PART 3

COPY WITH PUNC.H; USING WIT AND HUMOUR

PART 4

C.lASSIC CREATIVE TECHNIQUES

CONTENTS

What thIs book can do

8

],03 30'-1 105 306 307

PART 1

DREA.MTEAM: A FRAMEWORK FOR GREAT CREATIVE PERFORMANCE

224 2.25 226 227 228

1.2 14 15 16 18 19 20 22 23 24 lS 26 27 28

q

101 DreamTeam, a basIS For every meeting

J 02 Your brief creates space for a motivated team

1 03 SWitch on all five senses

1 04 Go Into meeungs WIth a dear goal

1.05 Always r.epa,at~ the Ideas phar.e from the evaluatLon phase

106 AvoLd Idea klHers

107 Use doodles EO V1suahze your Ideas

1 08 Grab Ldeas nd run WIth them

1 09 took For the POSlt11/e In other people's ideas

I 10 Make mls[akes and have tun dOing II

1 H Suck "~Ith It, the best Ideas are yet to come

1,12 Develop 'OUI sense 01 humour

1.13 Walt before evaluaung Ideas

1 14 Sefea Ideas creanvely

1 15 Turnmg Idea~ row acnen

3.01 302

PART 2

THE KlcKSrAllT CATAlOGUE. fiNDING IDLAS THAT COMMUNICATI

In the beglnmng was the word Reframlng a key to creatLve thinking Metaphor and analogy

Brea~ out of the frame

Alternative media

143 148 154 164 172

Struc.tunng Jokes

A pracncal quide to lake rna] 109

[onstructlng and disrupting frames of reference Developing punchhnes

Adapting and U5lng eXisting punchhnes Make the most of black humour UnintentIOnal humour and Situation comedy Blue humour

182

184 188 190 193 197 200

4 01 The morphological matn

402 Osborn's c.hed<llst

" 03 Vvsual synectltl>

206 214 22..

PART S

VI5UALllAnDN:MOVIES IN YOUR MIND

201 Inooducmg ihe '"kStarl cataroque
2D2 The " tart catalogue
203 WIthout words
204 MI 109 and matc.hmg
205 ComparatM! Jumpos Lion
206 R petition and acrumulauon
207 £xaggerauon
208 Tum It nghl around
209 OmiSSion and suggestion
210 Parado).es nd opuc.alillusions
211 Proyocauon and shoe tacncs
211 PlaYing With ume
2 13 A change of p rspecu\
214 Spoofs and parodJL'~
215 Symbols and Signs
2 )- Come and play
2 17 Telhng toiles
218 Absurd, SUI real, blzarr
2 9 Take n liter IIy
220 Ch f1ge the product
2 21 AlternatIve uses
222 Double mt.:anrngs
223 ptay wllh 'lOrds 501 10015 tor prcfessronal dreamers

5.02 Syn estheaa

503 Conuolhng the PICUJI In our mind

5.04 AIds to VI\Udh '<ltlon

S 05 Bramflcatinq

I) 06 Develop Idea', through sloryhoarulOg

226 _28 229 230 231 232

PAftT 6

INnR\I'EW~ AND RESOURCES

,01 601 603 s 04 bOr:

1:106 oOf

Walter l urzer, Prafe T UmverillY ot Applied Art, Vlenn (

I'J !)ereICiJ. Lr suve Director N·w Media Agency Agenclachc ronan t ramer, I\es I~kl mer Advel tl~lng Agency

, ( Is .. 1n J. I:xe~utlve Lrb~tlve Director, B8DO Hong Kong stet In ~ 'gmelc,tfl!, (,raphl De)lgnel

I nt t ani behmll Lhl~ book

LI~l of aqenoes

136 238 2·11 214 250 214 256

WHAT THIS BOOK CAN DO

This IS a handbook for brilliant Ideas lIS ambition IS both provocative and epnmrsnc It alms to provide an insight into the alchemy of creanve thinking. It promises to sbed light on the strategies of top creat.ves and mcrease your understanding of the patterns thai underhe greal Ideas, Many people think promises like these can', pOSSibly be true Others pin thelf hopes on them as the answer to ailihell prayers Both groups are adVised to be a little sceptical, but also to forrow their cUrloslly Anyone that IS open to new approaches has a chance of expellenctng the effert of these methods and techniques for themselves.

After countless COlJ\/ersatlons \'tlth creative people. II became clear to me that they all learnt their skirrs In completely indIVIdual wa~ and that most of the lime they are not consceus of the complex Internal processes that ta e place when they are 11IJflting for soluucns, deSigning a layout or creating a campaign tdea

That Lsn't such an unusual ccncept, because It's a well known fact that we do the th, gs we do best unconsciously Think of what II 5 like when you nde a bicycle, use a mobile phone OJ read a bool

We no longer need to gIVe any thought to ttte complex mental processes that are Involved I we are to perform these tasks to

the best of our ability We Vi! a ready learned em and Wf:. carry them out automatically. Without thl ktf'9 b ut tnern, \I<lOg <prctllc learned patterns of behaviour The same ttl! 9 can be obsewed

m creanves who for the most part a'e not ware of tJo\V concrete their processes are when they devefop a great Idea

I wanted to learn more about these processes, because advert!srng IS a competitive busmessl First of all. I wanted to work out the brainstorming methods of top creanves which allow them to produce brilliant ideas Second, I want to guarantee that these bnlliant Ideas \VIII blow the minds of target groups Although creativity remains unfathomable 10 rnanv respects, the methods In thts book are a first Important step towards making the IntultJve use of creative stliitegles op nly available as a tool for teams 10 advertlslOg agencies

The book you have rn you' ht nds now IS a kind of manual

for the brain BUI rnstead o' the newest heones from research Into cfeatlvll}', you Will find ec 'e' In tructtuns which you can use In

practical Situations We 10. 'I ethel the acadernic theones are

right or not, In day·to 3} a works IS all that counts.

thiS, I studied the thought strategies of advertiSing profeMlonal\ and formalized them HI new ways, 01 cornbm d them wrth proven creatIVe lechnlQu~ A 5~tematlc. analy5l~ of mole than ten thousand oUt$t.andrng ad carnpaiqrrs has brought to Ilgtn the suucnnes that tap (teatJVes use to develop blilhant Ideas The outceme t~ that your team will find tools In thiS boo that they tan use to expand therr own shlls and thought strategies In dally profeSSional practice Greater chOice (Jcates more flc)(lble ttunkrng and leads faster and more effiClenlly to the Big Idea - and you Will have a lot more fun along the wayl

THE IASIC P~lUl~ 5 Of IDEA ENGlNlEJIING

The follO'/o IIg preml~ are Simply the rUI of ITrf expet enc.e

Th 31e not theones to which you must Vi r all 'ante nor are

they the only uuth I lust nt to IlMte you to I ment

th 'bram tools' and treat",e techmques given ere, and to add

to them 01 alte! them In the Itght of your own , per' nce '(OU

can even let me now how you get on With th m, lind about afrj relevant dlSt:OVerres you ma _ at www,idea'engilleenng (Om The baSIC assumpltons below ale at the foundauon of all the methods descnbed til thiS boc~ and sum up what clcalM 'J means to m

TIlls boo~ .s almoo at agency teams and pro'~slonals In the communrtatlons Industry

This book 15 a cookboo~ fOI practltal creatNlty, not Just a com,:.endlum 01 th eo II e:5.

Methods and ted!nlques for developing concepl.S and campaign Ideas are at us core

This bool does not dl5(U5S Issues 01 good or bad advemsmg It does not contain adVice on deslgnrng creatNe layouts 01 compostng copy

The boo~ COYers the distance from Ihe .Mtal bne1ing to the evaluatlon 01 Ideas

• The list of methods (the KltkStart catalogue) d06 nOI claim ~o be edlausttve

• All the _dmpillgns Illustrated wele chosen on subJettlVe grounds and all' Illustr3ted as examples of all the po\slbte vanauons wlmln a category

• All the .:ampalgns Illustrated are e>.ampl~ o;eleCted from Uluntle~s alternatives and should not be taken as models for plaqransml

• US<! thiS boo intuitIvely and have fun With It - find out what helps you to dlNelop gleat Ideas and enlay dOing It.

The foundation for uealMty IS In til tndMdu I, and ~ est methods and techniques re 10 be taQn only In uwal tOOls and wmuh, 10 grve you mole ht:edom of choICe and so enhance and IlDelate you I cre~W! s, lis.

There IS no one light Wdj to be ueauw Crea1.Mty IS a IMIIg pl"tlU5S 'H1U1 many POS5/~ e 5tr8teg es, and th ueatllre. outcOmes to which liI~ lead wu depe d 011 the CIlfitex1 and the Imirvldual

If one person has learnt n 'N to df!'lelop leal uuuve rd II $lands to reaSCUl thai f!'Ieryc'.e else CJl

uealMt{ demands abundance, whlett IS .... -tty tht objf(t ~

to mue.ase the possible UloICes. and so Im~ fle.tlb 1rty

Don I Ulnfuse the me nu WIth the mea \ 1heo!etlCa L ~now1edge 0111 do nOUllng to mutase your ueatMty Try the mt1hocIs oul, e>.penment WlUI them In j1Iur wo WhilteYer you leam from the upenence Will nounsn you nd become pan 0 your Slrlte(jles tn future

If 5Omf:lhIJlg doesn't wor\: for you stop U1Ing It and try something else

Have funl

Th.s rS a relevant bOI k professronals do In pr (I ~ techniques for you r If

do your Job better IJ' ideas and d lot •

~nowledge about what

, hat allows you to try out the Jk that teaches you how to I" hel p you to have great

lou. EtICiINE (RING lhp techru

of th trz n 1

ubstance and the structure , ennq' I developed this and by applYing It In

4 n ly efnuem 100L To do

DREAMTEAM, A BASIS FOR EVERY MEETING

pOlntl~ If that knowledge 15 not used to the full wlthm the team

Next, you need to get all the parts of the agency With which you WOr~ on-side and mformed about the baSIC DreamTeam pnnC!plei In thiS way you binld up the necessary understanding from every department to gel the support you need for your project This IS because the effects of OreamTeam often reach way beyond meetings and begin to Influence areas such as dtsnt meetings, bilek, art bUYll19 01 collaboration between different departments E~peTlente shows that you need to famillauze YOUr team wllh the OreamTeam rules step by step. It's particularly effe<:trve to call meetings just for thrs purpose, where the team can try out the rules under stress-free conditions by performmg Simple Set tasks. You will see Inrtlal distrust turnrng mto aha' and finally Into 'he ha' DreamTeam creates the optimal group climate for the team to start looking for that Big Idea In a relalCed frame ot mind and haVing a lot more fun than you might expect,

DreiJmTeam IS a list of fifteen rules of creatwe teamwork that Form the toundatlon of all the methods desc.ubed In thl~ book Whichever creative technique you're uSing, take the D.l18mTeam rules as me framework whenever you're working as a team They provide the creatIVe space to let the Imagination fly and launch all the team members on their way

to onqmal Ideas

OIlEAMTE.AJ,4 A TOOIXIT ~Oll AGf ,('II '"0ffSSIO,..ALS

Agency profesSIonals, partlCIJlarly til 'old p~ with the II loog peuence, should tearn "01'1 10 use lite Or amTeam tools In lh company 01 OUI I pecple In playful a~phele, iii ord I to r hne thell team iJOl ~ng

s~ll s and bUild up crealwlly, lh f!'Y QuahflcatJon The loHowrng Itfteen pomts are both lules 10f the game of tOP~ullhtf (leall'lI! performance and s!laLegle Ihat can be u\ed a~ hIghly effectIVe melhod~ of commurucauen In meetings

Thty produ~ b gg , til

Th give the m boos

Tn DUild SUUcnlled fteedom nd p

They osw faIth In the m and enhanu mo filL.,.,

They allow ill blillTIII! group br III to d wp

Tht'l plomotell !rOm of fun and Inti se nd Y'I!h;al u They S<He tJme, money and n IVOU en Igy In th hunt.OI rd

FROM 'AHA' TO 'HA HA'

When you mtroduce OreamTeam as the new culture for meebngs In

),OUI agency, pay partIcular attentron to the follOWing pemts An team members must be equally well-mformed and prepared to suck to the rules Someone who has only heard about some of the DreamTeam rules, but doesn't actively hve them In the team, pull; a brake on the gloup process Just knowmg about the rules IS like reading the menu Instead of eatmg the meal The menu doesn't ncunsh you, and knOWing the rules 15

....

YOUR BRIEF CREATES SPACE FOR A MOTIVATED TEAM

The bnef am as the Igniuon for the team of creaulo'E!.S a nd so it has

a big Influence on motIVation and space In all the meetings that follow Wnte a brief like a love lenel to the produCt, and let your Imagmatlon run free. Create an enVIronment where YOUt tf!am can work enthuslasllcally There are twO kmds of information In most bnefs; the md that resmcts the team's creatIVe search· field and the land that enlarges the searchfield fat potential Ideas and snmnlates the Imagination

R ESlIllCTlH (; Ttl l 5 EAIICH· FI UP

EHlAR(;'N(; THE SEARCH'FlELD

The re5tltCllve elements of a bnef should be kept In the bac. ground dunng the cre<ru\'e phase. These parameters Will onl~ ceme Into force <It the stage when Ideas are being developed and evaluated., In order to establish whether an tndMdualldea meets the prOject specficeuans Restrlctl 'e components might be, ror example.

In the flrsl bnef, you should put most emphaSIS on the parameters that will stimulate the Imagination, give detailed mfcrmenen about the product and so provide the larg!";! pOSSible hunttng ground for Ideas. Elements that could t:nlarge the ear :h·lleld might mclude

Bud gel constramts

The diem's rdeas and WIshes St)1e reqUIrements

MarbotJng Informatlon PievrOUSIy rejected concepts

Benefit. USP Reason Why Tone or mood

Product mformauon prohle Target group etc

SWITCH ON All FIVE SENSES

The best Ideas take bme. The more you thln~ about the product analyse It, examine It from every angle - play WIth It, In other wold5 - the more freely gleal Ideas wrll flow. GIVe YOUI team all the ,nformatlon you can get hold or Best of all bring the product to the first meeling 01 take the whole creative team 10 VISit the dient, so that their own

eJtpenence of the product or Wl'llte actmtes.all tfte" sense. If th.n'~ nOI pos~ble. then VIdeos, CD·ROMs. photos 01 other media tan be useful tnggers The key faewr IS that physlcally coming face to fa(.! WIth the product. Itself can 5llmulate all five senses and hiM! a IJOSI~ and IMsplllng effect on die process of generallng Ideas.

Client Agency

ueabVe OlrKllon An Olleroon Copy

Photo

r

c~ Photo

Clmpalgn fOI anlHellulite tablets CI,enl

Agency

C'eJllvc DirectIon

-

:r

<

'" "

PHASE FROM THE EVALUATION PHASE ALWAYS SEPARATE THE IDEAS

- I ,<1.-. so II ) Important to rep

Ideas need rmaglnat,on mar' rnan now~..",

I epara~~ from the stage the stage when rdeas are b<,mg g.ml"fJted 5lnO y s

when they're belllg e llu.)led In th~ f'r~1 part 01 the meeting make space E n mOl thrs I~

It'atlVlt)' wrthout prcmattlle (utKlsm W •

t then Imaginations tree to roam and

fur unmh,blted tile !illlge when p pie hould

no hmus should be

me-pia '109

Ide. ~ .uers at I,uge some [earn memb r 1'1111

If there ar too man ....

Withdraw Into passlVI or tner ' \~III b endless and emotional arguments WhKh ',v,1 underrr-me an't md f Cll'almly ather team members 1'1'111

th to ihemseives Best not ma~e a nUSla e don Ita e n s

SUlrt to 10 IJ I. >'-

M , ke a fool of m)'st.,1

And thillt IS laru.amount 10 IhlOlll19 usrn m

You nd up Wllh t e I1ln9 )'Ou wanted 10 votd The e ale th

I d tabl I most lIeat e meennqs lD compromls

f ars Ihat ea Inc 11 ,

CHOOSE tHE RIGHT MOMENT fOR (.RmttSM

It) 'nlv .at Ih~ Iter, evatuaucn I gl' that II I~ lust" led to ralie Jilaol~ sudl s the brief cntena .J·nd IhlS 15 also the II me for introdUCing

prole mnal j.now how or cnuusm, SO th I law l!.Ieas call be developed m a cllmat of coo rucnve dls(Osslon To pre-. nt unCOnllenllonalld~.H

bemg valualro va and PI m turel dlsC<lld d, the learn should p

,l\~lng lh me quesucn How can I 'mpr thl~ Idp,) what (an I do

10 ma ' It "'Ol~ rler all

AVOID IDEA KILLERS

10Ul I<.tlUAS IN THE TUM

1-10\ would you l'(e yo"r Ideu 10 brewed 1l me nl'.-t (le,Hlve mel'lmq7 Sabctaqed ~lllqgered ill Or \Impl~ Ignored 1 Ide,. tlle'$ hJ.". one !hlllg In common lhey ... !ways wor~ I herythtnq from the ~erbdl stun gun t the wry IWlld! at the ccrner of somebod s mouth IS cap bl of tramplIng down the fil'}l 'mle shOOI of en Idea adly. In many learns

old familiar phtaS ~ III 'That von', war and 'The (hem would neve, accept that' are ~IIII part 0 the meeting culture Studl~ h,lVe shown

that SIDn members spend dlmo~l 70 per reru of theu lime running

down colleagues' suggestions

FOUR HflCllVE ANTllIOffS TO MIWR 1"UV.5U

Tum Ilia ptl/OS mL OI'l.SInJ.fll Il<doo

Ide lS are almost never born pertec G,.". Ih m II (han, 10 grow by

III roduurn) tn,s rule III the team If

during the ,dl:ilS Ph"~ first mention <l~pI!(l5 ot the ,de thaI U

thin. <lre gOOd Then he allr ISm II mol (ceptabl wtu!n ,I

comn and rna even lead to improvcm nt 01 me ollglnalldl'

.. SlOp. ,lie, phlOl m rh " !rOC _:s

rr leai of UII'CISm IS Inhibiting team members 110m ontroduc'rn) , aUy wild Idel~ the following little lIIe Will help anooun e .,,:Jur own rd~

With the .... "Dld~ The t'<lll thing I can thin of IS 01" 00'1. 11 sound5

III" but m'9ht ,I be y,olth thin ng abou Th t W you re Ut Ing

10£A IUERS III YOUR aWN HEAD

Ott.'n th III"" phraseo; of 0..1' .A)ileagu do Ie- \ damdge than Ihe

hltl YOI

msrde our ov ,., heads, y,hlsperrng Forget.t It do~n'l war I

,1\ 10m the OulSe

the Wind QUI of your ,II!I

~ II e ar particularly deadl because ve re often not

Our own rd (on ClOU of them Ti'1_ ar the product 01 e ggL'raled e:<pec:taIlOfl<i

Iv s or of 111l' bl'lit!1 that we have to come up w,lh Ideas

IdlO kl/l,~' RldiculDIJSI

Once they ~ been Identlhed as such, Ide') IlIer\ 1C))e any leth I force In met:!lIng~ II ~l)\)ne kncrm them they can t'\.~n rd'~~ ~ laugh In th .. 9'ouP Tala! the urne Wllh lhe hole Ie m to unn of a~ man)' Ilh1d !tr; as j'OU "10 Include 311 In that 100 yourwl or DUll I'} In me am ha,

used M ~e a note at them .llld pUI them .hl1l1: ryon~ can th m

un" the end of Ih !ie'i n ou'" b Jm. led t h 'elllhlS

v.c II,we 0 iha arc bttll ani from the ... vord go

iI SIr,ltegr almou U!ltamly doomed

to tailur

ro Ideo tllel phlo
f tha 6 ThaI S IId"ulousl
wh t h ppens 7 We II come 00' to your Ide,
2
B The chent ~III n .. r c:t~PI thall
1 T
U , q IIhiit s W oll9mal 1boul lha I
-4 \
n t \I r I 10 Anyone could ome up Wllh thal
~ 1 USE DOODLES TO VISUALIZE YOUR IDEAS

IT'S TIME FOR MORE FREEDOM .

.....

-

po

~

..

-

"' a

GRAB IDEAS AND RUN WITH THEM

Almost nothing mhlbll:S the creative precess more than clinging ob5es~lvel\' 10 one Single Idea - namely, your own Don't ulln~ of your teammate as a nval In a compeuuon for the best Idea but as the supplier 01 ra " matenal for VOUI next Ideas It doesn'! even matter whether you thln~ hIS ideas are good or not JUst use them as wggers or sumuh fo' your own assocranens The important thing rs that you pre up the Ideas, de etep them further and hand them bac Ideally, YOUi teammate should herve the same amrude each new Idea you supply him With becomes the raw matenal for Ideas of hiS own If von carry on consistently Wlfh thiS ne,', prinCipiI', a ~md of ping pong ensues In which you catapult each other Into an emouonal state re~mbhng a creative uance I With tach

nal round of ping-pong you and your Ideas IVIII gel even better

PING-PONG WfTM IDEM

PlIlg·pong With Ideas. as descnbed above, IS best practised by Mo players, A lot of bnlharu two-person teams In advertiSing work on thiS pnnclple

A key tactor 15 plCl 1I1g a partner you !rUS! 100 per cent, Concentrate on getting a rapid Row of Ideas dUllllg the game, don't CrtlICIZe, follow your InsttnclS and let your~elves be carried along by spontaneity

LOOK FOR THE POSITIVE IN OTHER PEOPLE'S IDEAS

If you want 10 promote the now of Ideas In the learn, 100 fOI!h1' POSitive aspeclS of othe: peCJple'~ Ideas (ven if you don', gel anywhere wnh an Idea at Irst, as~ )'Ourself 'What's III It that we can user Thete w,1I always be some aspect you can bUild on Replace your IAner CRmC With an Inner CREATIVE and e.>cplolt all the posslbllllles from thiS new perspective Take the Idea's good point aod Improve It bv developillg and cultivating the seed of the Idea This strategy makes you elltremely nexlble and alway'> opens, new perspectives You can learn 10 thmk 'What If ')' and tfns WIll develop In lime rnto an Inner atutude wtllth Will open doors to new Ideas Instead of clOSing them

THINKIIIG 'WAAT IF, '

What's the good Side II YOUI hou~ burns dllWn lomollol'l1 What, I0Il111 be !he advantage:. or losmg your ,ob tomotloYil Anythmg !halloo s II a catastrophe at hrSl. m;ry reveals a whole, surpuSing senes 01 po!>lUVI' aspects on a second 100 Develop the play of Ideas a IIttl .. more dnd the uaglC loss of your hou~ opens the door to nev freedom new eppcrtumues. a new future

Th In k Ing Whal If Isa cone eplua I SWitch a cha nge of pe rspeClrve You 100. at the Vf.!ry same thing hom a different perspecuee And yolJ can Ill! sure that there are hundredl of o!her ~tandpotllts that you've never envisaged To broaden )'OUr spectrum, lry puwng your~1I '1'1 !,Omeone else's shoes, In your thoughts, and oa:upy thell poSItIon What POSItive aspects would your best Inend ..eel Your auntl MIC Jagger? A beggar? A Chlld1 A blind man?

::::0 '"

1f you throw 10 the towel after the fi~t round and accept me first rdea~ that come up, you're gIVing up the thance of really bnlliam Ideas Ninety minutes more, and )tlU penettate reservolr~ of Ideas that reveal selunons you won't find In any handbool Ideas that are realiy new and unique St.ly With It, follow your Ideas to the bitter end, If)' to work out as many different solunons as poSSible Meetings take a cych(al course. After a first phase of prodUCing Ideas, your ream may fall '"to a deep Silence Don', let It make you uneasy, and whatever you do don', end the session

MAKE MISTAKES AND HAVE FUN DO.Ne:; IT

Before he made a light bulb that wor~ed, Edison dlscO\'eled more than 1600 ways how nOI [0 make a light bulb One of Madame Curle's blind alleys 15 what we ~now today as radium And Columbus was In fact looking for India Mlsta es are a basu:. learmng prrnclple accompanymg all great discoveries and often leadmg to bnlliant Ideas. Get lid of the cempulsren to Lome up Wllh nothing but good Ideas that are leady [0 usel Say everything thai occurs to you, no matter ho\'> Silly It sounds -

It could be the law material for a bnlllan! Idea People who think Ihey should onl)' speal up al a meetlllg when they have the one Irue correct answer are putting thernselvas under enormous pres..~ure and smotherrng all creatrvlty In the bud SG make mrstakes and enJoy It I What you need as OJ stable basts IS confidence III the team and a mutual agreement

that meetings can end In failure

You OIn !>afely assume that many of the partltJpanllo ale lu~t Immersed In an Intemal search process Apart from that, the rlr~l cyde usually produce~ only a few baSIC Ideas - shallow, second-hand ones IOilt j"Ou' e all heard befole II often takes only one seruenee to set the prtXe!>s mov109 again and plungrng Into the second pna-e Wllh a 101 of new Ideas Hefe the chance of developing far better Ideib IS atready much higher Smce several such phases all" poSSible. stay With 1[, In oldel to go even deeper InlO Ihe pool of untouched rdeas

STICK WITH IT, THE BEST IDEAS ARE YET TO COME

A FOOL'S FREEOOM

What's the worst rmsta e you could make In a meetrng? What would

you learn from rf' The grealest tear of many people IS ma 109 a mlslake and lookrng Silly I n front of othel people learn to hve wllh thiS fear, by makrng a fool of your~e!f deliberately but staymg In control, Put yourself In a rrdiculous positron by ma.inng an abstruse suggestIon, and exaggerate II [0 the pmnt where you have to laugh at yourself By dOing so you achieve a degree of Inner fleedom that allows you 10 leave familtal

paths behmd and let your Imagmatlon run free

Chen! Agency

CreatIVe OlleClJun Art Dnecuon Photo

CI,enl Ag~ncy

(.reall~ Ollecllun IDnC([lon IIluW~tJon

'II to

DEVELOP YOUR SENSE OF HUMOUR

H

rei

WAIT BEFORE EVALUATING IDEAS

When you lea'll! a sutCessful meeMg wllh a few reatly good Ide.l~ and

3 feeling of euphona \It.m a whll before ~SI!~5Ing the Ideas Step ba a little and don I fall too much In I~ With the rlrst, seemrngly "re<>IsIIble

11.1 a~ leep on It and ne)(l day 100 at lhe seIches With a (llucal eye does the Ide" wOll? Dae~ It hall'e a leal emenonal .Id11~ the concept

ele I and comprehenslble~ Show your fi~t Ideas 10 other people so that you tan read rom the fel!dba[~ whelhel you ve hi! the bulls eye or If you ar the only one who undemands Il Don r forgel a good Idea lpeil s fOI Itself and can U ually bf' tonveyed In a few sc.nbbles less good Ideas need IJborate concepts to pe~uJdc or even be unde~tood

It's often worthwhile 10 dlStrlbule the mlOUle5 with all the doodles and Ideas 10 every learn member the next day A5 peolll~ to take another 100 .11 the Ideas, Improve or add to them or til e them" step funher At thrs pomt everyone has gained a little distance from the Inillal tas and the goal w.II be dearer Even more Importantly, ovemlght each learn member's uncoescreus mind Will have had the cnance to gel acquarnted '11th Ihe problem and e .. pellence has shDWn that more potentially

excnm g 1>011.111 Q 115 Will present th e mse lves

SELECT IDEAS CREATIVELY

Sometlme~ the leal Interesting ideas are ~'mp'" eliminated or tal eel out durmn the eo. alllatJOo phaloe AnvthlOg unusuel wild uncomfertsble or harde to translate Into amen, gets dropped AI. thl~ stage ~u need to make nt'\\ Ideas rom old In order to iiiVI' potenuall glea Initiatives Th'?!e are alread mor man enough old filml"a, Ideas that ha 'I! simpl been re ashed R member as a rule people tend to p~r what they .now because 311)thl _ 311 nl'\\ Stf1lE:S tnem as too n

DEVELO~ N IDEAS FIIO,", OLD

our meenngs h" assembled a host of sa <ned Id~as and bl~ of Ideas

and nm II can It th In togftiler ,15 tJt fane") pJe~ It vben '011

stan a gsa P'JZIle t ~ ta_e. nd dual v.ayout scraps 0 Ideas

shou 10 not be eova Of' deas

the or

a but lI1te'9rated ,nro tin tnltlatMS. Th

ppenun ties for real 0 9 'l<l tlons r

TURNING IDEAS INTO ACTION

ones

As, yourse; s qu on

be

TH HE£ \YAY!> ro EVALUAn ANO SElECT IDEAS

In the nnal analYSIS thero ~ re three war> to reach a deCisloll about which of the baSIC Ideas should be wor~ed up for presentation

The path 10 medlocruy begins by treating tender shoots as If they were already full-blown Ideas. LeaVing Isolated strokes of genius OUI of the calruleticn. ollly hard work can tum good Ideas Into great ones What thiS means 15 strutlnlzmg, rework,"g. releCtlng, Improvmg. adJusting, saUlIllIlJllg again, and finally rework,"g yet again

entenng a sort 0 nd

Demooatlcall The team leadel inVites every member of the meeting

to Qlve a SCore to the Idea~ the thin ale bes and deserve to be worked up tal pI entancn The Idea 1'11111 most POll1ts wins

It s the task of the art department to develop the concept In as many different ways as they can, III order to find the best one Good-quahty doedles are u5ually enough for uus Only the largest number of posstble vanancns creates a chance for a really gleat camp,lIgnl The same applies to copy, of course Develop oil lot of headlines. not Just one

u~ the bue! as a yardstick The mam cnteua from the client's brief are used as th Vdrdsl1c.k tor as~essmg which Ideas have reached the ohl euves

CreatIVe 011 or or An DII1~,ctor Depending on the agenc-,' culture, II IS

of po I ! thilt th creanve director or dl ouector wrll be the one

to eeree hi h of the ~ rt r Ideas \VlII be de loped for presentatIon

As YOUIISElf llIESE QUl5nONS, TO OE(JOE THE sesr COUME OF AcnON:

How can Art Dlrecuon prOVIde opumal support for the concept.

or reinforce ,,~hat It says by vrsual means'

What does the baSIC Idea need for the solution to hit the bufl's eye7 ~hat could I chanqe to 91 e the Idea a stronger emotIonal Ide? What weak points does the Idea have. what seems ImplaUSIble?

How can I Improve It?

Is the Idea to the point? What works beller?

What can I substitute or alter to Improve the Idea? Add new elemenll 01 change the copy, develop new headlines?

What do 1 need to do to make the idea SO appealmg that people WIll be happy to see It more than once?

ClIent Ag~tY

CrealJ\:e OOlc<oon An Onewo)tl lI1usuaMn

spectrum of possible ways of thlnkmg. Ir YOUI strengths lie, for e!l.ilmple,

10 the field of metaphor or comparauve JUxtaPOSItiOn, then you plobably don't cembme or reframe thrngs very often You 1'1111 probably find that you are familiar WIth some of the categoll!5 and already use them IntUltlVel

y,

while others are new to ),ou and Will extend your versatility, enabling you

to develop outstanding rdeas This catalogue IS a toolbo containing an inexhaustible suppl)' of new brain lools whICh anyone can use to expand their own strategies It doesn't gIVe a lecture on how to do things but Simply leads users Into ateas they may never have conSidered before

INTRODUCING THE KICKSTART CATALOGUE

A80UT TtUS SECTlON O.F THE BOOI(

The first thing you 1'1111 find in thiS chapeer 15 the KlckStart catalogue,

a compilation of over 200 questions which 1'1111 Inject exotement Into meetings There IS no discusston Within the catalogue Itself about what

IS good or bad advertiSing, nor are there tips on how to Improve layout or copy What the catalogue does have to offer are strategies hke!y to promote great Ideas for campaigns In the second part, you Will find sample ads

for each category of the catal09ue IliuStlatlng the kind of Ideas these questions can trigger Most of these mrematinnal (a mp'algns recewed awards at malar festivals and they should NOT be plag.I<I rrzed I I selected

all the examples Illustrated are subjectIVe cntena In almost every category, you w,lI also find exercrses and tiPS Intended to help you develop profiCiency WIth some of the techniques by learning the baSICS In

a md of mduction COUISf

WHAT's THE IDEA BEHIND IT?

To comptle the catalogue, I Isolated the ccmmurncaucn patterns of more than 10,000 filSt-tlass. award-wmninq campaigns U5109 punt,

TV, web and dllect mar etmg, and put all the mformatron tog ethel to form a new oeaeve technique The result enables you to try out effectwe communlcatton models and brilliant strategies fOI yourself At the same orne. the catalogue provlde~ tools you can use systemanca'ly to expand and rmp/OVI! the methods and techniques that people In your agency work With every day

A TOOLKIT FOR THE BRAIN

Sr.;tematrc analysts of the WOII: produced by top (I <Ill PS Ie pattern> and strategies In th Ir t II' .rng Some crt I analogy, whIle others al ways try to Induce a chano others develop Ideas by turning ~ ... ryday s tu thIOg IS dear In every Cc15e eve n the I) t r

WHEN TO USE THIS TKHNIQUE

The Kld:Start catalogue 15 Incledlbly useful when you are 100 (lng for new and unusual campaign Ideas (or the press. TV and crnemas. events, promotions, padaglng, web banners, brochures or direct mailing

WORK WITH A GOAl IN MItID

Before YOLl use th,s tool for the fnst time ma!:e sure that you and your team have a dear goal 10 front of you rh 5 IS ~peclall~ Important when u5mg the ld:Start catalogue becsu If u don't now your goal, then either you Will stumble upon It b ccrd rt or reach II by a roundabout route,

or you won't reach It at all

Ta tto

,.,

s desorbed In Part 1 of this boo~ ne goa clearly In Sight and use

I cess of tookm g for Ide as,

• n Invaluilble baSIS for Start catalogue tan

U remam the same

ron for as long 11'1

How TO uS( THE KrCOTofJI'T CATAUlGU~

formulate your goal and make sore all the team members have It clearly In Sight How can we achieve WIth a line of tallY?

! One member of the team should (a) ensure the team keeps to the Nles and note down the suggested Ideas wlthoUI any cemment and (b) ~ep remInding the team of the ~lcl:Stan Questions lt rs best If the persen who called the meeting [a~es thiS role

3 Now piC· one question from the catalogue at random and put It to the team What Idea does the question suggest to you. what asseoanens does It conjure up? Even If the flow of Ideas seems rather sluggish at lim. stay With Il You'lI be surpnsed by what happens onte your team gets gOlOg

It's poSSible fOI one questron to be so productIVE! that the learn Will spend over an hour on one theme. The longer the better because that's the

ani), w;ry the team Will dig down deep to where the newest, most unusual Ideas can be found

4 When you've exhausted the first Question, choose another one If the team's attentton starts to n"g dUling the meeting or wanders from the subJea, remind everyone of the goal again and repeat the cunent laStart question at frequent Intervals

OJ Of course, you don't have lO use all the IdSta It questions Wort With the catalogue only until you have assembled enough raw Ideas

6 It may 'Iell happen thaI after sevelal months of 1Y0r Ing WIth the 'ld:Start catalogue. you '1111 notice lirat you have begun U) use many of the Sliategies and teChnrquei automatrcally and no longer need the catalogue In meetings

EVAl.UAnrIC AND O£VEUlPI r. 10lM

If everything ha~ gone well, yVU ought to have a subsLanuai collectIOn

01 fa . Ideas by !he end of a meeting Guided by the bMlc OreamTeam rules, IIY to develop ytlur baSIC Ideas and tentatM! soluuons In doodle fOlm Do !Jus belore going on to evaluate the Ideas and finally !.eIKl [he ~

DOUBLE WHAMMY

In pracuce many creauves treat the (Stan catalogue Irke a K.t;ool I.e!. they beg," at Ihe be9lnnlng and · .... ort. thell \'lay through tQ the end This method doesn t .... -01. - In fact, It's a sure fire ,·/a.,VJ III all ueauYlty Use tne catalogue Intultrvely, and c.hocxe any qu~uon that appeals to you ou of any SB(lJon I have also noticed that people tend to 'dirk With lun one

Icl5tart question ill a ume, never With two at Ollte Yet tha s prKlsely whal can ma'.:e It eurtJngi Why not go fOI a double whammy - fOI example find a shoe Ing Idea and show II WithOut u: Or, how 'Mluld :tOUI ad 100

If you lound a metaphm "nd then overstated II wlldlyJ What \1 you altered the product With the Intenllon of making the target group laugh' You see u~lRg two questions at once from different categones makes questions twice as !!XlIllng and may also produce Ideas With tvilce as much punch

USI r. ItlTERHAllONAI CAMPAlCNS AS EXAMPlES

On the pages that allow, each category of i(rc\:Start questions \s accompanied by excellent examples from IntelnatlOnal campaigns NeJI1

10 these e>.amples, you WIll fmd additional c\5tan questIOns Intended to show you the lind 01 Ideas those strategies can lead to Of course each 01 these campaigns 15 only one of countless poSSibilities E pl!nence has shawn that the ckStart questions often lead to completely new realm5 of Idea} often very different from the examples given here And that'S a good thmg because In the end these technIque are designed 10 open flesh sources of inspiration III the heads of your team

THE KICKSTART CATALOGUE

WITHOLIT WORDS

How could the U5P be depicted without wolds?

AlE' there scenes 01 Situil [Ions In which the product benefit could be

conveyed Without words?

How can the beneht be portrayed In one picture? How might the USP be commumcau'!d In a silent film?

How can the benefit be summed up WI thou I words In a Simple pICture> How could a Stoty be told In Simple sign language?

MIXING A ... O MATCHING

How can the product be combmed with somethmg else In order to

make the USP clearer?

MIX the two together' Collage?

Selection'

Rearrangemenc'

Combine several object!. to make one?

How can the problem and solution De combtned to male the product messilg unambiguously clear In a slngl picture?

CoMPAIlATIVE JUXTAPOSmON

What before-end-eftet companson could undetline the product benefit?

What can the product bl' ccmpaied With to rna ... at a glance?

What' md of juxtapesuron could lIi'present !wI SolUllon tn surp"slng provocauve 01 hum I How can lhe benefit be commurucaied by c something from a camplelt-I) un el led

PROVOCATION "'''0 SHOO: TACTICS

How can the product or Its benefit be depicted provocatively? What has no one else ever assoCiated With thiS product? Whalwould no one dare lO say about the produtt?

Can you blea~ a taboo or provoke the target group 0)' other means, 10 draw attennon to Ihe product message?

HoYi call you use a provccanve allUSion Of double meaning 10 make Ihe large! group thlllV

How could the product be depicted 10 have an espetJally hOlTlfylOg or funny effect?

HoI'! could It be made [0 scandalize or provo~e)

How can shock be used to dramatee the product benefit?

REPETITION AND ACCUMULAHON

How can the product benefit bl! emphaSized by repelillon?

How can repetition attract attention, and represen L the problem Situarton In a WItty, provocative or exaggerated way?

How can the benefit be reinforced by an accumulalton of problem sttuaucns?

OMI5510N AND SUC;GE5TlON

What could replace the productJ Who or what wuld La e lIS place In order to focus on the US!'?

How can attention be attraa.ed by omlSSIOrtS In headlines, copy, spa en

draloque or TV spots?

What can be reduced or removed to emphasize the ~nefit7 Hov. tan the product be reduced to Its essenuals7

How can the product, pac aging or ~nefl1 be represented. or replaced, by ~ugges\lon7

WGGEAAnON

What e~aggerarlon could represent the benefit more fOlcefully?

What can be addedJ

Mak!! It blgge-r1 Longer? Hea\ller? ThICker? Give 11 added valup.?

PA.AA.DOXES ""'D OPTICAL RLUSIONS

Increase the number of cornpcnerus? MultIply bv (\\'07 By twenry'

The s~y's the Irmrt?

How can a paradOXical or COrtlradlClory statement emphaSize the benefu of a product or servICe'

How could an opttcal illUSion reprewnt a product festure Vlsually7 How can an optical IllUSion attract attention by ma '"9 the target group playa game'

Whal reduction no matter ho' extreme could represent the USP more forcefully?

What can II d tn..rt

Ma e It mor If' <Itt

malle

m ltll'1g famllrar

PLAY!!<Ie. WITH TI III (

What effecn doe~ urne hM on the produtt or th~ U\er1 How wllllhe product change the user's luture?

'Ihat POUlblhtll'S doe Il epen Up1 How wllilL afft(t the way the user now views the "asl7

How might the user have had to solv problems prt:YlOusly wrthOUI the product?

Where does the new product La e th~ user?

Whal can be ulol'd 110m anywhere til history to IhrO'N p0ltt~e light on the US!'?

How can Ihe product be as!>OClated wah hlSLOllcal Mnts In a w~ that emphaSI~ us benefit?

What VISion 01 lhe future 01 Iutunsuc Image un help to make a product feature ViSible at a glance'

A tHoUIGE Of '(II.SPfCTM

How can the product be presented hem the Viewpoint of othel creatures, thtngs or events asseoated With It1

How can playmg With extleme close-up or exueme dtnance commuOicate somethrng about the produCt or service?

How can the product reveal new perspectives lO the target group1 How can the benefit be presented hom the Viewpoint of thmgs or creatures affe(ted by It7

SPOOFS ""'0 ''''ROol ES

What cpperturunes for spoofing or parody does the product of er7

1 Spoofs What legends. stories, fairy tales, mOVIe plo~, other ads, TV shows etc, can be spoofed by changes of lime place and tone. to put aeress an Idea 7

2 Pa(odrtS- What steleorype5. chth~ 01 behaViour p3.tI,erns can be parodied III connection With the product?

SYMBOLS AND SIGNS

Ho\~ can the product enefit be 1I:'presented male sImply by symbols or Ign~?

H w can wmbols and signs convey a complete message Without I'IO~d5? .... IE' there signs 01 symbols which will com munxate a message I r Inverted 01 altered?

''hat symbols and Signs can be combined to generate a new meanmg. representing the product advantage]

Wha 51gn language can be used to convey the product message WithOU1 words?

COME ANa PLAY

What mds of games can you use to get your target group Involved. fiddles, DIY mstrucnons, something to ma e (fold, roll up glue together look for draw), quizses, board games, opncal rlhrsrons party games, anything else you can think of?

What (.auld you do to the medium (press, poster. duert mall, banner etc.' to tum It Into a toy?

\\'hat Winy, provotatlve or Intngulng Instructions could you use to gel your target group to play?

TelliNG STORIES

What everyday situatlons could you develop around the product to show lIS advantages In the best light? What sort of story could Involve the product as best friend or partner? In what evelyday Situation could

I [ anract attention IA a prevecaeve way? In what Situation (auld It become a star a lifesaver 01 a helper? In whal everyday nary could

It mol e people laugh?

Which of the follOWing drarnauc styles would be best for presenting the product strength 10 an everyday situation or story?

Horror

Thnller Adventure Siapsud. Comedy

Action Costume Lev tor

Drama

.o{ldted WIth?

, absurd story

urrealor

T AAl IT UTE RALl.Y

Whal imaqes do you get If you take descnptlon~ of the product beneFit literally?

What Ideas or statements about the product can be til en lltelally In order generate Witty, sabncal or flippant Visual Images'

What .dloms or verbal metaphors can be taken hter"IIy1

How can slogans, common t}:jlle5510nS l<eyvlOfds or lext asseciated '11th the product be converted literally tnto pictures?

W a slang phrases. metaphors or turns of phrase could be traMlated literally IOto a Visual Image that 1'1111 get the product Dr 5eMte noticed?

Are there any names, aClonyms slogans or olher verbal conctpl!. that can have a double meaning If ta en literally?

ALTfR TKE PRODUCT

How could the product be depicted differently to best cemmumcate

lIS benefit?

Change II!. shape? Change Its use? Change Its location'

Combine It with things from nature or Ie< hnoloqy7 Alter he way It looks. moves, sounds, smells7

Can you change anythmg else?

How could the product be altered to commumcate me benefu al a metaphonc.alleveP

How could the product be alwed to communicate one partlGUlar feature by overstatement'

ALTERNATIVE USES

Where else could tile product be used so as to commurucate Its USP clearly?

Can you Imagme ways 10 which the product can be used m new

and d Itferent contexts7

By ether people or larget groups? In unexpected situanorrs?

In a different enl/Honment'

How could the ploduct Itself represent lIS beneht 01 the problem SlliJatlon'

What unormod~ wifY5 of u51ng tJ1e product NOuld Q,.e a nil ng demonHlation of lIS USf'?

Doueu: M£AHIHCS

What opportunitIes 01 ambigUIty, double meanmgs Of wordplay are lhere 10 me words you use to dtstllbe !he beneht7

How can the beneht be IlIu5UolIt.ed In a p1cture Nlth a double meaOlng? What verbal amblgulu~ emerge Irom the bnel In slogans Dr taghnes product descnpuens. Dr from diSCUSSion In meetings?

Descnbe me prod un WIthOut naming IL, In such a way ,'15 to produce

double mean,ngs of the fonowlng types Obscene

5eJ(ually suggestIV Provocative

Attackmg (the nval product) Playful

Recldl!1s

Parado)IJcai

PLAY Willi WORDS

How can you play With the typography to represent the USP In an effernve vlsuallmag,e?

How can words, symbols 01 logos be Inl:e9rated mtc the picture .thoU! uSing the usual lypoglaphlt techniques?

How can the tenual ad ertlslOg message be relOforced by altenng the typography?

How can words be mtegrated IOto the picture tn an unusual way, aruactmg attention and undertlOlOg the tentlal ad~ertlslng Slalement?

:::0 ~ o

-< .....

-< u

IN THE IIEGINNINC WAS THE WORD

With the followmg k:lcr5tart Questions, get help from reference boob. dictionaries of quotations, popular Idioms, saYings, proverbs or graffiti

Taglmes

What taghne can you develop around your goal or the product?

Formulate the taghne Ilke a book title and try to denve Ideas from It Sample 'titles could Include

The Art of Travel'

100 Ways [0 Burld a House The Shortest Route to Money Ma~e your Home a Castle

What saYings or proverbs does the product or Its USP make you thmk of? What saYings mrghl other people think of your grandparents,

pohncrans, housewllles, etc.?

Can you make these sayings or proverbs seem unfamiliar, or take on a new meaning thilt involves the USP} For example Truth Will pout, Where there's a Will, I'm all/ay, Every crowd has a Silver hnmg

Can the proverb be turned into Its opposite? For e ample The early bird catches the worm could be The early bird misses the worm' What Quotations does the product suggest to you? What quotations

from other areas pclincs, art everyday hfe. the media 7 What quotations from current celebnues might be borrowed'

Can you tl1mk of any appropnate graffrtl7 Are there an}' famous passages of dialogue from films. plays or novels, or well·known running gags from TV series that you could use?

What sounds like the terms ttl t .:Ieswbe th product7 (.an wordplay, puns, rhymes or other, ba loke be de loped from them? Can they be combined J '1"1 d rn ~ord~ from foreign languages1

Wordplay

Can you construct rhymes puns or other ~ mds of wordplay rom the product or brand, which Will underline the USP7 Collett terms relating to the product or Its benefit and tr J them out as answers to the follOWing questions

Everyday language

listen to hOIl/ people tal what common Jargon. dialect or slang phrase; would descrrbe the product perfectty?

How would th£' ordmary man In the street describe he USPl Or someone (0011 What slang does I! suggest to yOll7 RUIl through the foliowlflg examples

An old ladv A lawyer child

Wha centrad ct on

e product provoke? bout oit}'morons like

'eloqu nt

In meanmgful new n57

rnple, 'heartsweec'

One of ~he target group etc,

IT for It Spell the na me

REFRAMINCi

HoI'; can you alter the frame 01 context from w,t/lln v/hlch events are seen. and so change thell meaning?

Is there 3 larger or different frame or come Within whll:h the product "ill! acquire a new and PO~I ve value?

I~ there a context Ifl Which seemrngly negatlVf aspects ac.qulle a posltNe meaning?

)s hele another context WIthin which the product would be startling II surpnslng7

tan you attach a new label With POSitIve overton~ to forms of behavloul, events Dr oblects, In order to reveal new and Interesting perspectives]

METAPHOR AHO MlM.OGY

What metaphors Dr analogies tan be found m nature or technology

that 1'1111 represent the brand or benefit at a qlance the brand IS h~ X'

What can the product or Its USP be compared wlth1 What 100 s like It or wor~..s on a Similar pnnc.lple7 Wha parallels can be drdwnl

What VIsual Images do these metaphors and analogies ~u9gest) What other Ideas dOE5 the product suggest?

What could you take as a modeP

How can you represen a new product by (ompallng It with something familiar, so that the benefit IS Immediately ObviOUS}

How can metaphor 01 analogy present a problem SituatiOn so that It can be seen at a glance and needs no explanatlon1

BlltJI. OUT Of TIt( fMME

How can the adver !>lAg m!!d,um be aCtlvel 11Ml1...ed III the message 10 order to make the benefit Immediately appart:nt}

How can Ole contellt of the medium be Integrated Into the message In a meamngful way?

How can standard media be alteled to grve !he benefit more Impaa? How can the medium be IIMIIved 10 the message III a playful and Intelligent way?

AlTE'UtATlVE MtOIA

How could .m outsize IMtallatJon be used to tell a story about a product In he open au or In a large space?

How can an ouu!oor SIt! be used III a fun way to amact and II1IIOM the attention of paSM!lS·by'

How can an adverbslng message be mtegrated Into an everyday loc.atJon In an anentlon-grabblng wil'/?

What everytiil'/ ob}ect5 could be uied for advertlsmg, to pu the message aaoss In an amuslOg or oogmal way?

What unconventional ad formats could be used to grab your target glO u P i anentJon'

What famlhar plateS or objects tan you use for your ad to attract attention In a prDVOC.atlYl! way'

WITHOUT WORDS

As the following ~~amples show stones can be told In an effectIVe Ivay

l .... thout uSing \\lords K£y elements are deployed In tile picture In such a way [hat they say more about the product than I~ actually seen Ma nr of these plctonal messages wor beca use hey mvrte the vle~ ers by ormssrcn 01 suggestion. to complete the 5LDI1, tal themselves usmg theu own store of

expenenre Viewers are motivated to wor~ out the meaning 10 lhelr own heads. 1\ hich leads 10 a pesiuve 'Aha e penence T hese e...:amples show that non-verbal advertiSing doesn't alwdYS have to use metaphOrical Plctollal language look at these ad~ and try to vork eut whrrh factors put the message across, Without uSing either I{ords or plClofial metaphors

ent

(I en! Agt'nry

Cr~dl'~ o 110:(11 on All DIlel:Uon Photo

1111~ campaIgn Ie» boltlt'd Me uses Ih~ lilghM l\ea~wllI\9Iy E..Jl<'n!/','"

(hem

A<JenC'1

"e~b\e O'IKlIOR An DueclIon/Cop)' Photo

H<Th n SImple 1m"!!,,, te ~ ~IDIY ";'I(h I~ lell to the y,..-1ot11O tornpk'te1

'" " D

C ... < u

..... " u

(j,enl AI;J'''cy

CrUIM: O,~on Art ()jrKllon Illuswuon

H_ can 3 'IImple wsuoll 'm.lgf deptct 3 p«Ibl,m ~tuJtlon ~ IklrKJlyl

SIGNS AHO PlC'R)GP.AMS

In the followmg eu:lSe. uy to translate simple statements, (ommand~ and Inform~tIOn IOtO a pl[tonallanguage thilt can De mrernallonally understood The aim IS to reduce oil message to a !;I9n 01 a plCtogram

by rmrurmzmq the mfo,m,'ltlon, as In the e:o;Jmples on the lett. Notice lhal It\ not .]Iways possible to wmm nze OJ message III a $Imple picture Wllhout \\ord~ But use the e eruse (0 Itam ~ur .ability to tonvert ~tatemenl'i qUit Iv Into non·verbal s mbol .. - tins Will boost your

lrflnQ to come up With It I Ide ~ fOl logos Intended to comrnumcate \Omethlll9 Jbout <I company or what II does

creatMt) InCident It . the strat

I~ also \ery helpful when 011 r

< .. c v

... a:

MIXING AND MATCHING

A PlCT\II\E IS II. A rnOUSAHO 11.0

The goal of these lc.kSt."lrl questions 15 to represent the central advtltlsmg statement clearly and convincingly by combining er assoCIating different things 11m method of developing Visual adveJtl510g messages 15 one of the most frequently used today and offel5 infinite poSSibilities Try It for yourself - there are no limll5 In your Imagination

With thiS 'ngle mlOded prop mon In min nd loillwilng the DreamT am rules ~t It loobng for p ctonal \, ay 10 rcpfl'!-enl

The obJ

statement about a product at a g1iln It S best to a

acceleration The

qu E'St on r5 What are the ey leatures of

acceleration and how can they be represented PICtoll~lIy. Without wo'd H e aga !l vou ould de lop as many IdeJS as you (an _

S{HIrt5 car lwa rs

don 9 up

th I I te

rget

ou

spo HO\\ can the ploduct'~ 'd 1 thin 01 the era

Chent

Age

ere 1"1! Olf CbGn Art 0" Ion PhOIO

luu""

How un",,, plOblecm and (omillne;l 10 rna tht produd uMmb''lu<1ully dUI In J \JOli e p'~lurel

\'Il1al can lit> a'500ated WIth th plOdUCl to commU"IC;.ne 115 feature) on a metaphoncaIICl.~I?

---~~----- ... -

Clrenl Agency

Cle,lIrve OUNtie n All OlletllDn Photo

IIlustrauon

t thing, tan be lin ed toqether III

Client Agency

Creatwe DUec1lon Art Duetl.lon Copy

IlIu~(Jalton

What ean ~ 355OC'altd WIlli the ploduCI 10 ~ mphasile ,15 5pK1al fcaw res1

OUi N

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o

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c u

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u

I 't \'V I vnor de poe )

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du ati n ...
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nter ...
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>< alent ~.nty

c.ta~ ," O1rtOlOll Art D I r«\>all PhOto

What dllngs tan be combined 10 reprtloCnllhe benefit In a humorllU~ ... ay1

How In the q~ar,ry of • prodUCl mbrmnq Ihlng~1

U:JMBIH,.110N I<:> ,. CREATIVE SlAATEGY

One of the m051lmpol1anf creanve strategll!S IS to cembme rwo concepts or objects that were prevJously unconnecred. so as to produce somelJllng completely new tne result should be a SImple, unambiguous advertiSing message for example, try to combine the following elements In such

a way as 10 make the benefit Immediately apparent the product. pails

of the product. people from the larget group, the product's raw matenals. tile onglnal problem. the benefit. !.he context, plants, padaglng or people who have nothing to do WIUJ It The tess the things you combme have to do With e (h other ollgmally, the more exclUng and sUlpnslng the result will be Treat u as a gBme nd try absolutely everythlOg

A

COMPARATIVE JUXTAPOSITION

CompiHatf\ll.' JUY.UlP05It101l~ :;ucn as before anc! after are undoubtedly some 01 e classics of ad\'I!rtl~I09 But as the exa mples on [he rof/owlng aqes demonstrate U1l.'le s always space or bnlhent ideas The questions In thrs section ilre Intended [0 dramatize th product by means of

cornparanve tapas- Don of the benefit and he problem suuanon

The compansen doesn t always haW' to be 0

us 110\\ ever It can

also reter to sol'1ethIOg QUIll! r mote and so generate a certain rension ramer s mila! to the effect 0 a Jo.e

W d problem ~1U~llun

mpJlgr fOI the women ,ling.". d~p trnent of a major store

r n'

... e :y

How CAn tile produ(\ be urnorou~I~. ul'ng comparatove

CliO"1 /\gene)'

(~rr.~ OHeaoon AI! O".a,on PhoLO

How Un 110. b ... 1I1 be >hown In a IIICtul. u~lng CDm~J"~nl

Double billboard lor a IJundl"1lrrm Clrenl

Agent)'

(,UlNe D,'e{\Jon & Art DIJK1IO<1

HtwI can pl~ylul u..e of tht medium crute a oomp"atl~

I" uposluon thaI communrute! Ill. ben.ht In ar unamb'guou, wav1

II ..

n,.~ W1tty TV \pOl compure a t.'IIlQon h~,o W1{h naled ruhty

01",,1

Age~

illalnle OllKllon An O1retuon O".cb:u ProllUUlon

Ad 1o. , compule. qarne whK:h 0 lell I'M) COUflO"S 10 c.hooIe (yom

Chem

Ag.nC'j

".alM DII"«bOn An OllO(:lIOn COP'!

PIIoIG

HO'IIo un compa' If, • llAtilllCX'oon be u5<'d to ,.,nfolU

the beneht?

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.... ..

•

to (eU stones, aver~tate the benefu or present new prock 01 the USP

In concrete terms let the KlCkSt"r! quesuens en this semen ,"~plre you to fmd new war.; of commUnltaLmg your product mes5<lge The example5

on the allOWing pages ~how only a ~mall P<Jrt of what can be achieved through reP'flll!on and accumulanon

O,enl

~11t)

Cr~at~ D,ftWon AnD~on

II ~Uill on

REPETITION AND ACCUMULATION

RepetlUOn attlaet5 the most auenuen when Ifs enhanced by a puzzhng vanauen Tim IRd of vanauen IS achieved by disrupting a regularly repeated pattern for eKample, when there IS a stam on a clean piece of fabnc, the viewer's perception IS lolled and heir anenbon IS focused on that spot Repelilion and accumulation can of course also be used

CoMl'lAATM JU)."fA

AS ... sou ce Of IOUS

tn team s stimuli In the search for Ideas th tension between the antitheses and

I ft ofl If these pailS of words don't terms that fa e you onto an abstract rk Just as well For the tOPIC of 'fashion d to rnelude severallhous.and pans

Oll~ non on

1~ lone pleasure )'DU can enJal JS many

II 'OU II~e No II m Its

I ~

How t3n repeuuen lit! bendl( ~u~lIy1

Ilew n repeuuen , lion ~nd represem the ruon In a UI mg W,lVI

I . ,_ I •• L. .• ! I t \,." t I.,·.. "". I" •. , . , • L." I .', _. • ., I • I ... , ., I ,:"" • ~, . II ' .•.• I j

-, 1. 1, 1,l..,_t, I .. 1.,,.,,,I •. h.ll <1,"1111'1 I\}' tit 1: "',,-'" .,1

t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t i bet

ed By Cllln '(OUf eoneem $lIlu·Tlbet.ln

bon

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"

Clttnt Aqell('j

C,ean.t D"ectJon Art Olretbon

Photo

Huw «In reptb~cn of 01 mQldphcr be used to porltay the btneht In " PIC1\lrt7

, r Kfdltll IggQ Wi tho )'1T1DoI for a h"dltbe"t to syrn Do I to, jOggllHj

I I

How","

til benefit lit reInforced by an a«umu1aoon 01 problem StU/illlons?

Chl!nt Agency

C,e"u~ DHe(tlon An Direction

I lIulllBt I 0<1

Handy Field Guide

,.-----~

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-------

=::....-.:--== .... _-

A

- .,,""

...... bo4 ...

is about to destroy the world.

tries to save mankind,

~-S~ but he's stopped by :r.~.

~ oa:t"--'tA ..

Fighting against ~~ -. ............ _'-",

he's able, after blowing up

to save the world.

And, at the end, he gets a

...... -

An Olletllon

Copy PI1oto

HI1N ""n )'011 !.1St ;)(iCl.lm~lallon to g,ab ol!U'nllOn and acto'tftll;e the prDdua In 3"

ernerta Inl"9 -t1

... " ..

u

EXAGG ERATIO N

ExaggeJatlon In the depIction 0 fearur 0; the product, oblem situaucns or solunens can grab the VIewer s anenuen ilnd ernphasce

and simple, to avoid any ml5unde15tandlngs that would lead the I

argel group to rna e neqaul.'e assooancns Don'l have any qualm~ about

exaggerattng things bUI do It With a W'"~ so that the Credlblhty

of your mage doe<.!l't suffer

the belle It \ Ith tile follOY.lng I" 1!rstalement to d~1!lop great .de

quesuons u distortion and

ke sure ma the message IS dear

VWBUS@

WIDESCREEN TV I 1IIOMSON

Olent Ag~ncy

Art Olrectlan (opy

Photo

Haw can llle benefll be !hown al a glanU! by 1113 kI ng wmetl1l11g ",d Gaily Larger or 'llNlle.?

H OW can the dfeas 01 one p,oduet fe3ru~ be Wl9!!eroli:d rn OIde. to emph~ tl1e benefit In

.l Wlnyw~/l

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'The ltd of ~o~nSlon only c.,troen \.now haw to make '

Chenl

Agency

Cteatl\ll'DI~on Art D,'eCUon PholO

How mlghl o.1ggef.Jted "",dence support the old's clalm~ for !he benefitl

[ngll'e IIcnefll5 Phenom.nallOwmg ~" Chent

Agt~ty

CrealMl 01 ecuon

All " Ion Ph"1

What could be

ex.J g r"c>vc the ben.1i 11

AgelK)'

Cleauve DnKtlon Art 01 recuoo Pho\.O

HC1H un the effectS oJ ~ produCt future be et.a9g!r.II.ed so muth that word~ are unn~ry1

Ji..el .)Iv:lra..

J...I .I <11.0 1'1" 08lO1.. ~1A.v ...

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TURN IT RIGHT AROUND

Domg ttl OPposite 'IYhaI people expect 001 onl opens the door to ne"

d teres can also r~ad ttl surpmes Stand \1'1 n9S on rherr

e th usua put the last thing ~t, tum

~ ma\;e beau

res 0 product Its ben

OPPOSites War v th o ttllng~ th t

great tel a

, f l~e plOIec!lan 01 $n

liD'''' " .. ploblem ~ by swluhlng

(JIM! Agency

Ctea!Me O,r«1lOfl An 011«11011 Caw

PhD 10

HOY! ~" " br .... r.1 be repl_nled Ii)- sho>Mng the oppOSl~ of ..... hal peo~ expect?

"YOII II "lloO gel mon~ I,om us ..... MII no th '"9 ~a ppoens to 'J'IlU Cam pa"ln IllI an Inwrance company.

CI,enl

Agency

Cttau ~ Ot'KDon An. Out'Cllon CoP'l

Photo

Howc.an the benefit be Illustrated at a glall« Iry Standong !lit SOUl allon on 115 htad1

'lV31$SWd SlIl!ilN NUIII! NNIM

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4 CI1'Pl> I AI}e>lCY

• ,~ Dl'ecDon

Hev. CoiIn the 11.11<'1, t e.ted by tra \jlOII1,,," 11\11 WqqeraLOn?

w "rp.\.~ I p,odutt

te IY .. rod ~mf"'t~

A \'01109 boy !\ d es IIUqI.! g~ L~ ere ~h baII'hOCld. In[&IJ 9 h ~ ga rIlen gale ~ d

up tathe hoY.Sf ,,~ the r>e'W llO'~ p-'".t<l RtYe ~ \\Iy ~ gets ff h , Dow ~op!O<lmn III~ t.:I' .... ' Itt 11'Qr. qe 'no but •• <. ",;I ~ , \ to '" J:.II II n.d po I~ II ""til lJ'e~[ zea 1 O"~ Jl'Kf JI J bmt!' He d!!e!. ~Ol IT'.Y..!o U.f ,ad ate 9111 e tPf ('\ e 0

the wIng m"~ We see the ne ghtHIu, [.>51 II SIlo II gbnl<! on tho! scene from I~ hoo.rSlt When ~e ~ done !tie boPII~ h S "'VI 'h 1M pnd~ ~'Id goe> to Ito dOOI 10 n ns tn" be 1'h~ dO(! opo!n$, II ma n ~ we' , • nd tne \lQy 100 ~ .. I hi m .'pi'< L"I nl v lIu!llYIu,ad of 'K~""III} 1 ...,,1 -4~NPd P ,-men!. the W( I'UIlo h s lu~d '" h s JIO(_~!. U\~ Qui" b.:In\Jlou: J~d p esses !ir.mlully nlO the m'n lUInd

A p;l" 01 YOU!1q kr.~ ~,e I~rnt.llnq na'l!\I 00 the (!)UtI! v,hen ~e Del] ~ 10 pull

, 10 1~;Jp l«\ a,f' h s 1001(1\ ~I " lao., 1 i 0 (Ol'doml t tile n,,1 Ira",

thi:l tOUp e pfU(1.'t'II1fI 01= r3dl !)the one pitt." tklth" .. q lte aflOthr In II ~Igh 1 erGOC \\'3'> !he ale Imndmg there tiotMd \' h-en the dool sudd!nl~ open

~ J th ~ IJ.! renllo e nl"' Ih~ room un .... "", It<l ry, M't<l Th, J I. hot i!d to d \.tI7>~ I.I't f d~u9hm "',Ih m I I>JI Y ojr~ "title 1",[ "",rnMI, the metner puts hel fta d plCl[«Irwl ~r~ .. j,t11ol!l 'IOn, ~,~

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OMISSION AND SUGGESTION

Pau~ gf mus c h~ covenng up can be mo-e erotic than barmg all and 0 :es often rely on ml}qng lines that the hstencr has to suppl

If you want to underhne or emphasae s.ometil!ng u can often do It

am ss on The fact that InfOflr at on I~ rm Ina IOVO"''eS the VIewers

them from completing the picture In Spilt' of gIVing mlnlmalm'o •.

.' rl'lla"on

the tildes mvue the viewer's Imagination to prOVide a IInee" •

... 1 I'll enSlonal

phantom Image' 01 a cube Many people also g.et the ImpfeSSlollllia[

tne cube IS III flont of the grey circles

by orong the to p an actrVe part n ur enng what IS tlldden

qu ons In IS seenon use emtss on and suggestJ n to generate

tement and atten on.

COM PlETE I FOU' nON

uppty ml35l1lg Informal II I rr>aglnatlons. ut 01 ell u~h I Slap

..

Client Allene)'

Clu!Me OuectJon Art Otlewon

How can alUn on be OIIuacted tI'IIough omMlOM .n head"n~. copy. \9Ol.en dutlogu~ o,lV spa!)1

The addres 01 a denb5U surgeI)' appears In th ~ 9.1 P betv. een the lee iii

nenl

Agency

CI~atrve DIrKtJon Art Oueenon PnoIO

Haw yn om_on be used to und erh n e th e 1I~1u11l~ of a prod \K\ Of StMu1

I U~I restaurant

Hu.' n omlS510n contribute

r the product 01 a servICe I

.... ::I 0,) o

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ea::

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Him an omiSSIon be U$l!d to O!.lQt. 1/1;; Imagmabon 01 Ibmulat. Cun~lIy1

HILIP MORRIS

LIGHT AMERJCAN

'I

I' ~. It;",.

. I -.:,.

pa "'9 01 ~ner.1 be Irpmenlf'd

Col mpa '9" FOI II qUld h ~ n~ ~ap a"d towels Cllenl

A9cl>Cy

CsCJ{l> Dtrecuon All Oor bon CoIPI'

PIl4IO

H.,.. <iI n 'W9gHbc~ 01 O''''S!JOO rtpresenl !he ben~flt on a Wlbng Imilge1

..«:

-

PARADOXES AND OPTICAL ILLUSIONS

IF you really enJoy theoreucal models, here's an attempt to represent paradox In a way anyone can understand, In one sentence, a paradox rs when the very exIstence of a thing negates the cond,tIOns that make that eXistence poss.ble 'I'm IY1Ogl'

her son two ties fill hrs bIrthday The next day the son puts one of them on and goes to VISIt hiS mother proudly weanng It. but when she sees It all she says IS 'Oh I see. you don't like the other one' Could you find a way out of that dllemmil? Hen! are ;j few lIIore examples of parade

How about another explal\3[lon? A para do_ IS a statement WhiCh, although proceeding from logical and truthful premrses, nevertheless ends 10 a tonlrad,tllon Somewhat easier to take In IS the category 01 'hidden command', which fits Into the same general field as paradox.

In ouler to obey the command 'Do NOT Imagine a big, black sheepdog I , you must do exactly what It tells you not to: you conjure up the Image of 3 big blat sheepi:log In your head, only 10 negate or obhte,au: It afterwalds 'Dilemma situations' also belong In thiS area These appear to offer altsmauves, but no mane, what you do they always lead to

the same conduucn One splendid example IS the mother who gives

I c.an resist everything except temptation Eubulldes the Cretan says an Cretans are liars Th e rntolUca uon a f 5(1 bn e~

Evel)'lhrng begins where everything ends Laught!!r 15 a serIOus matter

Only the present lam for ever

Moderatron should not be taken to excess LIVl ng means dYing

There are no mistakes In th.s book exc.ep! thIS one

... :>

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-

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-

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Annoy the neighboQ Turn it down.

Clem

Ag<!ncy

Ct~"I1'1~ D rt(Po.n All o;retbon

H!Jt< can J p,JradOJ't<!1 01 tonDildltlOfy \1~le!I)~nt ~mphAlle lilt ~~flt 01 ~ product or ItMtI!1

comnlarn ~bo.a)'llltlr Ipud muffler Jga1n

'rio one W1 I"

CampaLgn fo, toll ~!creo eqUipment Chen!

Hem could JII oplOcJl ,liusrOIl

P odlKl future w.ua IIy1 repr~ I

AgellC'f

ueatM OlrKllon An OJ retUOll IlluSIr-1l101I

"Shaken, not stirred."

Cit, Ihl .lIb l~l ••• ,,.. Chor, , _

tan an OPIlt.ll ! "" trt nvcNt ng

PROVOCATION AND SHOCK TACTICS

nI on s silo

want peepl 10 flObc!'

)1lU fI be PI'OVOCG I f'rOI n9 mea"15 tha eng g. InCl1l1lg

me as be1l19 00 at

and \\ onl

mple

m of IlO5 e

a on

fO

Hl;M<on)W use a prllYOC.i1ttve allUSIon Of dO\lble munt"!! 10 md<e tile largel gfllup th,nl?

(bent

AI:j.ncy

CtnlNe 0. rectJon ArIOUKilon (011'/

n \ u breJ 'taDooo. I p by other m~Jru ~I ~~1

ng ImoMje, or lh, plod u ,I J

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Fh

p

(hent "4rncy

UtJ t .... OlfKhon All Oilman

1'1h;1I pra.'OUtr. .. d. ~ could )')U Ul" to preseni 1M ~ntfi I (OIlYl 00 ng1y1

(11~nl Ag.n'Y

C'e~~ Dlltalan All D""won CoJ7i

PhOIO

How (an ~Ik be 1M'(( to dlilm'lLlf' thr ~n."!

,_ '" «

PAYING WITH TIME

Of r not

Plent IK luppcnm

nilS m~ 'I' Lr'l\ me '1OlY 0' WQrn

Roc port VIWS The IJ bel on ""eh shoe 9"'tl> '~toIm.tJon .boIIl th~ ....".", I~ OlCwnllallc.s In '"hlCll !hI!)' I'Iore W ~ wh.lI ~ ""., "elP«I.11v hkN ~boIIl th",m Jnd SO all.

0.""1

Ag~1'>C)'

Creal"" D,rectoon AI[ D'rKtIon Photo

Sourte

Huw Col" the .I~ 0' lime be ~preJtnled 10 und.~'n. ~ bot hl7

Oenl AQcl1Cy

ere O'oa~on

An Or.,; on I'l1010

Hav. c .. m lhI.' bfrw:fil Dt~mp~ by p;Ij'1l11j1l'f1lh plI t, ptt5I!nl nil full'"

...

A CHANGE OF PERSPECTIV.E

A change of perspectrve 15 first of all an e>u:ellenl way to generate

iJ Cleal've Impulse during the precess of 1001':'"9 for Ideas, and ~condly 11 can be used In advertiSing to show the talget group ne\'1 or rnteresnnq perspectives on the product. The examples on Ihe followmg pages show a small selection of bnlilant variations on the Idea

There are two wa)'$ to use changes sn perspectrve as a creatr.e too'

Fllst, they can be used spaually, by showmg obJect5 or Situations rlom unusual wewpornts bud's eye View, extreme dose-up, extreme dlSl.1Ince. detacked from space and time frem outer space" or simply hom every possible angle The second way 15 to Imagine yourself leaYlng your body and slipping rnsrde oilier people, ob.ects 01 arumals, Many aeatIve'i symbolically Lake on other idenuues to get a creatIVe 00051 hom the new pomt of lIIew Walt Disney, for eltample, used to 'become' the figure he was cunently drawmg. gOlOg so far as to speak qesture and sLand like the character III hiS Imagmatlon

It seems rather good.

'8<0 here' nllS campillgo f!lf PengUIO Boo' 5

IIMIe) VI.' ..... '" ID t !he world from

o!h~r people, I'O'nl "r VIto'<

O,enl

Ag~ru:y

Cle3~,,", DUl!CIMln All OtltClloo PIIolD

Haw un ;, ~Jful "MUllion to trt II new poeOW«Ir<e dernonluate the product > re.1lules~

umpal9n fa. a \hem!!' 113 0, nl

Age",,;

CJealr.e Olll!Cllon An Dlrecllon CoP'!

Glenl

A.g~1IC)' uea~DIIKlIon An OnKlion PIIo\O

Saulte

Hgw un ttoo produt! r~al n"'" poerspectl'ieS 10 !he \argol group?

... ... ...

'"'

... '" ...

... ...

IVt TH~OUGH IOtNnflCAllON

nd d ISY can be In hlOq bUI d.1I

<In IIlle, !heu ldentlty. or chJnge thell POint nt th 10 of other. I you re cnry enough

• It wh I prophe or. des and mOOI Ine men

'1ledge 1'001 thel, I Inl tI1~ Pit!! of Ihe CI 111.11 Of obJ I

(I ~I\I ~ncy

Cse ''t Ollf(tlOn An o,'tClIoo Photo

Invot..'t'd In !ht' theme of lite cJmp;J '9n You n try lion I'OUI own 01 !nvlle Ihe \\hol .. team 10 t.l e part 1: ell s nou I and use all ~Ne11 for e mpJe, 101 an ad Umpillgn ~u could Iii e the role of ,prodll Ihe client J Ih ~SISIJn the pac .19on9. or a shelf m nd de lOp $DIu lion Irom the pe",PI! I 01 the p pie 01 oble< it S ImpoI1Jnl that Ihe qreup should JheJdy h.l\"e $Orne e pt!'I!;~n(e 01 IpplYIIl th method!. and $0 won' find them 1111 or ndleul U~

P~lo.I~ Ih.tl) d hllN~Ub4e
OC'ft1
A.qrncy
Cse ~ OUKIlO<I
"'IOI~
Photo
" of
.titan pto
Of U ~!U '1:, dll«ttd try II v

SPOOF

Dp

OOIES

Iii te 91Vt It a nl'\~ mC<lmng BUI ITI 1

a e Surf that I

1'0 tJ'o. Its n laa I tea tures bt-c.J I

• lUoo! the COITIIC elf

nd on the pl~.uu ect

- re 01 recognillng the

ng the pa •

;;..
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t I
r.
- ~\, -
-
~ A ~utlful \hot hIm ~ a h.rrndlQlTl .ulth'j <log trot UIN) WIth 1'1" ma\IOf.n ~n JtrT~~, SIOltIng The "'~~I on .MImlle ius 91O\\y <O.It ond h~ pcIWI!rtul bocI't .nd the. _r loUpport'l die Impt6Slon \IIll m~ "~I 4noLh<!. <OITImtlO<! 01 dog!ood

fro<! ,. 9'UL H. IWlrl'lo ..,.nlS I.Q "by Just Iool I him I H. \ got.., II\Oj(.l\ -rtY 8ul h. SIIrr

can up qUI. Ih "\t.

cold r from the Indge II>< c.tmt I1JIM to !he doq 0 rid U wddenly /NeJlro that h~ \ thI! !-peo\ ~ Now h. Llln d.",-1f:lo 10 ",motl and e:tplllln I I ItI5 IMMel dl!KNa ~ ~ ~nd U'")!)''' I" " ~.. ,,~h.rT' 8u41wi t

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,~

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SYM OlS AND IG S

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'The IJne:sl d~hwry ~M·C"~ In N~~ (.JmpJ '9 n 10' J n )nle me I PI! nq ie

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Agency

CI~IIVC o.Jedlon Art 011 (1Ion P1'IOIO

or S1gni c.,n be u!ed 10 ,Mdly and ttl IOwIYI

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COME AND PLAY

The/e are hundreds of WJYS 10 awaken the urge to play games 10 both Chlldll~n nd ad~l~ Remmd YOUI target group 0 the gamu they played when they were Ids set them nddles and puales or I:ilallenge them

to a contes All games have one thmg In common they only WOf when the player la~es an dctlVl! pall .. nd IS prepared 10 devote some anenuen to Il So don t m 1 e )'Our game 100 complicated or too srmple, but lei peopl expenenwa '>/.'nse of tnumph that Will produce an 'Aha I

or J "YesI' These exarnples are lust a small selecnon of the ways

In which you can qrab the larget group', auennon by gettmg

them Involved 111 a game

Thl$ ~rtll.l"9 Qmp;J'!I" .~ rrJdm peel of O~ 0 II> d~ ftom ~tn;)11l11 ~"" PUll!'" tIM: pllturr 10 (HId 0\It .. he~, u s th<! og~1 !log lor thl!tn

Client

Ac{.ncy

Crratr\~ Dirl'CMn Art DiI'KlJOn PIlot£!

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On the nqM ,tl1! b4 j)'.q 01 a mag~l1ne ",th 1n ~d tOf Vapon ,nSttIlC,dt RoIhng UP the maljlll1ne C)NC1)'lU both rhe v..pc 01

,1 ,p,aop" lOd Wr( 10 swa' fhes tn 'he Ifild'\l40 I m nner

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NtDI~110n

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TElLING STOR ES

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('"'~''I: o.rKWn IVt DUKIlon

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tI", n iW 'la~ n evtr)d;ry SllWbQIIINIIM'~ JOU' p<adLKt U, ttflln! of .n""wnl

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AtM"H INC;' 5 I'OS ~\ .l~

If you want to rna e sp~(e lor your team 10 spread their wrngs, If'IlIIte them all to pl.JY this g<lme Assume that anythmg IS ~Ible and ask

)1)u~el What If '

A fM possible ~P.iIOIlS of 'What II '

Shaking OHlhi! normal IIml! IIIOrJ~ of our 0IVl1 rules, standards values and bellel sy..IClm 'or a While In ordel 10 enter vllgm temtory In our own h~ilds. can be extremelv ellutlRg and open the wa,' to Iantasnc ideas,

Try II out In the te m under the DreamTeam rules, and allow a little more limp. than usu I Ie" the lust mel.'ung of thiS lind You'll seen nooee that the Iitlle phra Will" II • helps 10 11ft Ihe bUlden of reason and

unl ash Mr "

o What If

me product could defy griMly?

What II

the ploduo could make ilmmalstalk? e What II

the produ-.t could Ie' )'Ou lead minds' What II

\he pr!lduct made IllIOMlble to _ Into tne MUll') o What If

:itat!: )'Our un elabOrate ttl rr T thrngs otl"n II eye Jnd remrmbt

In .... al rf • lorm and thlln begin to del/elop and IIr tenes throuqh to the end, because the best d ply buned Do 111111 With 11 Iwmklf In your • " th~ rne1!lrngs funl

the "radun was made for wal '"9 tal '"9 dolls?

What If

!.he ptoduct could gT'le you an orgasm?

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TAKE fT LITERALLY

Eve day 110 use familiar phrases metaphors. lan9 pre5SIOns or cOmb,naltons of words wh ch, If we SlOp to oo~ at them. cenram buned JO es absurd Images or parado. ,cal suuauons r taklOQ ~rythlng I[erall for he next two hours and see what happens! You II notice that

the \'. rd-for word tlanslalJon of language IOta dlfeer "Ictures ft

.. I) en leads

to comical absurd or surprising Ideas that can be turned Into hugely

successful campaigns Have a shot al Simultaneously translating all the 1'I0ids you hear or read directly Into piCtures or shan fIlm sequences

b<'nq rh. 11 me 01 a CO('t"lI.

IILI I~ III ~p.JMh '''''ril ror d~'IY

What NOnh 01 phll~ a\lOCli!.ed wttll 'h~ plll<b>ct can br translalf<d Itterally Into a p'CIII~ 1

. fll!'lh 0 rood to, lie I Ie' the ph Clogr apht Cllenl

Ag!n~

C rea 1M: 011 L'<IIOn Arl Oll~cuon Photo

nal mal15hol

me lapllors or III r h~/ally Into a ~I p,cdU~1 or \.",

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HowCln COmmon e.1I!e.6IO~ '\IOCI.ted wnn 1M prodUQ 1M! CO~ htetlly 'nul. iI'CII.Ire?

TRAm '!'OUR EAIIS TO UE THINCS

Idros " ll1e name of J mal I'fOm01l0ns mag]lJne Agon,),

ling ," d

The best \ViJ,y to develop the ablhty to t.11ce things lnerally os by Immediately convemng spo\!!n words IOto hteral Images IR 'JOur head,

as soon as you heal them saId ThIS could be In creat.""! meetings 01

bnef d1SC1.lSS10ns, or even when you're hstenlng to a spee<:h 01 OJ neVIs report, For example ")'011 hear someone complarn,ng 'He'\ always t.1klng me (01 a nde 1.J~e It hterally and rmag,ne the sane GIVe II M muth colour and emouon as you UI\ You'll ha\1'! made good Plogfess 11 aft2r a IInle nme, you can conjure up a p~ure or .J film sequence flu /?Very ptuase )'Ou hear lor read} word lor word, WIthout needing to \top and lhrn~ Try II WIth the IoII"",og

PALm

I'm O'Ier the moon

HIS Ideas were il\ot down by the art dllettor Pcslef\ attract people Irke llies

He's a bn dim and lives from Mnd to mouih.

sprinGS

tl"nt AQency ,6;'IOllf(IJon

for example, rf}'llu hear on the nl!WS thai a m,"l!iu~r 'llew to "Tokyo yesterday 101 a ensls summIt' )'Ou mIght Y1suahze the minISter gemng InlO a plane allhe allport and flym9 O'II!I a map to Toli;yo, then tllmb,"g oul of the plane drrectly 011 to !he summrt 01 a wltano iurrounded by hnle clouds that represent the (O\4!>- See what pictures come IIItO )1lur head If you iii\!! the followrng pass.age flom II sporu magaZIne literally The: true sports fall IS a number-tllJncher and lIVes on ~laUSUCS and polnlS lable!L He often surfs Ihe Ne~ stuffing hImself With all the mlormancn he wants

s (1 n

(Ilent AQtncy ArIOIl1!'tIlOn IIIUS\fouon

k. these IWO 1090\ I the ... I~ 011 n mOf I IhlnlJ~ hwally

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CHANGE THE PRODUCT

Altef1ng the product means changing Its shape cutting It IOto pieces. adding thmg~, subtrClct1ng things bending It squee2ing rt, bnnglng II

to life, blOWing It up, making It transparent uansplanunq It to another bod~ or letting II rol You'll find there are endless pos.slblhtle5 of changing It phvslcalll' or glVlOg II a new meaning Get the team to thm about

all the things thai could I:'I! done WIth the product Without ~bng first

If the answers a~ light or • .. hal they mean Tal nonsense and really take off You can t JUDge wnether what you have IS good and apprepnete unnl you ve gathered as many Ideas as pOSSible to choose from All you need to do IS let the Ideas ftOI\ Without crrtrcllIng a ny of them Do the craziest things you can thln~ of to lhe product and change It exactly

as your fanCj takes u The exampl In thiS section a re JUst a few

of the poSSibilities

We \1! been having lIoubl~ 'Vlth 100 much green Campaign for a Japanese wine producer bJ'Ed on u51ng recycled g13~s Chent

Agt"G'

Crea~ O'leOlon Art O"etton (.()P'1

DID

MOlltnJon ." CoIJI PholO

Ho", t.Jn II>!: lI'oour;t ~ altered 10 !how tilt USP ., a glanu?

(.1mpa'gn lor a brea fa~l (t. pre-.1!nll cOI\~\lpat,on

Cllenl

MeRCY

Cl eawe DlItC1ID n Art DIIKUon Copy

Ho' be le5haptd 10 communi on a melolphoru:all_11

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ISEWARNEDI

Th. wrappt" far d pac. at Bah n bl%U~!5 shllWlo ~ canhnuGuS chJ n 0 figuln holdIng hand~

(llenl

AgI'flCY

Att D"ecDon Photo

How tou be dtpltled dIfferently 10 9 appt'allo the urgN gloup

'If Papilion (8une" vl Whal el'" (ould we e II m.l!U,ed In " (O(oon '/" thnt

Agency

tIel ....... DIrectIOn Art DII~llon

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ALTERNATIVE USES

This secuen 15 about pIa 'ful (lateral) approaches to the Ide 01 md n9 new UI-e5 for the produn VI here could the product be used, outside of Its ong nOli ccntest wnar ne,l situations could It be pUI In [0 emphaSl2' the bene I hI9"'lghl a feature through aggerat on or revea I iI nell pen.pertlve Of an un~ted function' thiS ecucn ot the Ie tart

ralogue IS an open In 1tallOn Of YOIJ and you team to (orne and play

So 110'.', about It? An\1hm9 IS a' DIVed so long as It sho 111

I~ eteam

the wa to nl'\1 Ideas more lime and III: h 'e~lIrccs You

tan even I~t

yourselves get diverted from he anglfJaI question to ('\plo

I completely

d Heren! pastures The mDSII'l1portan! thing I~ that you Cl L

, 1(. With the

Ie tall questions and try to come lop IV th as m

n)' Oll9lnal Ideas as

you ~slbl can

A Wi~r~ t1 p.J11s on hi) P'Olearw: lI'a.rs and L.Jt~ of on illS "a~bo.J'd t~nlali( 1IIro11lrJ'alllry Ih~ that he I) m..uw of th bo,a,clln E'.try 5llUaOon No\ unbillalt..., lhl'O\l!lh the 5pQ1 d_ 11 boPc.gme tlea'lhal ht <S br1ng pulled thrOllgh ~alll1n wate. Jl the )!a Sedge 11)' In Aud, QU.IIlO

'Mth lou r ..t.~1 dl'lVe

C1ien, Aqency

(sea , D"~on All 0 recDon COII'f

!'rod u(\!On Ooreaof

'n ",hal unusual tOntuu COOid the JIIoduct bf used ID P'OOIOle I~ m~ngthl'

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liow CQJ Id thE ct, II I P "lol'nt Ill. btntht

pr m ~tua100l11

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ArtO'Itc.bon I'tI to

What ntw {OnlUl CllUId 1M Pfooua bIf ~ r, UI

... nd.r! • ben~rt1

urn~lgn fo< a I7IOlOf1I1lt bf~"1I Chou

p~nn fll(ASPIRIN

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th~

DOUBLE MEANINGS

a "e 1 elb~1 doubl

P IW lu~IO"s wlu Ij

at' nil M st rbal amblQlJlty

mee rnq 1 9 t ern 0 I~f 01',[1

C 'f'JH Ag~nC)'

(tealnil' O"'~noll An DUetlJon Sour~

How Un PIt'''ou~ \YI~menb ~bou~ lh. PlilduCI be 9""'n , dou bIt: ml!d n ng

I

WEAJ( A T THE KNEES

l TWICE A YEAR

altnl Agency

Cre.lltlVr Dlre<:lIon

Hew can the Deller" be ..... a ~Ic'ure Wllh J double ml'an.ng1 jlluS{la"", III ,.

-CE UN DOS?

Chelll Ag~nty C.redl""~ U All One t Photo SoUI(,

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o goucan play with

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The more yo ith it the harder it get

plag

Camp,J'9n lot lIIe comput., game fat1h1lliNm ltm

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Aq."'Y

C. f I,,'C O"~I'on All 0 tl'ttlon

I 1!r'~O~

What DU~ and uole ~dn'ng\ can be uealflj INms hn~ 10 !he Produa1

Th'~ web b~nn'f sl\Q"' ... couple 9 tung In.ndl)' IIhen wddln" somelh'ng ~h~ In IJw youn~ man s tro .... c' '11 t her d~1

her ptrfum." Surp"~ He P'JII out n~ Motorola CO 930 1',,111 ~bral"g anrm {.I,ent

AqenC>J

Cleat"" Dne<bon Art OItKtlOn TedlnlCdI 0,,""'00 Produ[llon All

PLAINlY AMBIC;U l

rnprove your skill In detecting ambiguity

urself The first step 15 (0 lhmk of

n I or eltample, makmg lovel. but then might thm yeu re t(llklng about a

tch It's a velbal no-man's·Iand where whether II'S meant one way or another fry rt with these two e>.amples

The follow"l£! In speech )r~ a process Jr destnbe It

How might a rapid partels seMel! 1M! descnbed on words lhatl'fOlJld allow It (0 be understood In a dlff.lent sense as a proposal of manoage,

as an OlympIC sport, 01 50melhmg else]

How might a new tar be dewibed SO mat II soLlnds h~ a toy for Iblg) children?

pelincal deb the h~lener As eve!. pr

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Pl.AY WITH WORDS

P.1) "9 WIth WOfO.!i means rna :mg pICtUres \\ ( ~rr: It) an I tauon to ',peIlment til t\'pe so Bt the cop)' rums to pICtUre; and (he

been !S. l1ie beend 0 normal be m:

leap OUt Cou d. NOrd deprud be merged WIth a ",ctOltai to~

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a enm pt1Th

o Ideas

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~ E..N_ ~r'I!O" TI~MS~ Worry ~Jog~. A'll.ery N~ TeOSlOnIt does,., l ~I mllln to dlSloOI';oe roo' pIIlbIMI!. !Iou new. g,ve 011 a 1MIn:o~ !of 0<1 135 000 ~

So )W (oln enlO) , ~ng b.J1lI e",'tI) d.Jy CJ tOt

Hooo. en )011 plJy ,III the ~~!D e~\ the US!' In 3n e~ '<t5U~1 mage?

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?regllancy test

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l..fe~IMl DlltOI n All 011,"(1101,

Copy

~I. menl 01 th \hu. tI,. rn

II U\I, I.

Art o,reQJon Pnom

HeY. can "''Ofds be Integ'a!ed In:x:> the ptClllr~ rn an u~ul<Jal !O'iI)' illUaOl"9 ~nenbGl1 3~ undetl,n'ng m~ ~tral ~rtnmg swtement7

2,24

IN THE BEGINNING WAS THE WORD

f h K ckStart catalogue spotlights the use of worOplay, rlns section 0 tel

lil'tlOl'lS rl'lyme catchphrases, proverbs or maxims

ppular saymgs, quo, , ,

P d as Tl'link 01 all the ones you know, or loo~ for them

[0 IIlgger nBW I e

surh as dlCtlOnalle~ of quotations Thepomt IS not In reference boo S

quctanen or Idiom WOld for word IOta your ad so much integrating a

d at a meeting as a stimulus for new Ideas Play Vllh as putllng It fOIWa r

d you ve nevel seen It before alter It, tl'lange the II In the team, preten

the launchpad for a completilly new Idea Hele ale (onle.rt. or use It as

r the huge array of cpponurnnes that language offers ~me examples 0

Rhymes

fur mash, gel Smash

Once you po p, you ta n' t stop Sayings 01 plO''£IM

Good thmgs (ome to those who waiL

o NMlDgI5n1

Gum n\e$ Isn't good for yo u You know when you've been Tango'd

o Non stqurlur

The surprrsmg alternatlve to armadillos

., Adopl on wSllIlg e.rrpllSSlon Head O'Vl!r Heal's

Menswear buy It

o Adopt 0 proverb

Quororrons

One sma\! step 101 man one giant leap for mankind Play II agam, Sam, Alllletallon

IWlw('en men Unde!pUn

This .d pliJ)'\ on th muluple m J '''' 01

l~e Gclm~n \'jOn! 'unltr (be "moll9

und,'l The ba~' I~'t~ are I

NlW1!en lhemJ>el.1:~ (r~n r rr

u ndrrpa 1115 ~ re g leaL

dr~nt

AgenC)'

ere bYe Dlf~t,on Art Dlr uen

My male, Malmlte Think small

If an~ne (an Canon can Th,nt tome thirst served.

Tnplft1 0 PeJSIlnrficatioll.

Healthy Happy Hugglt's Let YOUI fingers do the Willbng

World problems World ~lulJons._ The tar thaI tal ~ur language

World class S)'lloe:sthesJo {two or mOle

(.I!IDsmu5 senses comblnm)

Say no to no ~y Taste the rambow

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A !N~ pushes tuSIhopPl1lq 1101~. laden

... ,!h a 50IItalY banal!:" .auos~ !he !.I1Opplng ceoue all po: Il and up 10 h~ Opo!'l Ag.la

He' pushe'5 dOV> Ihe ft'.J' 5e.I~ 31 wh,dI poml In e'A 01 ~ $I1\iI1I bul' o' h~ purthase .a I tec)'o'rl goes 'ha h.1 But W bllghle1l1.1tm ID ·,h." wi'l!'fl ~ INIn rut>

e ... hole uoU~ mto "'5 car and th<!n d I1'>'n II IOU no to ~ trol ~ pa 1"-

SEX,

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be II I In
In nL, Chl!'f\l Agefl<')'

CrealM! OHKbQn MDIIl'ttIGn ProdIKtJQfI Director

Hl1W can a story lit dt!'l'elo~ ilOulld a phoase .""_me 0< pliJ)' on wonk ID demQfI5tr3U! !he bo!1Iefol'

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llus ad high hghong the fuel C3patlty of the t.ll uses pun oro the Gennan Yoord wall

.. ti,th ~ln:s ·"\llt ..... hllt Tan ....... art meMS pumP .ntnclant

a,eRt

~IKY C.,eil~Oll"C1l0n Art Otl!ctlOn

How t.ln !he (opy OtKnbmg the beneFIt be !fIIIlhilSlled through WOtdplay1

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REFRAMING: A KEY TO CREATIVE THINKING

R£FlIAJ.I'''G IS THE 5 IUOUS SIDl Df JO UNC;

ow I S tlmt'1O

Ii t r concept 0 ~ ram ng dev1~ Jcbn

Gnn::Jel and R - rd Bamll~1 as a to at "" th n log ou I OOtlC.t

that r b.nltall} ~f) Slm la, to the CO ept 01 illtenng ham 0

r eW1Cf H1 th rnon 0

d <'.nee,

a sum)

a~ n fa l; ng about l('fr:O) 9 ea "g a p;ln 10 but n I IHl tty fIg to sb

ectwe gill ng )'OUI Lll!l I group

goes ,Oijnl! hooSlng thin o all rh men on pag ow how U " order to put new

the

a PQ}1t!\ interpretation 'So she' o

n t II Irel grCilllhat out I'lples on the fOllOwing

framlngs In a ~mlliar \'lay,

or nts

lONE WORO IS tNOUGH

Surprise your tJrgf group by showmg them d new perS!}ectrve on scmethmq famIliar The two print ads on thiS page ShOVi Ihat a word or a simple sIgn 15 ollen all " ta M 10 chang Ihe conl~ and thererore the rneanmq Each I the three suggestions POSits a compli?'lely dlffecent Interpretallon of Ihe situation In the picture tach c111l!~ the Viewer's percepuon and tngge~ a 'lew rc;](!'on to an everydilY SCenariO

sound of souea ng shoes behind you" bus shOPPing SIt et d

~ YOu On', ea I ':IIl, ill nncn But If )'011 hear th", same nDlse oU~.d~ you

r WindOW ill nlghl, when you re alone In bed the difference In the "am.ng

gllies the sound quit different lI;!nllio:,a nee Here's n l'Vel)'day story IhJI

pl'OVlde5 a spl~ndld e mple ot hLl>v to tusn Something n~atille .nto somelhmg 1lO511JVl' A man complainS that h s ... fe ta s too long to ma~e up he' rnmd about anyth.ng he ho to 100 ill Mry dless In

the hop and compare them With c.IJ oth r before sh tan choos(' One

H friend turns IJ1 S ilrnund oJnd prov d

Client ~.ncy

CruIr.'I! O,rt<;tlOn An O"t'tttoro Ph.llD

(lltn! Jlgent

Cr lit,. Dirt ArIOUtetJ

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Q'l'ftl Agency

C~IItM! DIte(lJon An 0 I remon Photo

(lient Agenct

(leah O,reC11on

An OHttllOn

COPY PIIoto

How (an ~ mellpl\Qr ee u~ 113 gfdb IlIl Vlewf(S anenuoa "nJ emphasill lh' ~SO<lJI on ,)f

d plodutl Ie ture

0' .malog'f pi" 10 mil II ColO net'd~ nO e p

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Clent Agency

CiealM Dtlecoon Art DuetllOll Copy

I'ttoto

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MAKING METAl'liORS MEANS RECOGNIZING PATTERNS

When you want lO Invent a metaphor for a engme for example. and you study things from different fields such as nature or technology - to Imd something that works on a Similar principle, you are looking for a pattern To frnd pattems of thiS Ind you need to focus on functron, form, mateuals, actions. or a eembmauon of other fearures

We come across Simple and comple patterns every day, In every part of our Irves For mstanre, YOU may .... -ell have seen two dogs go runnrng up to each other then start sniffing a nd growling suspICIously When the weaker of the two surrtS [0 feel threa umed. It lowers Its forequarters, stretchrng out Its legs and pawing the ground then funs away, barking The bigger dog takes up the chase, and corner~ the runaway Once agam the smaller dog bov.s and paws, and the scene 15 repeated over and over agam

You are WI nessrng a speofic pattern of behavrour, which dog-owners

see every day but have been unable to unravel until very re<.ently BehaVIOural SCientists now interpret thIS pattern of 'obeisance' as a

tngger for play wlueh automatically suppresses aggression m members

of the same speoes

The ability to recognl2e patterns, In the similany constJ'lJcted plots of tnnllers lor example, or rn the wayan engrne functtons or an umbrella

IS folded, or In lhe rules of board games, I~ essential to the construtuon of Simple or complex metaphors These two e eroses Illustrate the structure of tillS type of pattern and are Intended to sensrnze your ablht)' to peruive them

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A ... ETHOOICAl WAY TO SUllO METAPHORS

The follOWing fr ... e steps are a useful quide to bUilding metaphors Try to

d ur own vanatlons on the metaphor depicted on the nght The most fin yn

rtant thing I~ to stay With It .md not gIVe up after the first ten Ideas Impo

that occur to yoU If you take the lime and effort. you will come up wIlh

some leally new and onglnal Ideas

Exercise I

The follolYlng e.>IerCI5e demon~trates the bauc pnnerple of conwuctlng metaphors 'Prudence IS the mol her 01 Wisdom expresses thl' Idea that Wisdom relates to prudence as a daughter does to her mother Now try to work OUIl'lhlCh of the four pOSSIble answers 10 the quesnon In eJlample 1 IS the light one, and uy to thrn~ of three or four words

that would fit appropriately rn e ample 2

1 Books ale to libranes as Videos ate to

al Video recerders c) Video cameras

b} crnemas

d) Video snaps

2 Water IS to a sh Ip as al

IS to busmess

bl

ExercIse 2 Fmd I11p parallels I relate to B an to C In the nn I

B

I filS! of all. express your goal as a 'srngle·mrnded propOSition

In the case of tms ad, the goal might be as follows How can we show in a story that these tyres prOVide optimal sarety In all condiucns?

Or HoW can we depict the safety these lYres give the dnver IR a Single Image1let these two gOill~ walk together and you'll nouce the subtle way that different goals can shift the focus of your thoughts In

particular duectlons

~ 2 If you arc 100klOg for 'deas In a team setunq, follow the DreamTeam rules

3 Ne 1, brea~ down the ~ubJE'ct of saFety and ca r tyres Into Its component parts and HalTlln It from every angle fromlhe VlewPOlRt of the driver, the vehicle I" 311'11)", the manufacturer, the road surface.

or even the tyle Itself As\: "If 'Ihat safely means rn connection

With tyTes and whelt he properly yOU Will dl~ e, blueprints In the ne t

out how A 01 F) relates

4 Now that VClU car lyles, loolt for strr assOClatlons run fre laclOg, medxme w searchmg for me themes you tho<-

nces are II you analyse the sublect .~hl(h you wrl! be able to use as

t the patterns that link safety and n other subjeci fields tet your

d similanties m, For Instance, meter technology, peltucs or botany. When , no !tmlts on your Imagmauon or the I It useful 10 as quesnons such as

these What does f

a sa e tyre resemble' Where n safety always the lilSt

prlonty' Where and how d

' ees nature ensure !dIety? How can !dIety

be portrayed?

5 A IIp OO)'Du want to use thIS metaphor In an pont ad or a TV

Spol? Depending on Its destr I th

nauon, el e metaphors In your head take

the form 01 a mil photo 01 a short fit

m sequente Try to manage Without

wntten or spoken copy - Ie the P'Ctures do the talbng

WORDS PAINT PICfUIUS IN YOU", HEAl)

Purely verbal metaphors are especially effectIVe when you Wilnt 10 generate VIVid piau res 10 the reader's head WIth

a minimum of words, In all kinds of ~Iogans. capnons, headlines. or advertrsing tOP'I

Put a tiger 10 your \an~

Lei the tram lake the suam Go to war on an egg

Fly the fnendly skies

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STOln'TtlllNG MET.tJ'HOI!S

Metaphorical stones have been used over me millennia 10 pass on religiOUS (eachmgs. cultural altitudes and placncal knowledge from generaoon to generabon. Metaphors ,';M,th tell stOlles have lost none

of theIr pnv.·er even loday cOllCepts. Ideas and wa)'S of 'oo~mg <It hie are not communicated directly but In iIle form or somethmg else comparable wf1lch Stirs Ihe Imagination Usmg metaphor 10 a story can ma e the I'stene~ compare somettllllg new \'1m somethIng they already now and 91\ e lh m nel', msrqhts There al!' countless examples or reall) successful metaphors 10 TV SpOt:li which ta e only 30 seconds to e:<plaln why an innovative product IS rndr~penSilble. how It makes life easier, what fantastJe Features It has. and what uses you can put II to Ihal you

nevef dre<lmea of before

Thli TV sPOt ~" gll'l'iC wartlen dm:ng ttu~ thrOugh !he Hr 15 :!peal ng t Alrtkaans :h sub\ltles and ~'115 10 be on IllS a w1d all11l\ll

n SilV3nnah to'el~

~ a wrong The If IS no llta-..e f", them Stood all d.!)' CIa m m ed up wrth no loP8~ til rTIO\I!: alO_nd. Th shou d be OUI here In these v,1de-open ~pates "'~ they can run II !he w .. , tIley \'~J~ me.ant to

The S'.ops nd ~ 9oi"'~'" ~ open the ba ot the 'orr)' They peel

nd belli. 1M' ~ lID kmpl tile supposed bl'a'l oct,

II es a u nd es tt gamewaltl~ns theer T MI boul In lugh sp: 15 Ihffl IUn I1'I:J ID 10 " a larg herd of from AI d'stanoe

BIONICS - NATUIIE AS A MODEL

Blomcs I~ a modern term tal an age-old technique It means taking Idea; 110m nature - espec ,ally hVlng creatures - and adapting them for use III technology and ether areas The word Itself, appropnawly, comes 110m com billing 'blo" and 'electremc' VelclO, for example, was Inspued by the mechamsm that burrs use to ding to passing animals Cross-counlly SkiS, meanwhile, have scales on their underSide which allow forward motion but prevent the sb from sliding backwards.

[he model for lhls was the unusual structure of scales on the belly

of a SoUlh AmerrCdn snake

In advertlsrng ,rnd marketing. too. bromcs can be a great soulce of CleallVI) Ideas al b.l~cd around analogies III nature InnDVilt1Ve produtl$. pac agang and opumat deSIgn are only par! of the story the product messaqe can lso be commumcated very effeCtlvely uSing Ide.:as

from memes

A bromo t!!UIon

Phase 1 Begin by looking lor analogies In the animal 01 plant world Can yvu find allY phenomena 11m resemble the problem you want to solve? Sort them ilWlrdlng to shape, struct\Jle, melhod of control, function, appearance or locanon of use Asl yourselves wha these SOlutIons 100 like Are there SlM!ral different solutions and If so, IS there a (ommon denominator underlymg the dIfferences?

Phase 2 Onte a study of dJe analogies has uncovered mUC1ures panems, functions, fOlm~ and C4ndltl0n5. the team can now begin

to rflaw these to the onglnal problem In olde,1 to deyelop possible solUtions and evaluate them IF one analogy does not fu the problem properly and pIOOUc.es a meagre crop of Ideas. feel free to select others To make u easier to analyse a dlfe<l analogy, team members could

try to Identify WIth the analogy and as themselves How would

1 feel If I were Xl

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A!> dlSCUN'd In the sectron on reli" mmq, thlllq~ ta~e then meanln9 hom the conle I III WhiCh tlw)' are placed A paperclip mil~e~ )'IlU thin fif';\ and 10remO~I, of holdmg lerters, memes and other preces of paper

tog ethel Hit some lun br aklng down boundalle\ by thm 109 of twenty other use5 for a p perclip III another eyeryday object TnI' PUlpOS<' of tht'

e.erCI5e IS to II '" your ability to discover n Via 1.O UY.'. someltllng

familiar and so nha your CleatlVlty In hdndhng \llOdard media

Alleenill ..... uses lor a pol perthp

TUIn a bro~en pall of spe..UtJl!S Into deSigner hames

o Mend the altlmetel while the plane 15 n~'~lng Ma J One Way SUeel sign for JIlIS

A nf!( ne 101 an elephant

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228

ALTERNATIVE MEDIA

When did you last deliberately look for altemanves to the press, billboaro5, TV or direct mall for your ads? The following questtons are Intendl1'd to awaken the explorer In you and encourage you 10 discover ne and exCillng possrblJmes In the world around you Make the world your advemsmg stage and don't rorget that human berngs have four other senses as well as Stght If It wor 5, do It I

This h,'E: 1051iliiabon In the (entre of Stod.holm I~ a s:pectaculal ad for Kroll ~ ('walla coflee The Ihcm~ or the wmll3 gr v.~~ collee fal 'une>.pe<teO .. llllorl'

All DtrecllCn CoPl'

How ~Id an OUU'ze IIISIJIliallOll be used ID !ell a ~tory about) product In W oPtn all or In iI hl'9" ~1

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Crtarrve Olrectlon An Q,remon Copy

Ii • c.:;~ 'OU g ..... people a pia II W,,> to by e proaua out lor thernse:ve>

This t.lmpa'gn u~ C~ gra~'"9 by th~ ,oadsld~ as blllbc Ie

Chenl

Agency

Csral OHew n

Atl O,rtctJon Copy

photo

rnu ual

b at ntlon~

c.tmp.!lqn'Of I r~~" \'II) ilop til,,' ~ah~ In lepaln"g d~M~ and sa trnes Cl'~nl

Aljeflq.

Ued tr. e OHttliOfl Art Qrrt<:tlOn IlIusliabOIl

Photo

Whll <II rnatNe 10000tlan~ tan ulotil to drama... the ~ftt'rll of a produCt 01 ~""ce rn an eOlena,n'ng wat'

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3 STRUCTURING JOKES

A jO !' B II Q)m menl to the ntrllrr;Jen o' )'Ou [I I'!! ns he :umosp tit' ncI ::!1.i3rart!HS tM

ow !tu!'!an be'l'Ig

WIT. you rrTHUI HAVI 11 01'1 fOU DO"" I

Used p!'operl IViI I~ ne Q the most crt '-'ll rnslrumcn~ 01 human

comrrun lIllOf1 llnlortun,'ll lh rc r ,I myth of un~t(04JntJblhLy _

)'011 euh I ha II or u don I ~hl h n chng 10 humour. ~'Ven

tod H~ :oeI tile II com mdu demOnitll1'1O e'Aluly the

n tent high qu.lhr, mJlel1ill

retam

the target 9 up

I \\

hll the mar and

1 P n hi n or dl"'1'lop lhem )'6Ut\e1f

a Ii;! rf~

f~ .. ",J t he ~l ujo' k

, '"111. IIUIII If. u~ I filufl "'-t,I. ,J"J#I., """" '

a,enl e ~ ClUI

1

ellf /rom

Hu~band S .... eethe.nt, cab's here O'lIll11g do you thm the lrou!.trs ma e Iffi bum 100 JI1 HUSband 0 no they 100 .III nght

AlIlIghl lust all "ghl So ~;)u It' wylng my bum IS fal Husband No no. 'Iou !.lId lhd!., I dll;ln t,

So)'Ou 1h111~ II 100 S 1.111

H usilJ n d Nil I<r<e )1:111 100 go rgeous N o« tom eon, the C b's WJlling

au don L lhln~ they loe 100 tIght?

HU~band 0, m ybe I~U could 'eJt som~lhln9 dllftrtnt ut'ldemedlh

Whlt7

HlIsb.Jrnj Wtlll I mean YOUI undel\'I:,lI - 1\ S 1lioldHl nd ueJ'><!'d up

I rn !lot I'i~Jllnq I""

Sur mOld! ana Ham <'I lneme

Vol • T H J!Plnc-» IS a ClgJI C IlI!i:1 Hamiel The mild elq.J1

:> o li ::0 ~ o z C-

....

A PRACTICAL GUIDE TO JOKE·MAKING:

CONSTRUCTING AND DISRUPTING FRAMES OF R.EFERENCE

Although humour plays an incredibly Imponanr role In our lives, II I~ astonishing how linle has been wntten over the years about the \'lay II functions or about the techmques of Joke making. This secnen provides a practical gUide to the way that 10 es won - one which explains a substanual pTO!)OrftOn of all Jokes "nd shows how 10 make new ones,

and how 10 disrupt the frame of reference There are also some exceptions [0 the model mcludlng suuanon comedy, brac~ humour, slapsnc and

noc .about <1S well as many forms of wordplay

All EVERVO"V EXAMPLE OF 015RUPTlNC; " FRAM~ Of IIEFEAENCf

If we saw an unusuallrght moving In the mght sky, most of us would

at hrst assume It was from an aircraft or some other Ind of Hyrng obJect We tend to assign It smught away to a n Established frame of relerence, although there IS no evidence to confirm that tile source of the light actually is something flymg If, on closer observallon, the mystenous Ilghl IS suddenly found to be the lamp on the moving arm of a (lane, realization of our ongrnal mistake may well make us laugh The soluuon to the mystery ,"~Lanl!y di~rup[$ Ihe lrame of reference thai our power of perteplJon filst set up The crunal fa~tor IS that the more convmced an observer 15 that the source of the Irghl IS something f1ylRg, and the

DrsRuPTlNC; TIi£ FRAME OF RfFERf.NCE

According 10 Gestalt ps) ~hology. the process of obselVlOg an oblect IS net linear. tallng In one detail at a nrne but Involves grasping the most conspicuous elements Simultaneously The observer automaucally supplements these obvious elements \Yuh [heu ow", slOred expenenre and :s.o completeS the process of perception

TV ~pot f Client Ag~qty (reat MO Produ o"ea..

This presuppos Ihe existence of ,ena," panerns 01 perception Within the observer s memory. which enClble him 10 fit rnclMdual elements mto an e5!abhshed con~1 or frame of reference These allow observers to mab! assumpnons and dr.m condusrons which do not eest m Ihe obseNed object l!Self bur only In the act of perception

e oplltalliluSlon In Ihls

(i scribed above the viewer rre Instead, the draWing I n hom one 10 lhe other nrously suspends the first l essential to the

I thf'fre hiIVing a hell II\OS1. pozed suddenly

Con~uentl)'. Simple, consprcuous element'!llclrc.l1r'!s) can be used to call up a dearly defined frame 01 reference In a person s power of percepuon This can produce an ~ffectlYe flash of humour If the ObvIOUS eaSily accessed frame of re erence IS disrupted by the rntroducuon

of a ne .... and wnotly unexpeat:d frClme ot referenc.e The Simultaneous refen!'nce to two diHefent levels functlDns Iii e an explOSion, With the fallout befOg laughtel

de fiddling

II

T' l W1lh

"a are represented

101

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longer he puzzt~ O'o'el 1[, the greater Will be the surpnse In other IIlllds. the mOle ngrd the frame of reference called up, 01 the more flfmly I{ 15 established In tile observer's power of pe1cepl1on, the more effectwe

a change III the rrame of referente Will be In (Ieallng an aha' expellence or, In thiS case, a laugh

That IS precisely the pattsm underlying the TV s!)O\ sh&Hn below

The beliaYloul of the boys calls up a cJich~ that makes us Jump to tontluslons about what they are dorng Once: we discover that they're tompaung dlocolille b!5£UllS the frame or reference IS disrupted,

and we find ourselves laughmg

eoNmucmu; THE fllAME Of REfERENCE ReT1IOSpecnVElY

The second md of lole \VOl II) giVIng a\~ay very 11m!' about the meaning and rule course of events. The hstener can t construct a rebable rame 0 ,efeeencl' to beqm With The ,"formallon lacl."$ a recognIZable locus until tne punchlme brlng$ e-verythmg together at once

I

lVe!.Ce d ,m411 boy illt~e lOO t.llmg the 'D~I Rolo hom tlle par He s IU" about to put u III nil mouth when hll ~ light on Ihe elephant> H ' nolds OUI hl~ ian RaiD temptingly Jnd b.tby elephant comes IIolllllg ovel pagerly Bul befoll' the el!phlnt can t3k. hOld 01 the Rolo,

allhe very 1~lt mlllUI~ the boy pops

1111110 hiS own mouth With a I -="Ing I~ugh, and the b~Dy el~ph~nl I Idt fOllo,/\ (Cull

For example I VII' vel can t mil e much 01 the picture aeo " I

g v~ unn he

can ~Iol It IAtO a speufir frame 01 reference H can only do thiS when told thaI II represents a glratfe passing the Window

So the picture alone coes not construct a frame of reference, the o~el\l I'S powel of perception rm 51 play a part Jokes 01 IIIIS type are espe<lally eff !CtM? when I lOlVln iI very small amount of given information the punchhne tails up or overthrcws the largel! poSSible pornen 01 the l-stener ~ tore of acquued nowledge.

Ye~~ later, t/1t Dey iI qrown m8n watching the tutUS par de I rough tnt town wh~n wdd. 'I II gelS tJp on the shou'd~r t s a~ el ph."! tILm

8If11 Wh~ml s n og

and ncrN Imgty

It n

at

All PI Oil 01 So;r

BEOEIIK COED WAT JE MEl JE LUlSlE ROlO IIOEl

DEVELOPING PUNCHUNES

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SLEEPLESS NIC;Hn

The (,,!lowing t noens ver dr.oeloped .nound the sub,ect or ~Ieepl~~ RIghts Jnd I!lustral how mdny dlFfelent Ilundlhnes tao be milked from a smgle tneme Try to add to Ihem With ver~lon~ of YOUI OWn

If to 'TIpi I Ih O"O\~lnq I u~

bull \ nd .~hlch

urr w

man II~ J d

ADAPTING AND USING EXISTING PUNCHLINES

I'd h e to sho .... you how 10 adapt e.>Urung punchhnes 01 use them as source of fresll H:leas Remernbel, [opynghts should neve I be mfrlnged by usmg protected names o. ehalJelen Only the structure of the punchhne should be used <IS the mspuanon fal great Ideas for campaigns. These could ta e the form of print ads web canners,

duect mailings 0/ TV spots It S Important thaI the ollglnalstructure ISn't altered too muth In the proce~~ 01 adaptation or there's a nsk of lOSing the mechanism of the Joke Below are three ey procedures With qUestions to as yourself when you're UYlOg to worl out how a PUl\chhne IS constructed and consldeflng potential vanatlons

How FAIl CJlN UlmNG JOKES BE AOAPT£O?

While thinking about thiS cartoon, you may well come up With Cflmpletely new Ideas and turn the whole tiling on rts head The v,Hlatlons shown he.e sod fairly dose to the cnqmal Below are four categories whrch

are the key components of the cartoon. Each gl~ ~mples of elemenl3 you can change to make !.he Qrrtoon SUit your purpose TI)' te find o!hel varrable elements to gIVe !he cartoon a 5urpnslng change of dllectlon, and eep expenmenDng to develop your Instincts about punclillnes

, Inst£ad of (OWS 01 sht~p, 11m

Dogs, buds, plants, arumals dl!09ulSed a~ people. statues. ligures on posters, dolls, houses or al\y1hlRg el~ that IS not suppo5ed 10 behave like a human being

2 Inscead of vetudes and !.hell dlMlI, use.

Cychsl:5. walkers, Nnne!!., penSioners, wheelchall users, parachuu5~, sewage MIlkers on the lob, etc

J Us.!! 0 d/ffurmt sertmg

Stables, a zoo, a dog-training class, a town centre, a dolls' house, a garden cellae, etc

4 Chonge whar (he ommols Olt domg

Reading newspaper.;, uSIng the produa. partying plotting Yoorld rMlullon, havrng a pedicure, etc.

I Analyse the most /mpon ant tJemcn t:5

What are the ~ey elements all which thrs conue stop depends, and whrch must therefore remarn the same? At what POint does the frame 01 reterence (hange?

1 6,dopt the cartoon m the prodUCl 01 selVrc~

What elements can b altered" rectaced by others wlthom SPOiling th payoff7 Cou d the srru ture of the puncnhne be U5J?d In it

d I fie re nt context 1

3 SynthESlZ the '!lId What IS the best \I or servrce be made til

up and d til 10k

mel!

r uel7 How an the product Does the punchhne stili stand

\

ADAPT THE JOKl: FOR A TV OR CINEMA SPOT

Take the comrc Strip on the nght and adapt It mto an ad fOT one

of the folloWIng products. TIus WI/I help you to exerose raj your ability to recognize the essennal elements of a payoff and fbI your shll at ma mg ne ...... use of existing punchllnes Stay with one theme until you ve come up With at least Ilventy vananons. Then cheese the one WIth the most potential and refine It until It'S leady to use

A dall) product

A pizza delrvery service A c.omputer game

ClIEATlVt TECHNIQUE: USE PUHCHUNES AS TlUC;CEPS

Start blllldlng a little arc.hJVe of humour to Which everyone III your

agenC} has access It should contain Joe books, a Wide range of cartoons, stones .n plctlJre form, comus, humorous books, anthologies of proverbs, anec.dotes, punchhnes, Idioms or quotations Team members win be abJe 10 c.ome 10 a meeDng alread)' equipped With punchhnes that they ve found In the althlVe beforehand, with an eye to then relevance to the

tasl: m hand These five steps show the course thaI ens mil of creative mee[Jng should take

1 The meetmg should follow the DreamTeam rules

2 Eac.h team member should go [0 the archlV!' before the meetmg 10 dig out a few good cartoons, Jokes or anec.dotes that they find appealing, and whIch rould spat! off some good Ideas

3 One of the te quotations to ttl

I hosen Coil rtoens, Jokes or

t am IDO~S for ways of U5lng [Jog It exactly as It stands

try 10 fmd as many vanatrons upSide down, develop It fulther, 'I Ided Do anything, as long

Its structure IA

Stay with one as poSSible Ch.J 01 let It inspire as It \vot~.s

4 When the fir

dry, move on 10 the next one 'fnorous poSSibilIties

and once agal

5 When you \ rhey'le ready to

,d as, Walk them up unul

MAKE THE MOST OF BLACK HUMOUR

h t happens when you cancel out the seneus SIde of Blae humour IS w a

b eru like death, Illness, mOlality 01 se by approachmg SOCIally taboO SU I

I yf II Set up a tenSIon between the fears surrounding the taboo them P a u y

you want to put aCIOSS by mfnnglng el(IsDng SOCial and the me5S<lge

II eed a light touch and a litUe senSltJVlty, 01 else your standards You n

punchllRe rould badJlfe

Any food tastes sup!" me With

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o

lymg deld In the nan, Pele'? thaI's not like you'

alent Agency

CleaDve Oull(llGn All O.II:Olon Photo

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Mum1

II tALLER TOOESFALLE EREIGNEN SltH iU tI USE'

SER SI!: SINO NICl-!l OA

--....... _n._.__"...,. .....

n I m gOing to the !>upermar el my Will you buy us something?

u like?

In Inhumane I And ~meUling uuelto

n t po5§lbly ,get you three things at once

Bodgroul1d mllSlC

Rot In MI /(Jrchw ~ U840

n With eggs from balle!), hens Then you ~Ity to mlmals and sJlmonella 031110 one 15 rom bane!)' hensl

Vill

Theill's a rill In ml Kitchen What am I gonna do There's a r at In m I Itdlen

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Vr

n belng~ waIling 101 animals

What am I gonna do

lm 'lonna F. that rar That\ what I'm gonna do I'm gonna t !hal rat

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Cl enl Ag~i

(~UlM: Olft<llQII An Olll!Ctlon PI1oIO

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Chent Agency

CrealM! Olrectlon All OutclJon (.Qpy

OHfaGl Production

AAlm8Llon

A ChIll .' ~iHI1LS ruperter annnunce tin <II pol covcrJg,e 01 an unusual local ~POr1mg event Cut to two men with <ll( op~lrg lie down When It ~ almost ready 10 fall, him If In lin I'tlth the w~ !.he lice WIll fall th 1 e_lends hl~ .ums a, If 10 catch the tree n him The few spen.-JlO!1 wander away

,.1 ~tlong fishing hne

UNINTENTIONAL HUMOUR AND SITUATION COMEDY

The best Sttuatlon,dependerll jokes do not spnng from the Imaglnauon of some creatlve but are wntten by life Itself But If you wam to have

a go all me same, make a note of thIS suucune a person Is 10 a perfectly normal, l!Veryday snuancn. perhaps even lather a SCIIOUS one Suddenly. thanks 10 some unforeseen event, or an accident he himself caused he IS catapulted mto a cormc Situation The facl that the Vlc,um was completely unplepaled IS a key factor for umntenuonsi comedy. and IS often the

cru (I a I tugg el fo 1 I he payo ff

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