). Clay is a medium that allows its users to

make the intangible touchable by being able to use this medium as a way of visual journaling.

Meighan (2021) states, “Clay can represent both real-life objects and symbolic representations

because of its three-dimensional qualities” (p. 189). Clay is a material that is readily assessable,

affordable, and easy to manipulate. Using clay as a medium when journaling taps into the bodies

senses and can help with regressive qualities (Bae & Kim, 2018).

Meighan (2021) informs us about the importance of clay use with the statistics of only

25% of therapists actually using clay as a tool in their practice when 99% say clay is beneficial to

mental health and well-being. Developing a game that can be universal to be used as either a

classroom, community center, or a therapist’s office, this supports the notion that clay has a

positive impact on individual’s mental health however not that many people appear to be

comfortable with using clay or know about its possibilities. By using clay as the main tangible

source in journaling it will allow individuals involved in clay play to bring their imaginative

ideas and emotions to life in a three-dimensional form. In order for individuals to express

themselves and engage in exploration in finding themselves, using a three-dimensional tangible

medium can facilitate the process of visual journaling and contribute to better mental health and

well-being. This can play in part with the use of symbolization and personal narratives of the

players. Journaling with call will allow individuals to express their stories, experiences, and

emotions working through their mental health state with a positive nurturing approach.

Restorative Effects

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Touch is something important to humans. It starts at birth when mother’s performing

skin-to-skin contact with their newborns. Just like skin-to-skin contact or any form of physical

touch with humans, it is important that individuals allow themselves physical contact with the art

materials. Art-based healing through the use of clay can trigger stimuli such as touch, smell, and

even temperature. This medium can “serve as triggers for memories or emotional associations

and as means of change” (Tula-Krcmarikova & Lessner-Listiakova, 2018, p. 101).

When we touch clay, our brains engage in a complex sensor and cognitive process.

Suputtitada (2021) mentions that once our hands touch clay “exteroceptors and interceptors

become naturally stimulated and every movement of the hands provides instant feedback to the

brain, allows non-verbal access to psychological and sensorimotor processes” (p. 399). They also

state that art-based healing through the use of clay has been discovered to enhance brain activity

in specified areas such as the right medial parietal lobe, which improved memory processes,

mediative and emotional states, and spatial-temporal processing (Suputtitada, 2021, p. 400).

One finding that was consistent through research was as clay was being used as a support

for creative expression for mental health and well-being, journaling was only being used in the

wet-clay stage. After their journal was complete, the individual crumbled the clay and either

placed it back in the bag or begins on a different prompt or starts redoing the same reflection that

was just previously done. This meaning-making approach allows the person to smash, pull, roll,

punch, and even throw the clay at the wall. It was discovered that when you squeeze and pinch

the clay and push it to its limits, it is an extension of your current emotional state (Monroe,

2022). However, this depends on the prompts and how the individual would like to express

themselves. Henley (2002) discusses the process of working with clay and how the process of

making is valued in every phase:

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From ideas and feelings to workable design; to exploration and fabrication while in the

clay’s wet plastic state; to the process of “letting go” as the finished piece air dries on its way to

the first bisque fire; to the process of reconsidering the surface by glazing or decoration and then

on the culminating fire where we sacrificed out work to the blind forces of intense heat and

flame in the hope of its final transformation. (Henley, 2002, p. 56)

The work through of a project also gives the individual a sense of accomplishment.

Discovered in a research study, Alberston (2001) observed that “students believed that their self-

esteem improved because they successfully worked through problems from beginning to end,

learning important lessons about themselves and their ability to be creative” (p. 7). Art is for all.

Clay is a versatile and forgiving medium. This allows the individuals working with clay the

opportunity to make mistakes, experiment, and make changes to reduce their fears of making.

Individuals can also use this time to be in control of their emotions (Jeong & Shim, 2021).

Lindquist & Turk (2020) revealed that when individuals are given a sense of control by bringing

them out of their minds, for example, only focusing on kneading the clay, causing them to not

think about anything else, reducing anxiety substantially as well as when someone completes a

task of “creating something aesthetically pleasing, may create a sense of self-awareness, self-

efficacy, and self-accomplishment” (p. 4).

Clay being a versatile and forgiving medium can allow the individual to engage in stimuli

such as touch, smell, and even temperature. This triggers memories and emotional associations.

When our brain undergoes a sensor and cognitive process, it provides non-verbal access to

processes such as psychological and sensorimotor. By engaging in clay use, it was discovered

that brain activity in specific areas improve memory processes, emotional states, and spatial-

temporal processing. Research shows that when journaling with the wet stage of clay, from

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ideation to the completed prompt, a sense of accomplishment and usefulness helps improve self-

esteem and engages in the mind’s creativity for self-expression. The tangible medium allows the

user to use the clay body allows a sense of control which can substantially reduce anxiety and

construct a sense of self-awareness, self-efficacy, and self-accomplishment.

Expressive Possibilities

Art is used as a form of communication. Being one of the first sensory responses, touch,

is the first method of communication that an infant learns (Sholt & Gavron, 2006). Clay provides

a tangible and expressive medium for individuals to utilize and communicate their emotions,

thoughts, and experiences. Children, teens, and adults all benefit from the use clay as a medium

for journaling about mental health and well-being.

With a lack of vocabulary, children have the most difficulty expressing their conscious

thoughts and feelings and with the limited abstract thinking. However, with the assistance from

clay and its malleability provides a valuable means of self-expression, as it allows them to give

shape to their emotions, ideas, and dreams (Meighan, 2021). By using a different approach to

healing by the traditional way of talking through events and emotions, clay also reduces fears of

self-help with a counselor. This is due to its interest that clay holds in children such as unique

texture, consistency, and malleability. This leads to clay being used as an effective tool for

children in real-world problem-solving skills, self-esteem, emotional control, and decision-

making (Rahmani & Moheb, 2010).

In an observation, a 10-year-old boy suffered the loss of his grandmother. The two were

very close. When the grandmother passed away, the child began to isolate himself from his

classmates, friends and family as well as refusing eat daily. Completing 10 sessions with a

counselor, he stayed reserved. After the introduction of clay, he balled the clay into balls and

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throw them at the board. This was anger. This child would punch the clay. Days going by he

always selected clay to be used six times out of the ten sessions. The sessions progressed and the

child opened up. He worked through sessions and focused his work on his grandmother. The

ninth session, the child wanted to make a vase. The focus was again on his grandmother. A

flower vase was made as his grandmother loved flowers. The child voiced that he wanted to keep

the piece and not have it put back in the scrap like all other works he completed. He carved his

grandmothers initials in the vase and mentioned that his grandmother would always pick flowers

for him. The child was able to work through his anger that his mother would not let him say

goodbye when the parents and other family members were able to. Educators that taught the

child praised him for interacting more in class and his anger had receded (Meighan, 2021, p.

185-187).

I believe that the use of clay to help with one’s mental health and well-being is extremely

beneficial. Not just experiencing the powers of what clay can evoke, myself, but using this

method as a communication tool for children gives clay to be the voice of the user. People

struggle to express their conscious thoughts and feelings through actual voice communication but

with clay can help those, especially children, shape their emotions and beneficial for emotional

control.

A second case study performed by Tula-Krcmarikova & Lessner-Listiakova (2018)

where a thirteen-year-old female was having behavioral issues. Her parent’s divorced when she

was a child and both parent’s remarried and had children with their new partners. The teenager

started having a bad relationship with her mother due to her always picker her stepfather’s side

on all occasions despite the confrontation. Using clay to work through her behavioral issues was

the main goal but also to relive her depressed and anxiety. The individual attended ten sessions

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of art making. She selected eight out of ten sessions to use clay. At first, she was reserved and

build her pieces on her lap. By the end of the sessions, she grew more courage and interest to talk

about herself. Working with clay the individual was able to discover meaning with her own life

and connecting that to the cycles of clay. If added too much water, the clay becomes sticky and

messy, dried out, it then becomes dry and fragile. It was found that “for some people, it is a

metaphor of the empowering process of creating, life and death, which they have in their own

hands” (Tula-Krcmarikova & Lessner-Listiakova, 2018, p. 107).

Major Depressive Disorders are recognized as a significant global burden of illness. In a

research study involving 120 adults diagnosed with major depressive disorders, the aim was to

address depressive symptoms, decrease levels of stress and anxiety, and enhance emotional

expression, spirituality, and psychological well-being. Nan & Ho (2017) observed six two-and-a-

half hour weeklong sessions. As the individuals completed directive prompts from counselors it

was discovered that 86% of the participants had a lower depressive sign, emotion regulation

skills improved greatly, and greater change in spirituality.

The case studies mentioned above align with the importance of using clay as a tool for

journaling by demonstrating just how valuable clay is to assist in working through emotions,

self-expression, confidence, and enhance the overall well-being of the individual. Personal

meaning is a discovery that one will have when journaling with clay.

Symbolism & Personal Growth

When individuals engage in clay, it evokes memories, emotions, and feelings. As such a

primal material, clay has the ability to tap into the unintentional, bringing a hidden content that

needs processing through exploration (de Morais, Roecker, Salvagioni & Eler, 2014). When

using a three-dimensional medium such as clay, it offers more unique possibilities for self-

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expression than two-dimensional forms such as drawings and paintings. Clay work in this three-

dimensional form, invites the viewer to engage with it visually tactually, and spatially. This can

be observed, touched, and explored from all angles and perspective (Sholt & Gavron, 2006).

When we observe art, we distinguish it through many observations such as the elements and

principles of design, perspective, spatial relationship, and different responses/feelings.

When we use clay, we have the opportunity to create metaphors, which are symbolic

representations of thoughts and emotions (Meighan, 2021). It is discovered that this process

allows us to establish a connection between conscious and unconscious experiences. This helps

conceptualize and express more complex meanings as opposed to using language. Meighan

(2021) discusses that when engaging with clay as an art-based healing approach, it provides an

effective avenue for addressing profound emotional issues, giving us the ability to express

feelings in a controlled manner by shaping, transforming, even destroying the clay body. It is

important that metaphors are accepted as it fosters a deeper meaning and connection between

clay and maker.

Traumatic experiences have consequences on the brain’s function. When emotional and

cognitive events happen, insecure events such as divorce, death, or abandonment cause an

imbalance in the brain’s chemistry. “Trauma memories are primarily stored and processed in the

amygdale part of the brain. These memories of traumatic events are often not conscious and

cannot be recalled automatically (Meighan, 2021, p. 179). It is with the push and pull of the clay

and the body movements, and touch that these memories can again be unlocked (Meighan,

2021).

Engaging with clay evokes memories, emotions, feelings, allowing the individual to tap

into a hidden content of the brain that needs processing. These good and/or bad feelings can be

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voiced through creating three-dimensional works from clay that mimic metaphors, symbolism,

emotions, that will help connect between the individual’s conscious and subconscious

experiences and express complicated meanings beyond language itself.

Experiences that have left an individual feeling traumatized can have a negative effect on

the brain function, and the tactile and kinesthetic aspects of working with clay can help unlock

and process these memories that are stored. I believe that great healing potential by the use of

clay can occur when it is used as a powerful medium for exploring and addressing mental health

and well-being.

Gamification

Journaling with art, especially with a tactile medium like clay, gamification can also play

a valuable role in art-based healing. Gamification can allow increased engagement by adding

interactive elements. Fitz-Walter (2023) defines gamification as “the application of game-design

elements and game principles in non-game contexts” (p. 464). This can also mean that “a set of

activities and processes to solve problems by using or applying the characteristics of game

elements” (Fitz-Walter, 2023, p. 464). Today, numerous games have been used to assist

individuals with mental health services, even despite this not being their designed purpose

(Dewhirst & Laugharne & Shankar, 2022). It was discovered that there is more of an interest in

effectiveness of gamification for physical health rather than mental health. To have a

successfully gamification experience, Cheng (2020) voices that an “interactive state occurring

when a person perceives non-trivial achievable goals created externally, is motivated to pursue

them under an arbitrary set of behavioral rules and evaluates that motivation as voluntarily” (p.

4).

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Bringing in gamification into a prompt journal setting for clay use can allow the

individual to actively participate in the creative process. This also has the chance to build

motivation and to set goals by giving prompts to complete. Once these achievements of prompts

are complete, the individual can have a sense of achievement and joy through artistic

exploration. Including gamification of prompt cards to assist as a directive for art-based healing

can have the results of the individual to successfully express themselves in a structured manner

by communicating their thoughts and experiences through their creations.

Conclusion

This research emphasizes the importance of clay as an art medium for well-being,

particularly in the context of ceramics. With the growing interest in exploring the potential of

practice through clay that prompt mental well-being, clay is a tool that is tangible and allows the

individual to engage in creating from their thoughts, emotions, and expressions. Despite some

educators, researchers, and therapists having reservations about using clay as a tool due to its

messiness, 99% of therapists acknowledge that clay has great therapeutic value and I believe this

to also be true for art educators who want to focus on mental wellbeing with themselves or their

students.

With the addition of gamification in clay journaling for mental health and well-being,

gamification can play an important role in the individual’s engagement of the medium as well as

their interpersonal growth and self-reflection.

Research Methods

The self-study will use both Arts-Based Research and Narrative Inquiry. With these two

approaches, I believe this will be very beneficial in my understanding and insights for

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developing prompts, designing prompt cards, and reflection approach that is focused around

using clay as a medium for journaling to improve one’s mental health and well-being.

Arts-Based Research (ABR) is defined by Coemans et al.(2015) as, “a research method in

which the arts play a primary role in any or all steps of the research method” (p. 24). It is also

mentioned that the use of any art form(s) of art is imperative to the research process itself and the

main aspect of formulating the “the research questions, generating data, analyzing data, and

presenting the research results” (Coemans et al., 2015, p. 34). This strategy guides the progress

of research in the phases of action research and uses art as a facilitator for developmental work.

This work consists of building projects in the field of art education using visual art and

contemporary art (Jokela & Huhmarniemi, 2018). By using an arts-based methodology approach

for my capstone, I can gain a deeper understanding of the therapeutic benefits of using clay as a

medium for journaling and to better develop the prompt game for user success. Jokela &

Huhmarniemi (2018) explained that art-based research is a methodology that welcomes side-

paths and missteps, which are normal. In order for me to design this game in a successfully

manner, mistakes will be made. By making mistakes, we learn. As a researcher, this is beneficial

as I will be able to narrow down on research topics. “Artistic research proceeds intuitively,

through trial and error, and leads to unexpected results and surprising insights” (Jokela &

Huhmarniemi, 2018, p. 14).

By using arts-based research methods, reflection if key. Jokela and Huhmarniemi (2018)

voice, “Documentation is needed for knowledge purposes, exhibitions, evaluation, reporting, and

the planning of new projects, and not all needs can be anticipated during the project” (p. 16). It is

a process that will guide my next step of action. This will then be a continuous circle of action to

reflection, then back to action and reflection. This allows me, the researcher, to directly engage

21

in the artistic process. From day one, I will journal in a notebook about my observations, ideas,

and thoughts as I plan out the process of my development of possible prompts with clay play

even the layout of the card game. Not only will written notes be taken during my research but

also photographs will be taken constantly as videos.

The second methodology that I will use in this self-study in tandem with arts-based

research is Narrative Inquiry. Narrative research is defined by Wolgemuth and Agosto (2019) as

“a qualitative research methodology in the narrative inquiry tradition that elicits and analyzes

stories in order to understand people, cultures, and societies” (p. 1). The authors bring up

narratives of the self in which is the focus is on how the individuals create and communicate

stories about themselves and their experiences (p. 1). By using methods such as reflective writing

to explore narratives, it is a great system to approach and understand how people tell their life

stories in social and political contexts. (Wolgemuth & Agosto, 2019)

As I develop prompts for the card game, I will self-question using narrative research with

questions like what significant moment, for example, a question I would ask myself, “What is a

significant moment, positive or negative, that had impacted my life?” My answer would be:

“Coming out in high school as gay”. I would then think about my experience as a gay white

teenager coming out in a half-Republican family in rural Georgia. Perhaps a prompt would be to

hand-build objects about my identify as a gay male and what I experience with self-acceptance,

and empowering narratives of resilience. It is important to get this insight on the individual (the

researcher) and how they prompt their own narrative inquiry.

Through a narrative approach, it is also important to keep perspectives in mind. Connelly and

Clandinin (1990) voice “The main claim for the use of narrative in educational research is that

humans are storytelling organisms who, individually and socially, lead storied lives. The study of

22

narrative, therefore, is the study of the way humans experience the world” (p. 2). The research

methods of arts-based research and narrative inquiry run parallel.

ABR and narrative inquiry aim to capture and explore the unique perspectives, emotions,

and personal stories of the researcher and/or the research participants. By completing my own

research from my own perspective, I will be able to use these as means of creative expression to

engage in the creative process of constructing prompts that are expressive and explore the

audiences’ thoughts, feelings, and experiences. (Coeman et al., 2015; Connelly & Clandini,

1990) Utilizing both ABR with narrative inquiry, I will be able to interpret and make meaning

from the collected data (from using clay myself, my notes, reflections, sketches, and

photographs) and analyze to bridge the findings that convey a deeper meaning on the benefits of

using clay as a medium for journaling to well-being.

Lastly, with both methodologies, I will be able to provide a researcher’s subjectivity and

share my process, outcomes, findings, and game. These two methodologies linked together is a

life cycle of research strategies. One method will lead to the other and back again full circle. My

own experiences from the data will bring sensibility, interpretation, and personal experiences that

will reflect and help navigate my research process subjectively (Coeman et al., 2015; Connelly &

Clandini, 1990; Jokela & Huhmarniemi, 2018. ABR and narrative inquiry can help the researcher

provide a more comprehensive understanding vision for developing a successful prompt card

game that focuses on using clay as a medium for journaling. This is beneficial to improve an

individual’s mental health and well-being by exploring with discovering clay prompts, engaging

in cycles of planning, action, and reflection, and engaging in creative documentation such as

photography, drawings, and journaling.

Subjects

23

This is a self-study where I outline my positionality as the researcher and as well as my

target audience for the outcome of this research. As the researcher conducting this study, I will

rely on my own experience with working with clay as well as researching how clay effects the

body, both mentally and physically. Clay will also be a subject of this study where I will research

the pros and cons of using clay.

Research Site

The research and capstone project process in its entirety will be conducted at my home in

St. Augustine, Florida. I will collect, analyze and link common threads between clay, journaling

and mental well-being then relating those findings to developing a prototype of a prompt card

game.

Research Focus

My research will be focused on designing a prompt card game that allows the player(s) to

engage in self-expression, self-discovery, and personal growth through a unique, engaging, and

creative way. While completing this research, I will be taking detailed images of my process of

discovering prompts, trying clay processes myself, as well as reflecting on what clay has done

for me to foster my own self of well-being that may help others. I will experiment with different

clay bodies. Along with images, I will be taking detailed notes in a journal about my opinions

and thoughts about the game in detail as it’s developed from start to end, the design of the box,

the design of the cards, the deck of cards, and each prompt, and lastly, what will be inside the

boxed game, such as instructions.

With keeping the journal that will hold my opinions and ideas, I will make notes of my

own experiences, emotions, and my own well-being as I developed each prompt. I will be using

journaling throughout the entire process of participating in this research project.

24

Data Analysis Procedures

Working with both inductive and deductive analysis approach is beneficial to my

research. What existing prompt methods of working with clay have been successful and

supported individual’s self-expressions, mental well-being and self-discovery? In order to

answer this question, I will analyze findings from research that I have read from scholarly

articles and prompt journals. I will also use the data collected when I discover new methods or

prompts that are incorporated with mental well-being and journaling with clay.

Limitations

The lack of prior research on the topic of clay journaling for mental well-being is my first

limitation.

Public Presentation of Research

I will be sharing my research along with my capstone project to the faculty and

peers at the University of Florida capstone defense via Zoom. The research paper will be

available on my UF student portfolio at www.thomasstudio.weebly.com. The prototype of the

prompt card game will be mailed to both the committee chair and supporting team member.

Additional card games will be sent to other UF faculty. I plan to provide my full research,

journal entries, and card game plans on my UF student portfolio via Capstone tab. The game will

be available for purchase to peers in 2024.

Summary

Clay as a journaling tool for mental well-being can have a profound impact on how

individuals navigate the challenges we face in everyday living. Little research has been

completed on using clay as a medium for journaling to help with mental health and well-being.

For this reason, exploratory research through arts-based research and a narrative self-inquiry

25

approach is necessary to collect relevant data on the subject. The data collected will be used to

then develop a prompt card game that individuals will be able to utilize clay as a medium to

build their emotions, thoughts, expressions, and more with a three-dimensional tactile medium

through journaling.

26

References

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success. Marilyn Zurmuehlen Working Papers in Art Education, 2001(1), 7.

doi:10.17077/2326-7070.1363

Aplin, O. (2021). Mindjournal. Ebury Press.

Bae, Y.-S., & Kim, D.-H. (2018). The applied effectiveness of clay art therapy for

patients with Parkinson’s disease. Journal of Evidence-Based Integrative Medicine,

23(1), 1–8. doi:10.1177/2515690x18765943

Bain, N., & Abdijadid, S. (2022). Retrieved from

https://www.ncbi.nlm.nih.gov/books/NBK559078/

Cheng, V. W. S. (2020). Recommendations for implementing gamification for mental health and

wellbeing. Frontiers in Psychology, 11, 1–15. doi:10.3389/fpsyg.2020.586379

Connelly, F. M., & Clandinin, D. J. (1990). Stories of Experience and Narrative

Inquiry. Educational Researcher, 19(5), 2–14. https://doi.org/10.2307/1176100Links to

an external site.

Coemans, S., Wang, Q., Leysen, J., & Hannes, K. (2015). The use of Arts-based methods in

community-based research with vulnerable populations: Protocol for a scoping

review. International Journal of Educational Research, 71, 33–39.

https://doi.org/10.1016/j.ijer.2015.02.008

Dewhirst, A., Laugharne, R., & Shankar, R. (2022). Therapeutic use of serious games in mental

health: Scoping review. BJPsych Open, 8(2), 1–14. doi:10.1192/bjo.2022.4

Fern, K. (2022). Retrieved from https://wheelandclay.com/blog/the-7-stages-of-clay/

Fox, S. (1999). Visual Journaling: Going Deeper than Words. Quest Books.

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Gude, O. (2008). Aesthetics making meaning. Studies in Art Education, 50(1), 98–103.

doi:10.1080/00393541.2008.11518758

Helena de Morais, A., Roecker, S., Jodas Salvagioni, D. A., & Jacklin Eler, G. (2014).

Significance of clay art therapy for psychiatric patients admitted in a day hospital.

Investigación y Educación En Enfermería, 32(1), 128–138.

doi:10.17533/udea.iee.v32n1a15

Henley, D. (2002). Clayworks in art therapy: Plying the sacred circle. Jessica Kingsley Press.

Jeong, J., & Shim, P. (2021). Exploring art therapy as a treatment for children with autism

spectrum disorder. Journal of Student Research, 10(3), 1–8.

doi:10.47611/jsrhs.v10i3.1883

Jokela, T., & Huhmarniemi, M. (2019). Art-based action research in the development work of

arts and art education. In The Lure of Lapland - A Handbook for Arctic Art and Design

(pp. 9–25). Rovaniemi, Finland: University of Lapland. Retrieved from

https://core.ac.uk/download/pdf/212009405.pdf

Jones, S. (2021). Burn after writing. Pop Press, an imprint of Ebury Publishing.

Lindquist, M., & Turk, C. (2010). Working. Working with Clay Reduces Anxiety among College

Students, 16(1). Retrieved from https://scholar.utc.edu/cgi/viewcontent.cgi?

article=1309&context=mps

Mcleod, S. (2023). Retrieved from https://www.simplypsychology.org/sensorimotor.html

Meighan, J. (2021). Clay play therapy. Play Therapy with Children: Modalities for Change.,

177–190. doi:10.1037/0000217-012

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making: The Art of Visual Journaling for learning. reDesign.

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making-art-visual-journaling-

learning/#:~:text=Visual%20Journaling%20is%20a%20reflective,understand%20and%2

0create%20personal%20meaning

Monroe, P. (2022). Supporting students’ social emotional well-being using clay: An action

research study, Graduate Review, 2 (1), 1-21. Available at:

https://openspaces.unk.edu/grad-review/vol2/iss1/

Nan, J. K. M., & Ho, R. T. H. (2017). Effects of clay art therapy on adults outpatients with major

depressive disorder: A randomized controlled trial. Journal of Affective Disorders, 217,

237–245. doi:10.1016/j.jad.2017.04.013

Rahmani, P., & Moheb, N. (2010). The effectiveness of clay therapy and narrative therapy on

anxiety of pre-school children: A comparative study. Procedia - Social and Behavioral

Sciences, 5, 23–27. doi:10.1016/j.sbspro.2010.07.044

Sholt, M., & Gavron, T. (2006). Therapeutic qualities of clay-work in art therapy and

psychotherapy: A review. Art Therapy, 23(2), 66–72.

doi:10.1080/07421656.2006.10129647

Smith, K. (2017). Wreck this Journal. Penguin.

Suputtitada, P. (2021). Clay art therapy for physical, psychological and cognitive improvement.

International Journal of Medical Science and Current Research, 4(4), 399–401.

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sychological_and_Cognitive_Improvement

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Tula-Krcmarikova, Z., & Lessner-Listiakova, I. (2018). Sensory aspects of art therapy work with

clay. SGEM International Multidisciplinary Scientific Conferences on SOCIAL

SCIENCES and ARTS Proceedings, 5. doi:10.5593/sgemsocial2018/6.2/s24.013

Udayangani, S. (2021). Retrieved from https://www.differencebetween.com/what-is-the-

difference-between-exteroceptors-and-interoceptors/

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Sociology, 1–3. https://doi.org/10.1002/9781405165518.wbeos1244

Wright, A. (2020). Retrieved from https://nba.uth.tmc.edu/neuroscience/m/s4/chapter06.html

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Author Biography

Cody Thomas is a highly accomplished ceramic artist and educator with a passion for

inspiring creative and fostering artistic development in students and adults. Originally from the

metro-Atlanta area, Cody received his bachelors in studio art with a concentration in ceramics

from the University of North Georgia. It was then and there that he developed a deep love for

ceramics, recognizing its unique ability to shape and transform raw material to beautiful and

functional work of art. While completing his undergrad, he opened his own pottery business

leading to selling his work in local stores in the north Georgia area. As a studio potter, Cody

produces a wide range of functional and sculptural vessels.

Driven by his passion for artistic growth and exploration, Cody decided to expand his

artistic horizons and moved to St. Augustine, Florida where he currently lives on the inlet with

his rescue dog, Buddy. If he is not creating ceramic works, you can find him on the beach or

flying his drone. In this vibrant artistic and historic community, Cody continues to create

captivating work and engage in the artistic community carrying his sketchbook and watercolors

in his Jeep at all times to take in his environment in a plein air approach. The avid outdoors lover

combines his expertise as a ceramic artist with his passion for teaching.

As an educator, Cody enjoys implementing innovative teaching methodologies and

fostering a dynamic learning environment. Cody has participated in many workshops and

visiting artist lectures where he guides students to develop their artistic voice and encourages

them to explore their unique creative potential.

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For any text that appears in green below, replace that text with your own information. All area indicated
in green below must be completed by you.
Action/Task/Work to be
completed by you
When do you plan to graduate?
Complete the Capstone
Committee Selection process
Get written approval from your
school principal or district
office, or the administrator in
charge of any other site in
which you plan to conduct your
research. Also get verbal
agreement from individuals you
plan to interview or observe for
case study research (if these
individuals are not specific to a
site you are studying). E-mail
approval and/or agreements OK
for now but know that some
school districts may require a
Timeline
When and with whom Names (if requested
below) and approximate
date(s) you will complete
this task or work
n/a Your anticipated month and
year of graduation.
During the first two weeks of Committee Chair:
the Research course, consult Dr. Jodi Kushins
with your instructor in the jkushins@arts.ufl.edu
Research course about 352-392-0201- UPDATE
potential Capstone NUMBER
Committee members.
Committee Member:
Early in the Research course, Dr. Tracey Hunter-Doniger
you will receive an email thunterdoniger@arts.ufl.edu
message from the UF art ed *UPDATE NUMBER
department with a link to an
instrument that you will use
to select your Capstone
Committee Chair and Second
member.
Watch for the email and
complete the committee
selection instrument.
As early as possible, but no I am not using human
later than the end of Week 3 subjects in my study besides
of the Research course. myself.
DO NOT DELAY getting
these permissions. Without
these permissions in advance
(NOW), you may not be able
to do the study that you
intend.
32

separate set of procedures to get
permissions.
Make sure you understand those
procedures, and that you will be
able to get the permissions you
need.
Send your revised Capstone
Proposal Paper (based on
Research course instructor’s
final feedback) to both your
Capstone Committee Chair and
Committee Member.
Consult with your Capstone
Committee Chair regarding
your Capstone Research
Proposal and IRB process (if
IRB is required).
Contact your Capstone
Committee Chair and request a
Capstone Proposal Meeting.
Present your Research Proposal
to your full Capstone
Committee.
In consultation with your
Capstone Committee Chair,
apply to IRB for permission to
conduct your research (if using
human subjects).
Enroll in and complete with
your Capstone Committee
Chair an Independent Study
related to your research (The
Indie Study is NOT the same as
No later than one to two
weeks after the end of the
Research course.
No later than one week after
the end of the Research
course.
Before the Capstone
Proposal Meeting with your
full committee.
No later than one week after
you have had your one-on-
one consultation with your
Capstone Chair.
Your Capstone Proposal
Meeting needs to take place
within 30 days of end of
Research course, regardless
of when you plan to conduct
your study.
Within 30 days of end of
Research course, regardless
of when you plan to conduct
your study.
Within one week of approval
by your Capstone Committee
of your Research Proposal.
Seek advice from your
Capstone Chair about the
IRB approval process.
You will take the Indie Study
after passing the Research
course. When exactly you
should take the Indie Study
depends on when you plan to
I will send my proposal to
both Committee Chair and
Member as soon as
Research Methods ends.
I plan to reach out and
schedule a 1:1 with my
committee as soon as
possible.
Student: Insert approximate
date that you will request
your Capstone Committee
Chair to schedule your
Capstone Proposal Meeting
with your full committee.
Student: Insert approximate
date that you will present
your Research Proposal to
your Capstone Committee.
Student: Insert approximate
date(month/year) that you
will apply for IRB approval.
Fall 2023
33

the Capstone course). Contact
Phillip Herr-Klepacki to enroll
in the Indie Study.
After completing the
Independent Study course, take
the Capstone Research course.
Contact Phillip Herr-Klepacki
to enroll in Capstone course.
Conduct your research.
Check in and/or meet with your
Capstone Committee Chair
throughout both the Indie Study
and Capstone Course, for
progress updates, advice, and
approval of the direction of
your research.
After your Capstone
Presentation meeting with your
Full Committee, meet with your
FULL Capstone Committee
twice (2 X) during your
research.
Prior to your Capstone Defense,
submit a draft of your findings
to your Capstone Committee
Chair and meet independently
one-on-one with your Chair to
discuss.
conduct your study, but
typically, you take the Indie
Study in either the term
following the Research
course or in the term after
that.
Typically, this occurs Fall 2023
immediately following
completion of the Indie
Study course. But some
students have taken an extra
term in the past before
enrolling in the Capstone
Research Course.
During both your Indie Summer 2023-Fall 2023
Study course (while you are
collecting data) and the
Capstone course (while you
are developing your
findings). You may also start
conducting your study prior
to taking the Indie Study.
Consult with your Capstone
Chair throughout the entire
time you are conducting your
study.
Weekly or bi-weekly Summer 2023 – Fall 2023
throughout both the Indie
Study and Capstone Course.
During both your Indie These meeting dates to be
Study course and the determined in consultation
Capstone course. Your with your Capstone Chair.
Capstone Chair will schedule
these meetings.
Within 2 weeks of Date to be determined in
completing data collection. consultation with your
Capstone Chair.
34

Submit draft of your full, At least 10 days prior to Date to be determined in
completed Capstone paper and Defense. consultation with your
accompanying Capstone project Capstone Chair.
materials to your Capstone
Committee Chair for final
feedback.
Revise your Capstone paper and At least 4 days prior to your Date to be determined in
project materials as per advice Defense. consultation with your
from your Capstone Committee Capstone Chair.
Chair. Then send your revised
paper and materials to both
your Chair and second
Committee member.
In consultation with your Capstone Committee Chair Date to be determined in
Capstone Committee Chair will post to the SAAH List consultation with your
write your Capstone Defense Serve your Defense Capstone Chair
announcement for the SAAH announcement 10 days prior
List Serve. to defense
Present (defend) your research At your Defense meeting. Date to be determined in
at your final meeting with your consultation with your
Committee: your Defense Capstone Chair.
Meeting. The public will be
invited to this meeting.
Complete any revisions to your Within one week of Date to be determined in
project and paper that were Defending your Research. consultation with your
requested by your committee. Capstone Chair.
Send revised material to your
Capstone Committee Chair for
final approval.
Complete by UF deadlines all As soon as possible after Date to be determined in
requirements, procedures, and your Capstone paper revision consultation with your
materials regarding your is approved by your Capstone Chair.
Capstone paper and graduation Capstone Chair. UF
requirements, as articulated in deadlines must be met!
Art Ed Central and according to
graduation-related
announcements shared via e-
mail by Phillip Herr-Klepacki.
Post-Defense Requirements
1. After you've defended your capstone project and made all final revisions, you'll submit
a single PDF document of your project via email to Phillip Herr-Klepacki.
2. You will also submit the “Grant of Permissions” form, so that we can publish your
project on the UF Libraries' website (aka, the UF Institutional Repository). Get the

35

“Grant of Permissions” form from Art Ed Central. When complete, return this form
(preferably as a PDF) via email to Phillip Herr-Klepacki.

Required Final Term Paperwork, Tasks, and Forms

• Once you're in your final term, there are several critical deadlines which you must meet
throughout the term in order to graduate. Missing a deadline could delay your
graduation to the next term and may require additional registration.

• Go to Art Ed Central and get the “Final Term Guide” (a PDF document). This guide,
aka “Graduation Deadlines and Instructions,” articulates forms to submit and tasks
(applying for graduation, ordering regalia, clearing encumbrances, etc) to be completed
by you.

Keep a copy of the guide for your graduation term handy and be sure to check your UFL e-
mail daily for important memos from Phillip Herr-Klepacki, the College of the Arts, and the
Graduate School.
Graduate (and celebrate)!

Check the Commencement schedule at http://commencement.ufl.edu for details.

Post-Graduation

Continue to connect with your UF family via our private UF Facebook group, UF-ArtEd and
via email with individual faculty members. Let us know about your successes and changes in
your life, work, moves, etc. Share your research with your professional communities of
practice (local, regional, national).

36