Creative Advertising

CREATIVITY IN ADVERTISING
EXECUTIVE SUMMARY EXECUTIVE SUMMARY

THE CAT IS ON THE MAT, is not the story.
THE CAT IS ON THE DOGS MAT, no! th"ts the
story.
Advetising is both art and science. The science of advertising is the
analyititcal part that we have been looking at up yo this point: setting
goals, deciding strategy, choosing among different creativity styles. Some
people call this step convergent thinking because the process is to distill
lots of information into the core advertising strategy.
What is it that adds sparkle and life to a well-planned and implemented
advertising campaign !t"s th #ah" factor: that brilliantly simple,but inspired
creative edge.
!n Advertising the world is flat. Agencies are structured on a linear basis.
$ampaigns are created in linear formats. There are all kinds of rails and
fences and obstacles to keep creative thinking linear. Advertising is a big
business and ranks among the top industries in the world. The growth of
the top advertising industry in any country is in direct relation, its creative
senses and talents if the advertising professionals.
The word advertising is derived from the %atin word #"$%erto, that means
To t&rn to!"r$s. Advertising leads to attention towards something i.e.
the advertising message, which is the purpose of advertising and the
ob&ective of the advertising $reative Advertising starts with proper
creative planning. This includes the conceptuali'ing of basic ideas to
CHETANAS H.S.COLLEGE OF COMMERCE AND ECONOMICS
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their final implementation. The ideas are visuali'ed considering basic
human motives.
Advertising is nothing but selling ideas. $reative thinking is the sound
ground where one can reap a rich harvest of ideas.
The creative part of advertising is what comes before the potential
customers and it is here that the fate of the campaign and conse(uently of
the product being sold could be decided.
O'(e)ti%e o* the +ro(e)t,
Cre"ti%ity is something you cannot think of as #-ets sto. "n$ 'e
)re"ti%e. )ou need to think of *$reativity+ as a discipline, &ust like
#,rgani'ation", #commitments to results", or #responsibility". This pro&ect
tells us the importance of $reativity in Advertising as creativity demands
abundance. The foundation of creativity is in individual, and so the
techni(ues and methods discussed in this pro&ect are &ust mere tools to
enhance and liberate one"s creative skills.
So dont confuse the menu with meal
!t is observed that *-ar too many people are leading their lives lie they"re
driving their cars with brakes on+ this pro&ects will enable you to know how
your foot is taken off that brake pedal.
Rese"r)h Metho$o/o0y,
The information is gathered from various sources like books, periodicals
and &ournals and sites.
-i1it"tions,
$reativity is a gift most of us desire, but only a few seem to have. .ro&ect
report debunks some of the myths surrounding creativity and then
carefully takes through the five !"s of the creative process. !t also gives the
insight of future creativity and the tools that can be helped to help
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advertising professionals to enhance and enliven their work.The sub&ect of
creativity in advertising is something of an enigma. .ro&ect shows how
creative director in an ad agency goes #under the skin of creative" to use it
to greater effect in their work and in wider aspects of their lives.
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2HAT IS CREATIVITY 2HAT IS CREATIVITY
There are many definitions of creativity. A number of them suggest that
creativity is the generation of imaginative new ideas /0ewell and Shaw
12345, involving a radical newness innovation or solution to a problem,
and a radical reformulation of problems. ,ther definitions propose that a
creative solution can simply integrate e6isting knowledge in a different
way.
De*initions o* Cre"ti%ity
There are many definitions of creativity7 dictionaries give the following
meanings:
Herit"0e I//&str"te$ Di)tion"ry,
)re"te: To cause to e6ist, 8ring into being, ,riginate, To give rise to, 8ring
about, .roduce, To be first to portray and give character to a role or part
/appropriate to creating fictional characters and writing stories5 creation:
An original product of human invention or imagination.
Cre"ti%e: characteri'ed by originality and e6pressiveness, imaginative
M")3&"rie Di)tion"ry 4"n A&str"/i"n $i)tion"ry5
Cre"te: to evolve from one9s one thought or imagination to make by
investing with new character or functions.
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Cre"te: author, bring into being, compose, conceive, parent, form, give
rise to, and throw together
Cre"ti%e: generative, ground-breaking, innovative, originate, handmade
A))or$in0 to 6o$en 478895, there are three main types of creativity,
involving different ways of generating the novel ideas:
The *combinational+ creativity that involves new combinations of
familiar ideas.
The *e6ploratory+ creativity that involves the generation of new
ideas by the
:6ploration of structured concepts.
The *transformational+ creativity that involves the transformation of
some dimension of the structure, so that new structures can be
generated
Other re/"te$ !or$s re, )re"ti%ity,
$reativity creativeness, formativeness, innovation, inventiveness,
originality, productivity, craftsmanship, authorship, creatorship
;8eing creative is seeing the same thing as everybody else but thinking of
something different;
There are many aspects to creativity, but one definition would include the
ability to take e6isting ob&ects and combine them in different ways for new
purposes. -or e6ample, <utenberg took the wine press and the die=punch
and produced a printing press. Thus, a simple definition of creativity is the
action of combining previously uncombined elements. -rom art, music and
invention to household chores, this is part of the nature of being creative.
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Another way of looking at creativity is as playing with the way things are
interrelated. $reativity is the ability to generate novel and useful ideas and
solutions to everyday problems and challenges.
$reativity involves the translation of our uni(ue gifts, talents and vision
into an e6ternal reality that is new and useful. We must keep in mind that
creativity takes place unavoidably inside our own personal, social, and
cultural boundaries.
The more we define our creativity by identifying with specific sets of
values, meanings, beliefs and symbols, the more our creativity will be
focused and limited7 the more we define our creativity by focusing on how
values, meanings, beliefs and symbols are formed, the greater the chance
that our creativity will become less restricted.
!n the creative process there are always two different /but interrelated5
dimensions or levels of dynamics with which one can create:
The system which may be a particular medium /e.g. oil painting or a
particular musical form5, or a particular process /like a problem solving
agenda, or an approach to creativity like Synectics5. The creative person
manipulates that means to a creative end. The second dimension is
described by the conceptual ;content; which the medium describes. Again,
the creative person depicts changes, manipulates, and e6presses
somehow the idea of that content.
There is no one definition of creativity that everyone can agree with.
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$reativity researchers, mostly from the field of psychology, usually claim at
being creative means being novel and appropriate. Subsumed under the
appropriateness criterion are (ualities of fit, utility, and value.
At least three aspects of creativity have drawn much attention.
The creative process, receiving the most attention, focuses on the
mechanisms and phases involved as one partakes in a creative act.
A second aspect of creativity is the creative person. >ere, personality
traits of creative people are central. The environmental atmosphere and
influence are concerns of a third aspect, the creative situation.
%astly, the criteria or characteristics of creative products have been
sought. This area is of particular importance because it is the basis of any
performance assessment of real world creativity and may provide a
window on the other aspects of creativity.
8riefly stated, creativity is often thought to e6ist on at least five levels:
1. A higher level versus a lower level
4. <rand versus modest
?. 8ig ;$; versus little c
@. .aradigm-shifting versus garden-variety
5. :minent versus everyday
Some researchers claim other categories of creativity as well:
1. :6pressive versus .roductive
4. :6pressive versus !nventive
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?. :6pressive versus !nnovative
@. !nvention versus Aiscovery
B. Theory versus !nvention versus Aiscovery
C. Accommodative versus Assimilative
3. .ersonal versus .ublic.
There are three general ways of achieving a creative solution:
Serendipity
Similarity
and meditation
Also, the mode of activity one is in when being creative differs. -or
e6ample, there is a distinction between real-time creativity and multistage
creativity. Deal-time creativity is spur-of-the-moment, improvisational, and
demands output in a short interval of time7 whereas in multistage
creativity, sufficient time is allowed for the generation and selection of
ideas. $reative thought can be divided into divergent and convergent
reasoning.
Divergent thinking is the intellectual ability to think of many original,
diverse, and elaborate ideas.
Convergent thinking: the intellectual ability to logically evaluate
criti(ue and choose the best idea from a selection of ideas.
8oth abilities are re(uired for creative output. Aivergent thinking is
essential to the novelty of creative products whereas convergent thinking
is fundamental to the appropriateness. To combine this variety of
definitions, we can say that creativity involves the generation of new ideas
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or the recombination of known elements into something new, providing
valuable solutions to a problem. !t also involves motivation and emotion.
Cre"ti%ity is " *&n$"1ent"/ *e"t&re o* h&1"n inte//i0en)e in
0ener"/. !t is grounded in everyday capacities such as the association of
ideas, reminding, perception, analogical thinking, searching a structured
problem-space, and reflecting self-criticism. !t involves not only a cognitive
dimension /the generation of new ideas5 but also motivation and emotion,
and is closely linked to cultural conte6t and personality factors.+ /8oden
122E5. Thus, any general definition of creativity must account for the
process of recognition or discovery of novel ideas and solutions and
hence most of the definition fall into one or more of these categories like
as an individual talent, as a process, as a product and last but not the
least as a recognition by others.
O6:ECTIVES O; CREATIVITY
Fain ob&ectives of a creative thinking process is to think beyond e6isting
boundaries, to awake curiosity, to break away from rational, conventional
ideas and formali'ed procedures, to rely on the imagination, the divergent,
the random and to consider multiple solutions and alternatives /$andy
1223, Schlange and Guttner 12235.
The result of the creative thinking process is especially important for
businesses. Fanagers and managerial decisions and actions, confronted
with fast-changing and ambiguous environments in business, need to
develop creative solutions and creative action-based strategies to solve
problems, as they allow to increase understanding of problematic
situations, to find multiple problems, to produce new combinations, to
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generate multiple solutions that are different from the past, to consider
possible alternatives in various situations that could occur in the future and
*to e6pand the opportunity hori'on and competence base of firms+ /dt
ogilvie 122E5.
DESCRI+TION < STRUCTURE O; THE METHODO-OGY <
A-TERNATIVE SO-UTIONS
$reativity is not an innate (uality of only a few selected people. $reativity
is present in everyone. !t can be learned, practiced and developed by the
use of proven techni(ues which, enhancing and stimulating the creative
abilities, ideas and creative results, help people to move out of their
normal problem-
solving mode, to enable them to consider a wide range of alternatives and
to improve productivity and (uality of work. *$reativity is thus constructed
as a learned ability that enables us to define new relationships between
concepts or events, which seemed apparently unconnected before, and
which results in a new entity of knowledge+ /:uropean $ommission 122E5.
Hnowledge and information are the basis for creativity. There are
numerous creative techni(ues, which are also classified in many ways
/>iggins 122@5. !n general, a certain type of (uestion or a certain area of
application /such as marketing, product or service development, strategic
and decision planning, design, (uality management, etc.5 often calls for a
certain type or a certain group of creativity techni(ues.
-undamental concepts for all creative techni(ues are:
The suspension of premature &udgement and the lack of filtering of
ideas.
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Ise the intermediate impossible. $reate analogies and metaphors,
through symbols, etc., by finding similarities between the situation, which
we wish to understand and another situation, which we already
understand.
8uild imaginative and ideal situations /invent the ideal vision5.
-ind ways to make the ideal vision happen.
Delate things or ideas which were previously unrelated.
<enerate multiple solutions to a problem.
Fain points to increase or encourage creativity in a company are:
J To be happy, to have fun
J Heep channels of communication open
J Trust, failure accepted
J $ontacts with e6ternal sources of information
J !ndependence, initiatives taken
J Support participatory decision-making and employees" contribution
J :6periment with new ideas.
EX+ECTED RESU-TS < 6ENE;ITS
$reativity, through the generation of ideas with value, is needed in order to
solve concrete problems, ease the adaptation to change, optimi'e the
performance of the organi'ation and best practice manufacturing, and
changes the attitude of the staff of the organi'ation. $reative thought
processes are also important at all stages in the DKA process.
Some e6pected results of the creativity process are:
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!nnovation through new product and process
ideas
$ontinuous improvement of products or service
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.roductivity increase
:fficiency
Dapidity
-le6ibility
Luality of products or services
>igh performance
CHARACTERISTICS O; +ROVIDERS
The implementation of creative techni(ues within work groups, re(uires
the assistance and advise of e6ternal consultants. ,ne or two consultants,
e6perts in creative techni(ues, is normally enough to undertake the
implementation process in a company. >is=hers &ob normally consists of
presenting the different techni(ues and their application method, defining
the problem to be studied for the participants, initiating and clarifying the
rules of the techni(ue, gathering the necessary data and information to
approach the problem, stimulating the generation of ideas of participants,
and evaluating the ideas before proceeding to put them in practice.
Training of management staff by e6perts may also be very useful.
Fanagement staff must be trained to stimulate creativity in employees, to
provide motivation, to facilitate a creative climate and to encourage the
use of creative techni(ues. Fanagers can also be trained to implement
creative techni(ues by themselves.
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A++-ICATION A++-ICATION
$reativity processes are used regularly by many private and public sector
organisations of all sorts in manufacturing, services, banking, or
construction companies. 8ig firms such as Mero6, ATKT, -rito-%ay, as well
as car manufacturing firms, software development firms, railroad
pharmaceutical firms etc., use creativity techni(ues to increase efficiency
and (uality, especially in their research, strategic planning and marketing
departments.
$reativity techni(ues may be applied in almost any functional area of the
company: strategic planning, corporate business strategy, product
development, improvement of services, functional strategy, finance,
human resources, marketing, management of collection of information,
product design, software design, (uality management, etc.
TY+ES O; ;IRMS < ORGANISATIONS CONCERNED
$reativity techni(ues can be implemented by all firms and public
organi'ations that confront with problem solving and focus on innovation
in processes, products or services.
!n case where the implementation of creative techni(ues is focused on the
support of personal creativity, such as to support individual designers work
for new product development, or to support individual scientists work in
the laboratory, very small firms or a person can implement creative
techni(ues for individuals.
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!n case where the company focus is to increase group creativity and to
create environments where a collaborating team works creatively together,
the firm must have at least 4N employees, including ? members as
management staff.
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2HAT CREATIVITY MEANS IN ADVERTISING 2HAT CREATIVITY MEANS IN ADVERTISING
! once read a (uote somewhere that said, ;We do not separate
advertising from life.;
$reativity is a very sub&ective term. Who can really say what is creative,
for we all have different opinions on what we individually think is creative.
Some people believe creativity is an engrained concept that you are born
with it. ,ther people believe it is a talent that can be learned and taught.
! personally believe it is a little of both. The essential elements of creativity
are really imagination and inventiveness disciplined by routine skills. )our
imagination is something you are born with, it can be large and wild or it
can be small and constrained. !nventiveness is something that can be
disciplined, it can be taught and learned with practice and skill.
.ut those two concepts together and anything is possible. !n advertising,
agencies live and die by creative communications. $reativity is one of the
reasons clients &ustify advertising and their choice of agencies
So what e6actly is creative in advertising Some creative commercials are
effective, some effective ads are creative, and other ads are neither
creative nor effective. $reativity and effectiveness ultimately &oin in the
consumer"s minds rather than remain separate.
We must then ask, what is efficiency Well, efficiency of an ad is
determined by the correct combination of its impact and retention. !mpact
being the ability of an ad to attract attention and retention being the ability
of an ad to stay on viewers" minds. We can thus say with certainty that an
advertisement needs to be creative to succeed. !ts creativity needs to be
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effective in both its impact and retention. ! found the (uote at the
beginning of the page and thought it was &ust great. Although creativity in
advertising is an important factor, one must remember to not be creative
&ust for creative sake. The creativity must also be effective.
Successful creative strategies result from pinpointing an idea, a nuance,
an insight, or a nugget of information gleaned from research or sometime
from an intuitive understanding or (uickness of human nature. The true
role of the strategy is to make that intuitive leap which defines the
relationship between the brand and its user.
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HO2 CREATIVITY IS DI;;ERENT ;ROM HO2 CREATIVITY IS DI;;ERENT ;ROM
INNOVATION INNOVATION
Cre"ti%ity %ers&s Inno%"tion
As this is an advertising study on the sub&ect of *$reativity+ it is only right
there should be some advertising efforts to create greater understanding
on behalf of the sub&ect *$reativity+ itself. -or many the word #creativity"
has what may be called a touchy Ofeely nature to it, not really suitable for
the hard world of business. )et, mention the word #innovation" and
suddenly the act of creating new ideas takes on a more credible
resonance in certain (uarters, such as the business media and various
government-backed development agencies.
.rofessor Simon Fa&aro of $ranfield School of Fanagement defines
innovation in this manner in his book Fanaging !deas for .rofit /Fa&aro,
12245: #$reativity is the thinking process that helps us generate ideas.
!nnovation is the practical application of such ideas towards meeting the
organi'ation"s ob&ectives in a more effective way." 8ut this means all ideas
are creative. !n reality, many ideas will be re&ected. Ising the working
definition of creativity, it would recogni'e that, to be #creative", the idea
must offer some form of added value.
!nnovation can instead be defined as the #adoption, adaptation, or
implementation by a third party of someone"s creativity /ie an added value
product5". When appraising a painting, one does not say: #artist is being
innovative." Should another artist adopt some element of this work , such
as its style, sub&ect matter, materials or techni(ues used, then the original
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work can be said to be innovative7 it has inspired the application of some
creative element of the original work by a third party.
Thus, creative thinking in a disciplined manner can play a real role in
innovation. *$reativity and innovation are normally complementary
activities, since creativity generates the basis of innovation, which, in its
development, raises difficulties that must be solved once again7 with
creativityP!t is not possible to conceive innovation without creative ideas,
as these are the starting point.+ /:uropean $ommission 122E5.!nnovation
results when creativity occurs within the right organi'ational culture. The
right organi'ational culture is one that provides through creativity
processes /creative techni(ues5 the possibilities for the development of
personal and group creativity skills. We can define creativity !FT as the
establishment of skills by implementing creativity generation techni(ues.
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6ASICS O; CREATIVITY 6ASICS O; CREATIVITY
Cre"ti%e Thin=in0 S=i//s C"n 6e -e"rne$>>
2h"t )"n I $o to In)re"se 1y )re"ti%ity??
The first task in becoming more creative is giving you .er1ission to do
things creatively. The second is overcoming your .erson"/ '/o)=s to
creativity. -or some people, being creative involves trying not to be
embarrassed by their own ideas7 for others, it is a matter of being aware
that things can be done in many different ways. Some people are self-
aware or confident enough to have fewer inhibitions and can &ust let their
creative natures work.
Surround yourself with people who love and support you and you will be
even more creative. Spend time meditating on your own worthiness,
reading about other creative people and creative solutions, concentrating
on the positive power of your own creative forces - these activities,
combined with a belief in your own intuition and creative abilities, will help
improve your confidence.
A)tion Ste.s
>ere are a few additional things you can do to improve your creativity:
Study books on creative thinking techni(ues and put them into
practice
Attend courses on creative thinking and put the ideas into practice.
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Heep a daily journal and record your thoughts, ideas, sketches, etc.
as soon as you get them. Deview your &ournal regularly and see
what ideas can be developed.
!ndulge in relaxation activities and sports to give the mind a rest
and time for the subconscious to digest information.
Aevelop an interest in a variety of different things, preferably well
away from your normal sphere of work. -or e6ample, read comic
books or maga'ines you wouldn9t normally get. This keeps the
brain busy with new things. !t is a common trait of creative people
that they are interested in a wide variety of sub&ects.
Don't work too hard -you need time away from a problem to be
creative after periods of intense focus. !t really helps to think of
creativity as a skill or set of skills. 8y practicing, one can get better
at using them. So whenever you have a chance try and do
mundane things in novel ways - it will make them more entertaining
and you will get more used to e6pressing your abilities.
.racticing at overcoming irrational inhibitions will also help to improve your
creativity. When you9re at a standstill, and you witness somebody with a
vital and flowing creative force, it can be intimidating. The thing that9s easy
to miss when you9re caught up in the magic of somebody doing something
effortlessly that seems impossible is that it doesn9t happen all at once.
Anything can be achieved by breaking it down into its component parts.
$reativity re(uires patience and a willingness to work for a creative
outcome rather than simply wait for enlightenment. Still, it is important to
creativity to happen. This can be encouraged by setting up an
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environment that encourages creative output, a comfortable space within
which you feel non-threatened and able to create.
A program to improve your personal creativity might include the following
steps.
1. -irst set a 1e"s&r"'/e 0o"/. Some goals might be:
to generate 1NQ more solutions within C months to come
up with
an original solution for problem ;M; within 4 weeks to practice generating
ideas bybrainstorming /for e6ample, ;find at least 1NN ideas for a new
pen;5
to find a new and effective way to relate to my children
that results in them wanting to spend more time with me.
4. Second, set &. )riteri" to indicate whether or not you have or are
reaching your goal. Typical criteria are:
a5 the ideas are novel /in that particular conte6t5
b5 the ideas are useful, they solve the problem or meet the
challenge
c5 the ideas can be implemented within an appropriate time and
budget
?. Third, re"$ "n$ /e"rn about creativity techni(ues which are one of
the sections of the $reativity Web. This information can be
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gathered from books, conferences, other people, software products
and the !nternet. Spend time with people who you believe are
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creative and ask them how they did it. There are many paths to
creativity.
@. -ourth, s&rro&n$ yo&rse/* !ith .eo./e !ho /o%e "n$ res.e)t
yo&7 people who encourage you to take risks.
B. -ifth, )e/e'r"te yo&r .ro0ress in reaching your creativity goals.
C. -inally, 'e0in thin=in0 o* yo&rse/* "s " )re"ti%e .erson.
Surround that identity with beliefs about your creative abilities.
%earn the skills of creativity, act creatively every opportunity you get
and find environments that support creative behavior.
$reativity is increased by acknowledging that it e6ists and by nurturing it.
$reate a sensory stimulating environment, increase awareness of that
environment and provide sufficient (uiet time to allow that ensory
stimulation to be translated into e6ternal reality ... a poem, a bridge, a
meal, a song, a (uilt, a business report, a game, a dance, a garden.
Flood yourself with information in your chosen area of creativity then
deliberately e6pose yourself to information outside your area. Despect and
care for your creativity as you would a child. Attend to your needs, listen to
your creative inner voice, and spend time with yourself. Fanage stress in
your life as much as possible.
.ractice meditation or some kind of peaceful, rela6ing activity such as
handwork or (uiet e6ercise. Avoid becoming too entrenched in your
routines. Aon9t allow your beliefs to distort your perceptions. A useful
techni(ue is to deliberately and consciously attempt to integrate opposites
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at every opportunity within your own mind. Aevelop the attitude that your
creative work is important even if others do not share your belief7 allow
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such &udgmental attitudes to be their problem, not yours. .ractice using
affirmations and reframing /seeing things from another angle or in another
conte6t5 to de-program your self critical habits.
$reativity is not a gift of some sort, it is a state of being /;un etat d9ame;,
as they say in -rench5. %earning a creativity- increasing techni(ue of some
sort will give you some tools and help you, but will not automatically
change your point of view about yourself and your creativity7 your belief
and value systems about creativity and creativity myths must change as
well.
Cre"ti%ity "n$ -e"$ershi.
@E%eryone h"s )re"ti%e .otenti"/, '&t )re"ti%e .eo./e thin= they "re
)re"ti%e.@
Self-esteem is one of the most important elements of creativity. .eople
must believe in their ability to develop original ideas and they must
continue to believe in themselves after repeated failures.
$reativity flourishes in an environment that rewards attempts, as well as
successes, and is conducive to failure. .eople must feel comfortable
failing before they will repeatedly take risks or attempt creative
approaches. Ro0er %on Oe)h labels four stages of the creative process:
EA./orer. -inding new ideas and resources
from which an idea may be built.
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Artist. Transforming ideas /gathered by the
e6plorer5 into something new.
:&$0e. !deas developed by the artist are
evaluated and their merits are weighed7 suggestions are
offered on how they can be improved or further
developed.
2"rrior. !mplementation of the ideas approved
by the &udge re(uiring persistence and determination.
Se)rets to Cre"ti%e +ro'/e1 So/%in0
8e an optimist
Take your time
<et enough information
8rainstorm by yourself
Dedefine the problem
.lan for results
8reak the routine
Fake a minus a plus
Aon9t give up.
Allow yourself to daydream
Ask (uestions
>ave a sense of humor
Tolerate ambiguity
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CREATIVE ;ORCES
;or)eB;ie/$ An"/ysis
-orce-field analysis characteri'es the conflicting forces in a situation. The
recommended approach to this method is to outline the points involved in
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problematic situations at the problem e6ploration stage, followed by
recogni'ing factors likely to help or hinder at the action planning and
implementation stages.
1. Fembers of the group identify and list the driving and restraining
forces /perhaps using a suitable brainstorming or brain writing
techni(ue5 openly discussing their understanding of them.
4. The group leader is representative of the current position as a
hori'ontal line across the middle of the page. The leader will draw
all the driving forces as arrows that either pull or push the line
upwards, and all the restraining forces as arrows that pull or push
the line downwards /see below5. Where driving and restraining are
paired use arrow thickness to signify strength of impact of a force
and arrow length to show how complicated it would be to adapt. !t is
normally best for the team to reach agreement on these details.
KHUSHBU.H.OJHA
29
?. The diagram should then be used to find as many possible
combinations of moving the centre line in the desired direction. Try
to:
-ind ways to strengthen or add positive forces
a. -ind ways to weaken or remove negative forces
b. Decogni'e that the negative forces are too strong and
abandon the idea.
KHUSHBU.H.OJHA
30
REATIVE ECHNICUE
How do you come with a creative idea when faced with a
blank sheet of paper? Easy. ont have a blank sheet of
paper.
:very working day, creative directors are faced with emands to come up
with creative solutions to the problems. Some outstanding creative heads
may display what is called unconscious competence in appearing to be
able to come up with ideas inuitively. There is no magic wand for coming
up with ideas, but there are some echni(ues and process to help being
creative. These tecni(ues, coupled with a knowledge and understanding
of the creative process -- with its five stages
!nformation
!ncubation
!llumination
!ntegration,
!llustration -- will help considerably to improve one"s creative
abilities.
CREATIVE RANGE, CREATIVE RANGE,
Whenever faced with a well-defined task, such as coming up eith an idea
for a launch product or phottocall, establish a #$reative Dange". .ose what
is called #the Safe 8et" (uestin: #What is the very least, the safest, most
KHUSHBU.H.OJHA
31
conservative idea that can be used" Then check # what is the most
outrageous idea that could solve the problem" so as to create the
:6treme ,ption. 8y these two (uestion , intial limiting parameters are
created.
The above can be visualised as below,
After creating the $reative Dange of the situation see, #What further ideas
can you come up and then &ot downall the ideas that come to mind. Thus,
by establishing the #$reative Dange, you have already taken the pressure
off yourself and at the very least you have a safe option to fall back on,
and more importantly you ar harnessing the incremental nature of the
creative process. This also helps to suspend &udgements because you are
not automatically screening every idea but merely filing in the #$reative
Dange".
KHUSHBU.H.OJHA
Safe Bet Extreme
Option Option
THE CREATIVE RANGE
32
KHUSHBU.H.OJHA
33
SNADES AND -ADDERS, SNADES AND -ADDERS,
Snakes and %adders is good techni(ue that helps use of the incremental
nature of creativity to (uickly establish an overview of a
situation,identifying strengths and weakness, and to establish tactics to
improve the positives and reduce the negatives of a task at hand.
Araw a grid on a sheet of paper to represent the s(uares of a snakes and
ladders board. !magine the ob&ective of the task is at the top left-hand
corner on the winning s(uare. )ou are the start, at the bottom left-hand
corner. Araw five short ladders and five long snakes. The ob&ective can be
anything from: # >ow can ! improve my creativity" and so onP
This is an e6cellent way of getting a handle on everything you need to
consider. !t also facilitates incremental toRhought as you come up with
deas.
.
KHUSHBU.H.OJHA
34
Competitor
Activity
Interesting
Photograp
hy
Lack of Brand
Awareness
Lack of
Brand
Credibility
Personality
of MD
Media
Apath
y
Forthcoming
vents!
"hibition
Limited
B#dget
$ews val#e
of %tory
&iming
of lanch
8elow is give one e6ample of how to launch a product creatively
KHUSHBU.H.OJHA
35
Gro&. Te)hni3&es to Gener"te Cre"ti%ity
6r"instor1in0 - <roups generate as many ideas as possible, listing ideas
on a chart so that group members may modify them or combine them to
create additional ideas. $riticism is not allowed during brainstorming, nor
is evaluation of ideas.
Story'o"r$in0 - An adaptation of brainstorming, but it is primarily
nonverbal so articulate group members are not able to dominate the
process.
Storyboarding uses a process similar to parliamentary procedure to gain
support of an idea before it can remain part of the discussion.
Storyboarding allows group members to produce data and solutions to
problems generating ideas off of previous suggestions.
No1in"/ Gro&. Te)hni3&e - -ocuses attention on individual members9
ideas by having members write down their ideas=solutions on their own
before sharing them with the group. !deas are all recorded, everyone
votes to prioriti'e ideas, and then discussion is held on only the top ones
KHUSHBU.H.OJHA
;inish
St"rt
36
before another vote is taken. This techni(ue allows everyone to participate
and contribute ideas before the group reaches its decision.
Ro"$'/o)=s to Cre"ti%ity
Thin=in0 there is one ri0ht "ns!er - Fany of us have the tendency to
stop looking for alternative right answers after the first answer has been
found. ,ften it is the third, fifth or tenth right answer that is what we need
to solve a problem in an innovative way. @Th"tEs not /o0i)"/@ - %ogic is an
important creative thinking tool when you are searching for ideas,
however, e6cessive logical thinking can short circuit your creative process.
KHUSHBU.H.OJHA
37
;o//o!in0 the r&/es - )ou often have to break out of pattern to discover
another.
6ein0 .r")ti)"/ - .ractical people know how to get into an open frame of
mind, listen to their imagination and build on the ideas they find there.
A%oi$in0 "1'i0&ity - Too much specificity can stifle your imaginationS
6ein0 "*r"i$ o* 1"=in0 " 1ist"=e - :rrors are a sign that you are
diverging from the norm. !f you are not failing every now and then it is a
sign you are not being very innovative.
REAM EAM, A ;RAME 2ORD ;OR
GREAT CREATIVE +ER;ORMANCE
Aream Team is a list of rules of creative teamwork that form the foundation
of all the methods. Whichever techni(ue you"re using, Aream Team rules
is like a framework whenever you"re working as a team. They provide
creative space to let imagination fly and launch all the team members on
their way to original ideas.
Aream team Tools in the company would keep the playful atmosphere, in
order to refine their tem-working skills and build up creativity. They are
both rules for the top-(uality creative performance and strategies that can
be used as highly effective methods of communication in meetings.
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38
D D REAM REAM T T EAM EAM R R U-ES, U-ES,
S!it)h On A// ;i%e Senses
The best ideas take time. The more one thinks about the product,
analyses it, e6amines it from every angle - plays with it, in other words the
more freely great ideas will flow. <et the information you can get hold of
which can be used as triggers. -eel the product to activate all your
senses. The key factor is that physically coming face to face with the
product itself will stimulate all five senses and have positive and inspiring
effect on the process of generating ideas.
!reative without strate"y is called #rt. !reative with strate"y is
called #dvertisin".
Set !lear $oals
The goal and solution are like (uestion and answer. ,nly a good (uestion
can give a satisfactory answer.
%hat oes # $oal #chieve?
The goal is in clear view and acts a focal point, leading to a clearly defined
ob&ective. !t helps to prevent chaos and time-wasting discussions.
;ine B T&nin0 the Go"/ S"%es Ti1e "n$ Ner%o&s Ener0y
,f course it isn"t possible to achieve a clear goal and straightforward
definition of the goal at the first attempt. ,ften it is only while you are
formulating the goal that you reali'e that brief does not describe the
product fully, that the target group is not defined precisely enough or that
there is no clear strategic positioning.
KHUSHBU.H.OJHA
39
#lways Separate &he 'deas (hase )rom &he Evaluation
(hase*
!deas need imagination more than knowledge, so it"s important to keep the
stage when ideas are being generated strictly separate from the stage
when they"re being evaluated. !n this stage people should set their
imaginations to roam free, and no limits to be set on creative game-
playing.
#void 'dea +illers
>ow would you like your ideas to be received O Sabotaged, Sniggered at
or simply !gnored !dea killers have one thing in common: they always
workSS :verything from verbal stun-gun to the wry twitch at the corner of
somebody"s mouth is capable of trampling down the first little shoot of an
idea.
I$e" Di//ers in Yo&r O!n He"$
,ften the killer phases of others do less damage than the little voice inside
our own heads, whispering, *Forget it it doesn!t work"# ,ur own ideas
killers are particularly are deadly because we often are not conscious of
them. They are the product e6aggerated e6pectations we have of
ourselves, or of the belief that we have to
come up with ideas that are brilliant from the word they goTa strategy
almost certainly doomed to failure.
KHUSHBU.H.OJHA
40
The 7F 6est Res.onses to I$e"BDi//er +hr"ses
Nothin0 !i// )o1e o&t o* th"t.
,ot if you -ust dismiss the idea
-ets (&st !"it "n$ see !h"t h"..ens
%hat. until everyone else has overtaken us?
Th"t $oesnt !or=>>
/ut its "reat idea
2e $o thin0s $i**erent/y>>
So, no )h"n0e there
This 1"i/ shot i$e" $oesnt !or=>>
6&t !h"t i*G?
Th"ts ri$i)&/o&s>>
So !h"t it is
2e// )o1e '")= to yo&r i$e".
A// ri0ht. 2hen?
The )/ient !i// ne%er "))e.t th"t>>
Gi%e it " )h"n)e
2h"ts so ori0in"/ "'o&t th"t?
The *")t th"t no one e/se h"s tho&0ht o* it
Anyone )o&/$ )o1e &. !ith th"t.
EA")t/y
0se oodles &o 1isuali2e 3our 'deas
)our ideas must be visual if it"s really going to take root in others
people"s heads. ,ften it only takes a (uick scribble, a few lines to bring
the idea to life. Think about it: your ideas are mostly internal
KHUSHBU.H.OJHA
41
images that only you can see. A doodle releases the idea from your head
and so raises your chances of enthusing others.
Three Ar0&1ents In ;"%or O* Doo$/es
Aoodles are an essential means of communication, enabling the
others in the team to see, and therefore understand, the images in
your head.
Aoodles reinforce the associations of internal images and so trigger
new ideas new playful way.
Aoodles enables teams to develop raw ideas in gradual stages and
so prevent good ideas from being killed off prematurely.
4ook )or &he (ositive 'n 5ther (eoples 'deas
!f you want to promote the flow of ideas, look for the positive aspects
of other people"s ideas. :ven if you don"t get anywhere with an idea
first, put forth the (uestion, #2h"ts in it th"t !e )"n &se? There
will always be some aspect that can be build on7 replace your inner
$D!T!$ with an inner $D:AT!U: and e6ploit all possibilities from
this new perspective. Take the idea"s good point and improve it by
developing and cultivating the seed of the idea. This strategy makes
fle6ible and opens new perspective.
,ne can learn to think 2h"t i*G? And this will develop in time into
an inner attitude, which will open doors to new ideas instead of
closing them.
KHUSHBU.H.OJHA
42
Thin=in0 2h"t I*G?
2h"t !o&/$ 'e the "$%"nt"0e o* /osin0 yo&r (o' to1orro!?
Anything that looks like a catastrophe at first may reveal a whole,
surprising series of positive aspects on a second look. Aevelop the play of
ideas a little more and losing your &ob opens the door to new freedom,
new opportunities, and a new future.
Thinking *2h"t i*G? !s a conceptual switch, a change of perspective
)ou look at the very same thing from a different perspective. And you can
be sure that there are hundreds of other standpoints that you"ve never
envisaged
6ake 6istakes #nd Have )un oin" 't
To s!e"r o** 1"=in0 1ist"=es is %ery e"syH "// yo& h"%e to $o is
s!e"r o** h"%in0 i$e"s
Fistakes are basic learning principle, accompanying all great
discoveries and often lending to brilliant ideas. <et rid of the
compulsion to come up with nothing but good ideas that are ready to
useS Say everything that occurs to you, no matter how silly it sounds O
it could be the raw material for the brilliant idea. So Fake Fistakes K
:n&oy itSS
# )ools )reedom
The greatest fear of many people is making mistakes and looking silly !
front of other people. %earn to live with this fear, by making a fool of
you deliberately but staying in control. .ut yourself in a ridiculous
KHUSHBU.H.OJHA
43
position by making an abstruse suggestion, and e6aggerate it to the
point where you have to laugh at yourself. 8y doing so you can
achieve a degree of inner freedom that allows you to leave familiar
paths behind and let your imagination run free.
evelop 3our Sense 5f Humour
>umour is the healthy way of creating a #distance" between one"s self and
the problem, a way of standing back and looking at a problem with
perspectiveSS
>umour reveals new aspects. >umour disarms, rela6es, and releases
happiness hormones, it"s also infectious, and so it"s one of the most
important creative tools for teams looking for great ways to
communicate ideas. Aon"t &ust make &okes at other people"s
e6pense, however. !nstead, look out for a really funny topic in
meetings O yourself. %earn to laugh at yourself. Anyone who can
see what"s absurd and laughable about him gains a new freedom
and gives the team a creative boost.
Select 'deas !reatively
Sometimes the really interesting ideas are simply eliminated or talked out
during the evaluation phase. Anything unusual, wild, uncomfortable, or
harder to translate into action, gets dropped. At this stage, you need to
make new ideas from old, in order to save potentially great initiatives.
Three 2"ys to E%"/&"te "n$ Se/e)t I$e"s,
!n the final analysis, there are three ways to reach a decision
about which of the basic ideas should be worked up:
KHUSHBU.H.OJHA
44
De1o)r"ti)"//y, B The team leader invites every member of the
meeting to give a score to the ideas they think are best and
deserve to be worked up for the presentation. The idea with most
points wins.
Use the 6rie* "s " Y"r$sti)=, B The main criteria from the client"s
brief are used as the yardstick for assessing which ideas have
reached the ob&ectives.
Cre"ti%e Dire)tor or Art Dire)tor, - Aepending on the agency
culture, it is of course possible that the creative director or the art
director will be the one to decree which of the starter ideas will
developed for the presentation
&urnin" 'deas 'nto #ction
Art Airection brings an idea to life, determining whether it gives the
campaign the boost that it needs or weakens it by going off on the
wrong course.
To De)i$e the 6est Co&rse o* A)tion
What does the basic idea need, for the solution to hit the
bull"s eye
What change could give the idea an emotional kick
What weak points does the idea have, what seems
implausible >ow could it be improved
!s the idea to the point What works better
What substitute or alternate can be used to improve the idea
Add new elements
KHUSHBU.H.OJHA
45
$hange a copy
Aevelop new headlines
What could be done to make idea so appealing
that people will want to see it more than once
2h"t res&/ts C"n Yo& EA.e)t ;ro1 The Dre"1 Te"1 R&/es?
They produce a bigger catch of valuable ideas.
They give the team a creative boost.
They build structured freedom and prevent sessions of
destructive chaos.
They foster faith in the team and enhance motivation.
They allow a brilliant #group brain" to develop.
They promote all sorts of fun and increase individual
creative potential.
They save time, money and nervous energy in the hunt for ideas.
ICDSTART ATA-OGUE
2h"t is Di)=st"rt C"t"/o0&e?
Hickstart $atalogue offers strategies likely to promote great ideas for
campaigns. There are no discussions within the catalogue itself about
what is good or bad advertising, nor are the tips on how to improve layout
or copy.
A Too/=it *or the 6r"in
KHUSHBU.H.OJHA
46
Systematic analysis of the work produced by creative reveals certain
patterns and strategies in their thinking. Some creative strength lies in
analogy, while others always try to induce a change of perspective and
others develop ideas by turning every day"s situating on their heads. ,ne
thing is clearing every case even the best creative use only the part the
spectrum of possible ways of thinking. !f your strengths lie, for e6ample in
the filed of metaphor or comparative &u6taposition, then you probably don"t
combine or reframe things very often. This catalogue is a tool bo6
containing an ine6haustible supply of new brain tools which one can use
to e6pand their own strategies.
This is incredibly useful when you are looking for new unusual campaign
ideas for the press, TU and cinemas, events, promotions, packaging, web
banners, brochures or direct mailing.
%ithout %ords
# picture is worth a thousand words
The ob&ect of this little e6ercise is to display the central advertising
statement about the product at a glance and without using the words. !t"s
the best to start by working out a goal with single-minded proposition. -or
:6ample: #>ow can you show without words that the new sports car
accelerates faster than any other car" >ere, first look for pictorial way to
represent *Acceleration+. The key (uestion is: #What are the key features
of *acceleration+ and how can it be represented pictorially, without words"
Think of the era of silent movies and how ingenious the actors had to be to
convey comple6 situation and feelings without words. Gokes which don"t
need words are another fruitful source of non-verbal stories to tell.
KHUSHBU.H.OJHA
47
6i7in" 8 6atchin"
The goal of Hickstart (uestions is to represent the central advertising
statement clearly and convincing by combining or associating different
things. This method of developing visual advertising messages is one of
the most fre(uently used today and offers infinite possibilities. Try it for
yourself- there are no limits in your imagination.
Co1'in"tion "s Cre"ti%e Str"te0y
,ne of the most important creative strategies is to combine two concepts
or ob&ects that were previously unconnected, so as to produce
something completely new. The result should be a simple,
unambiguous advertising message. $ombine elements in such a
way so as to make the benefit immediately apparent: the product, parts of
the product, people from the target group, the product"s raw material, the
original problem, the benefit, the conte6t, plants, packaging, or people who
have nothing to do with. The less things you combine have to do with each
other originally, the more e6citing and surprisingly the result will be.
!omparative 9u7taposition
$omparative Gu6taposition such as #before and after" are undoubtedly
some of the classics of advertising. To tap into new sources of inspiration
for comparisons, one can use the method to compose typical pairs of
opposites, like #before and after", which can then be used to stimulate
advertising ideas. %ist of .airs of ,pposites:
,ld--ashioned- -ashionable
8lindness- Uision
KHUSHBU.H.OJHA
48
Igly- Attractive
Fass produced- :6clusive
.ast- -uture, etc.
E7a""eration
:6aggeration in the depiction of features of the product, problem situations
or solutions can grab the viewer"s attention and emphasi'es the benefit.
Ise distortion and overstatement to develop great ideas7 with stating clear
message and simple, to avoid any misunderstanding that would lead the
target group to make any negative associations. Aon"t have any (ualms
about e6aggerating things, but do it with a wink so that the credibility of
your message doesn"t suffer.
(rovocation 8 Shock &actics
Attention is in short supply nowadays, so if you want people to notice your
campaign, be provocativeS .rovoking means challenging, inciting,
stimuling. 8ut be careful: being seen is not the same as being looked at.
.rovocation takes you across a frontier, but it re(uires skill and will only
lend you to your goal if you think about what you"re doing: for e6ample,
drawing attention to social issues, or warning people of dangers.
# !han"e of (erspective
A change of perspective is first of all an e6cellent way to
generate a creative impulse during the process of looking for
KHUSHBU.H.OJHA
49
ideas,and secondly it can be used in advertising to show the target group
new or interesting perspectives on the product.
There are two ways to use the $hange of .erspective as a creative tool.
-irst, they can be used spatially, by showing ob&ects or situations from
unusual viewpoints: bird"s eye view, e6treme close-up, e6treme distance,
detached from space and time. -rom outer space, or simply from possible
angle. The second way is to imagine yourself leaving your body and
slipping inside other people, ob&ects or animals. Fany creative
symbolically take on other identities to get a creative boost from the new
view point of view. -or e6ample: Walt Aisney, used to *become+ the figure
he was currently drawing, going so far as to speak, gesture and stand like
the character in his imagination.
Symbols 8 Si"ns
A symbol is a visual image that stands for an ob&ect, a concept or a
situation. The drawing of a styli'ed car ne6t to a spanner represents a car
workshop, a cigarettes with a line across it means *No S1o=in0.
The meaning of Some Signs derives from a casual connection-
Smoke is a sign of fire. Another function of many symbols is to
convey information that can"t be e6pressed in words.
#bsurd. Surreal. /i2arre
.lunging into the world of the absurd, the surreal and the bi'arre is
fascinating in itself, and it also opens up a rich source of ideas.
$ontradiction, e6aggeration, distortion, fantasi'ing and 'any ideas are the
tools one need to create something absurd or surreal.
KHUSHBU.H.OJHA
50
!han"e the (roduct
Altering the product means changing its shape, cutting it into pieces,
adding things, subtracting things, bending it, s(uee'ing it, bringing it to life,
blowing it up, making it transparent, transplanting it to another body or
letting it rot. There are endless possibilities of changing it physically or
giving it a new meaning. Talk non-sense and really take off. )ou can"t
&udge whether what you have is good or bad
#lternative 0ses
.layful approaches to the idea of finding new uses for the product. Where
the product could be used, outside of its original conte6t What new
situations could it be put to emphasi'e the benefit, highlight a feature
through e6aggeration, or reveal a new perspective or an une6pected
function
ouble 6eanin"s
This refers to visual and as well as non verbal double meanings. Fost
visual ambiguity is based on optical illusions which are a playful way to
attract the viewer"s attention. Fost verbal ambiguity, on the other hand,
makes its point by wordplay or suggestions, leading the reader along a
path that usually ends in an alternative meaning. 8oth types involve
people playfully by inviting them to see both meanings in a conte6t that
makes sense.
KHUSHBU.H.OJHA
51
(lay %ith %ords
.laying with words means making pictures with them. !ts an invitation to
e6periment with type, so that the copy turns into pictures and the
typography becomes the message. Try to break down the bounds of
normal copy to make the content leap out. Then style your words like a
clue in a crossword pu''le. This will help you to scrutini'e your Ad copy as
a source of ideas about design /preferably fun ones5 and present the
message even more clearly and effectively.
KHUSHBU.H.OJHA
52
-ETS TADE A 6READG -ETS TADE A 6READG

KHUSHBU.H.OJHA
A group of carpenters are at work$
%owever their attention is divided
between their work$$$
$$$and a &' set where a man hanging
over a chasm is clinging on to a woman
for dear life$
()akde rehna( the woman screams$
(Chodna nahin( the man pleads$
&he workers watch$$$
$$$as the couple on screen keep up
the ()akde rehna*chodna nahin(
strain for an incredibly long period$
53
Headline* ;e%i)o/ D" :o$$ H"i Toote0" N"hinG
#"ency* OIM 4N"tion"/ 2innin0 A!"r$5
!lient* +i$i/ite In$&stries
KHUSHBU.H.OJHA
Fed up with the melodrama one
of the carpenters gets up in
disgust$ (Arre yeh bhi koi film hai#(
he e7claims.
+anting to continue with his
work he walks over to the &'
and picks up a can of Fevicol
placed on top of it$
,nstantly the man on screen
plummets$ Surprised the
carpenter peers at the can of
Fevicol he has picked up$
Slowly he turns$$$
$$$and eyes another &' atop
which a tub of Fevicol is
perched$ &he man on screen is
still dangling over the chasm$
(Chodna nahi$$$(
54
AntiB S1o=in0 C"1."i0n
KHUSHBU.H.OJHA
55
6est So)i"/ Mess"0e A!"r$
KHUSHBU.H.OJHA
56

on)/&sion,
The foundation for creativity is in individual, and so these
methods and techni(ues are to be taken as tools and stimuli, to give you
more freedom of choice and so enhance and liberate your creative skills.
There is no one right way to be creative. $reativity is a living
process with many possible strategies, and the creative outcomes to
which they lead will depend on the conte6t and the individual.
!f one person has learnt how to develop really creative ideas,
it stands to reason that everyone else can.
$reativity demands abundance, which is why the ob&ective is
to increase the possible choices, and so improve fle6ibility.
Aon"t confuse the menu with the meal: theoretical knowledge
will do nothing to increase your creativity. Try the methods out, e6perience
will nourish you and become a part of your strategies in future.
!f something doesn"t work for you, stop using it and try
something else.
>ave funS
KHUSHBU.H.OJHA
57
ARTIC-ES ARTIC-ES
2h"ts The ;&t&re O* A$%ertisin0
After >ours $orrespondent A0A
Tuesday, 0ovember NE, 4NNB
!t cannot be denied that as one of the most rapidly growing professions in
!ndia - advertising - is undergoing a lot of change. To tap these changes,
to incorporate consumer and media perspectives, and to celebrate their
CN-year e6istence in the industry, the Advertising Agencies Association of
!ndia /AAA!5 is organising a three-day symposium discussing the future of
advertising in !ndia.
.rimarily focusing on traditional and contemporary methods in advertising,
the symposium will include consumer reactions and influences with
respect to the profession. *.redominantly, we are trying to identify the
current challenges in advertising and the different ways to meet them. The
industry per say is witnessing a lot more ways to reach out to their
consumers like FFS, blogs, the internet, and ad guys need to catch up on
these new techni(ues,+ says $olvyn >arris, $:,, GWT !ndia, who is also
one of the keynote speakers during the event.
Targeted towards the burgeoning and e6isting advertising, media and
marketing professionals, the symposium will e6amine the future
consumers, communication challenges and new media. *The industry
today needs a thrust and much greater recognition in the international
scenario. Though it has been advancing rapidly, there needs to be a lot
more effort to speed up the growth,+ says ad man .iyush .andey, who will
KHUSHBU.H.OJHA
58
be addressing the event with respect to positioning of advertising beyond
boundaries. The symposium will attract a gala6y of eminent speakers
/including the minister of state for tourism Denuka $howdhury and ad guru
.rahlad Hakkar5 who will share their uni(ue perspectives on the future
world in the areas of connecting with audiences.
A0en)ies Nee$ To Thin= Cre"ti%e/y
.T! V-D!AA), 0,U:F8:D 11, 4NNB
FIF8A!: Advertising agencies in !ndia should come out of their traditional
styles and start thinking ;out of the bo6; in order to push the creative
frontiers to new heights, .iyush .andey, a well-known advertising e6pert
said on -riday.
;We have to struggle to see that the good ideas are accepted by the
clients, and see the day of the light and eventually converted into a real
creative Ad,; .andey, :6ecutive $hairman and 0ational $reative Airector
,gilvy said at a symposium, organised by Advertising Agencies
Association of !ndia /AAA!5 here.
;!nstead of convincing the clients, we always make e6cuses that the client
does not accept the new idea or say why tinkle around with the idea that is
working, as sales figures are doing well,; he said. ;This very attitude has
to be changed and the creative people should come out with ideas that
touch the psyche of a common man and see to it that they convince their
clients about the non-conventional ideas and give their gut feeling a
chance;, .andey said.
>e was of the opinion that the advertising community should develop a
habit of not seeing beyond the obvious, and starts seeing beyond the ?N
KHUSHBU.H.OJHA
59
yard circle in cricket field, ;so that we could clear that and see the
boundary lines;.
;We, as creative people, should always do constant soul
searching to do things better and in a different manner and
not think of any framework and boundaries to restrict our
creativity;, he said and gave a recent e6ample of the >utch ad9s with the
W$hhota Decharge9 offer.
+iy&sh +"n$ey A$$s Another ;e"ther To His C".
The !ndiantelevision.com Team
/1? Aecember 4NN4 14:?N pm5 FIF8A!: There9s no stopping ,gilvy K
Father group president and national creative director
.iyush .andey who is moving from strength to strength.
.andey has bagged yet another international award. This
time he has been &udged the 9$reative .erson of The
)ear Asia .acific for 4NN4,9 by >ong Hong based Fedia
Faga'ine. The award comes in recognition of his
contribution to the advertising industry and efforts to raise the creative
standards across the industry. *!t"s an achievement for us as well as /for5
!ndia. We are happy that !ndia has made its
mark at yet another global forum.
And we9re sure many more !ndians will walk this
floor,; .andey was (uoted as saying in The
Times of !ndia.
,gilvy K Father has bagged (uite a few awards
this year: the most memorable one being the
<old %ion in the press and poster category for its WSecond-hand smoke
KHUSHBU.H.OJHA
60
kills9 anti-smoking campaign for the $ancer .atients Aid Association
/$.AA57 and silver for the Woverloaded bus9 spot for -evicol, at the $annes
%ions, !nternational Advertising -estival held in Gune this year. The anti-
smoking ad also won a silver .encil at the ,ne Show 4NN4 and a bron'e
at the $lio Awards 4NN4.Similarly, .idilite !ndustries %imited --- the makers
of -evicol ---- has won several international advertising awards.
KHUSHBU.H.OJHA
61
I6-IOGRA+HY
Re*eren)e 6oo=s
$reative Advertising Fario .ricken
,gilvy in Advertising Aavid ,gilvy
Se"r)h En0ines
!!!.0oo0/e.)o1
!!!."n0en)y*"3s.)o1
N"1e, Dh&sh'&.H.O(h"
Co//e0e, Chet"n"s M"n"0e1ent Instit&te, 6"n$r"4e5
EB1"i/ I$, r=h&shiJ$"y1"Khot1"i/.)o1
KHUSHBU.H.OJHA
62

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