A tool for evaluating advertising concepts: Desirable characteristics as viewed by creative practitioners

Stuhlfaut, Mark W.; Yoo, Chan Yun

doi:10.1080/13527266.2010.550009

Cited by 13 publications

(13 citation statements)

References 40 publications

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“…Divergence has been shown to positively affect people's level of attention toward the ad, their attitude about the ad, and their attitude about the advertised brand (Smith et al 2007). From a professional perspective, art directors and copywriters tend to think of divergent advertising as that is original, imaginative, innovative, unique, new, and surprising (Stuhlfaut and Yoo 2011). These creative professionals are motivated to seek divergent solutions not only to make their clients' products and advertising distinctive but also to differentiate their work as a strategy to advance their careers (Nixon 2003(Nixon , 2006.…”

Section: Divergence In Marketing Communicationsmentioning

confidence: 98%

The Creative Code: A moderator of divergent thinking in the development of marketing communications

Stuhlfaut

Windels

2013

Journal of Marketing Communications

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Divergent thinking (DT) is the driver of the creative process. This study examined how DT was affected by the intensity level of the Creative Code, which consists of shared values held by people in creative departments of marketing communication agencies, about what represents excellence in advertising. A preliminary set of interviews with art directors, copywriters, and creative directors established a context and understanding of the importance of divergence, its role in the creative process, and methods that promote it. A national cross-sectional survey found a significant relationship between the Creative Code and divergence, which implied that divergent ideas could be fostered by more open communication among peers and with creative directors.

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Section: Divergence In Marketing Communicationsmentioning

confidence: 98%

The Creative Code: A moderator of divergent thinking in the development of marketing communications

Stuhlfaut

Windels

2013

Journal of Marketing Communications

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“…The practitioners' view is slightly different. While acknowledging novelty and utility-which can be considered as equivalent to originality and usefulness-as two dimensions of creativity, practitioners nominated affect and humor as additional dimensions (Stuhlfaut & Yoo, 2013).…”

Section: Creativity and Its Componentsmentioning

confidence: 99%

Americanized or localized: A qualitative study on Chinese advertising practitioners’ perceptions of creativity and strategy in the digital age

Chen¹,

Wang

Liang³

2019

Global Media and China

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A qualitative study was conducted to examine Chinese advertising practitioners' perception and interpretation of advertising creativity and strategy in the digital age. Twenty three face-toface in-depth interviews were conducted to collect data. Findings revealed Chinese advertising practitioners' definitions of creativity and strategy, perceived criteria of creativity and strategy, perceptions of strategy typology, and how creative person, process, and press shape their perceptions of creativity. Theoretical and practical implications were offered.

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“…The example of an advertisement for a butchery in Get it general circulation magazine (2017) demonstrates the impact of all five the listed elements of creativity (Stuhlfaut & Yoo 2013), namely novelty, utility, artistry, expressiveness and emotional response in the creation of new signs and/or meanings to attract attention.…”

Section: Elements Of Creativitymentioning

confidence: 99%

“…In terms of the five elements of creativity (Stuhlfaut & Yoo 2013), this sign (ice cream as a sign for special treats) is new. The sign may also be used again for different luxury cuts of meat/different special treats.…”

Section: Figure 1: Ice Cream As Creative Sign For Special Treatsmentioning

confidence: 99%

The use of indexical signs, symbols and icons in print advertising communication

Niekerk

2018

COMM

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Advertising communication is a unique genre with a distinct set of language rules that use several mechanisms to attract the attention of the target audience. This article examines the value of three visual sign types to attract the attention of the intended target audience. The value of this investigation lies in its consideration of the value of the unstable connotative meanings of the visual signs of modern advertising communication. Semiotics is touched upon as the broad theoretical background to the study. Thereafter, the discussion moves to the use of indexical signs, symbols and icons in modern print advertising in South Africa to ensure audience involvement in the construction of a plausible and implied marketing message. A typical example from South African print media (magazines) in each semiotic category (index, icon and symbol) are analysed to illustrate the role of the target audience as co-creator of the implied marketing message. The data illustrates that the meaning of these signs in print advertising may be unstable/vague even though a specific marketing message was intended. The analysis of these visual signs as impulse to support audience involvement is broadly based on Leeuwen and Jewitt's (2001) visual analytical method and focuses on the characteristics of creativity by authors Stuhlfaut and Yoo (2013) and Koslow (2015).

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A tool for evaluating advertising concepts: Desirable characteristics as viewed by creative practitioners

Cited by 13 publications

References 40 publications

The Creative Code: A moderator of divergent thinking in the development of marketing communications

The Creative Code: A moderator of divergent thinking in the development of marketing communications

Americanized or localized: A qualitative study on Chinese advertising practitioners’ perceptions of creativity and strategy in the digital age

The use of indexical signs, symbols and icons in print advertising communication

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