Breakthrough Thinking

209 Pages·2014·9.639 MB·English

by  Thomas Vogel

THOMAS VOGEL
BBBRRREEEAAAKKKTTTHHHRRROOOUUUGGGHHH
T H I N K I N G
A GUIDE TO CREATIVE THINKING
AND IDEA GENERATION
Cincinnati, Ohio
www.howdesign.com
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Breakthrough Thinking. Copyright © 2014 by Thomas Vogel. Manufactured in
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reviewer, who may quote brief passages in a review. Published by HOW Books, an
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[phone]. First edition.
For more excellent books and resources for designers, visit www.howdesign.com.
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ISBN-13: 978-1-4403-3326-2
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Edited by Scott Francis
Designed by Claudean Wheeler
Illustrations by Harini Chandrasekar
Icon illustrations © fotolia.com/bloomua
Cover photograph © fotolia.com/roberaten
Production coordinated by Greg Nock
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DEDICATION
To my wife Ilene and my daughters Jessica and Alexandra for being my biggest supporters.
To my parents for having encouraged me to dream, practice my own creativity and take risks.
ACKNOWLEDGMENTS
This book would not have been possible without the chael Shek, Andrew (Andy) Staub, Cyril Urbano and
help of many collaborators, contributors and helping Sara Wynkoop for sharing their personal experiences
hands. My deepest gratitude goes to: my research as- with every reader of this book and for illustrating that
sistants Gillian Barbieri, Erica Olmstead and Kris- creativity can be taught, practiced and turned into one
tina Shigaeva; Brenna McCormick, who was my for- of the most powerful muscles we can have.
mer student, became my colleague at Emerson Col- My sincerest appreciation goes out to the creative
lege, my mediaman, and who helped shape the proj- masterminds and thought leaders: Alex Bogusky,
ect in its initial phase; my research partner Dr. Jorge Edward Boches, Susan Credle, Andrew Deitch-
Villegas at the University of Illinois in Springfi eld for man, David Droga, Blake Ebel, Chris Foster, Mark
his collaboration and support analyzing the data and Hunter, Roger Hurni, Margaret Johnson, Lance
presenting our fi rst results at the American Academy Jensen, Woody Kay, Tim Leake, Michael Lebowitz,
of Advertising conference in Mesa, AZ; Harini Chan- Tom Moudry, Tom Ortega, Marshall Ross, Robert
drasekar for helping organize and create the many Sherlock, Norman Shearer, Rich Silverstein, Rob
visuals and reworking several illustrations and ex- Schwartz, Doug Spong, Lynn Teo and Johnny Vul-
ercises; my former student Siobhan O’Shaughnessy kan for donating their time, participating in the in-
for reviewing the manuscript; my colleague Dr. Da- terviews and sharing their wisdom.
vid Emblidge at Emerson College for his editorial in- I would also like to acknowledge Dr. Joanne Mon-
sights and constructive feedback; my business part- tepare for her collaboration, feedback and encourage-
ners Armin Bieser and Stefan von den Driesch for ment of my early creativity research, which provided
supporting my visions and challenging me in many the foundation for the bonus chapter (available online
aspects of my work; the HOW Books staff ; and the fac- at www.breakthroughthinkingguide.com); Dr. Don-
ulty and administrators at Emerson College for sup- ald Hurwitz, who helped me stay on track and encour-
porting my work with a sabbatical semester. aged me to fi nish the book project instead of starting
I would like to thank my former students Noreen a completely new research agenda; Glenn Griffi n for
Arora, Lorelei Bandrovschi, Harini Chandrasekar, having published The Creative Process Illustrated with
Kimberly Crunden, Alyse Dunn, Usen Esebiet, Mat- Debra Morrison and for being an inspiration, for en-
thew Fiorentino, Marissa (Missy) Goldstein, Milena couraging my research and for recommending me to
Guzman, Samantha Gutglass, Sarah Hamilton, Rebec- HOW Books.
ca Hempen Schäfer and Dan Higgins, who also helped Last but not least, many thanks go to: my former
connect me with some of the creative executives; and research assistants Sebastien Klein, Tracy Hwong,
Dylan Klymenko, Summer Lambert, who helped me Suchismita Mohapatra, Orlindes Perez and Amy Yen
interview Margaret Johnson and Rich Silverstein; for their help and support with my creativity research
Veronica Marquez, Brenna McCormick, Shannon several years ago; Jodi Burrel, Jacqueline Holland,
McGurrin, Michael Miller, Celia Nissen, Amanda Dr. Kristin Lieb and Dr. Paul Mihailidis at Emerson
Mooney, Siobhan O’Shaughnessy, Trang Phan, Eric College for their encouragement and constructive
Rosatt i, Christiane Schaefer, Kristina Shigaeva, Mi- feedback with my book proposal.
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CCOONNTTEENNTTSS
Introduction ......................................................................................................................................................1
CNeHwA TrPutThEs ARb oOut NCrEea: tivity .....................................................................................................................6
CWHhaAt PIsT CEreRa tiTviWty?O ..:. ...............................................................................................................14
CCrHeaAtivPe TThEinRki nTg .H....R.....E....E....:. .....................................................................................................................23
CThHe ACrPeaTtivEeR [P rFobOleUmR-S:o lving] Process .........................................................................................39
CCrHeaAtivPe TThEinRki nFg IMVeEth:o ds and Techniques ....................................................................................52
CEvHaluAatPioTn EofR Id eSasI .X....:. ................................................................................................................................61
CThHe AImPpoTrEtaRnc eS oEf CVomE mNu: nicating Ideas Eff ectively ...................................................................73
CCrHeaAtivPityT aEnRd PlEacIeG ....H....T....: ........................................................................................................................87
CCrHeaAtivPityT aEnRd PhNilIosNoEph: y .......................................................................................................................105
CMaHinAtaPinTinEg Ra F leTxEibNle :M ind ...................................................................................................................124
Student Case Studies ..............................................................................................................................135
Creative Executive Profi les ...................................................................................................................164
.......................................................................................................................................188
E N D N O T E S ................................................................................................................................189
R E F E R .E....N....C.....E....S....................................................................................................................................196
I N D E X ............................................................................................................................202
P E R M I S S I O N S
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IINNTTRROODDUUCCTTIIOONN
R
ight now, at this very moment, this book is changing your brain.
It is a small change, but as you continue to read, it will become a
larger and lasting one.
Creativity is the quality that enables us to generate novel approaches to sit-
uations and to discover new and improved solutions to problems. Throughout
history, creativity has been a powerful force for change. Compared to previous
centuries, the pace of change has rapidly accelerated in the twenty-fi rst century.
Creative thinking provides us with the tools and skills needed to adapt and
thrive in this fast-paced environment. Through creative thinking, we have the
ability not only to understand change, but also to learn how to make it work
for us. Bett er yet, we can even learn how to create the change that benefi ts us
personally and professionally. When put into practice, creativity allows us to
move beyond our accepted patt erns of thinking and into the uncharted ter-
ritory of new and innovative ideas. Creative thinking allows us to fi nd solu-
tions to problems—from what to serve for dinner at in impromptu get-together
to how to eliminate abject poverty around the world. And, like any skill, the
more it is used, the more exceptional, valuable and (dare we say) fun it becomes.
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INTRODUCTION 1
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While creativity helps us individually, it also that creativity is a power that can save a whole in-
helps companies in the business environment. Sim- dustry from ruin (Iezzi, 2006). Creativity in adver-
ply maintaining a business is not enough to survive tising has been defi ned as “being new and relevant
anymore—companies need to become more produc- with your ideas.” Some argue that advertising cre-
tive and, at the same time, stay competitive. Compa- ativity is a form of creativity diff erent from the con-
nies must embrace an active strategy to build and cept of creativity. Creativity in advertising is also
grow creativity, fostering it as an essential ingredi- regarded as creative problem solving, constrained
ent for obtaining success. For many companies, cre- by marketing objectives, competition and the orga-
ative thinking has become not only a tool for strat- nizational hierarchy, among other things.
egy but also a key factor in discovering new ideas This book is the result of a significant para-
that will diff erentiate them from the competition, digm shift in the marketing and advertising indus-
be it through product design, new services off ered tries. Creativity is no longer under the sole propri-
or something beyond. etorship of copywriters, art directors and design-
The emphasis on creativity within industries ers. Susan Credle, chief creative offi cer at Leo Bur-
such as fi lm, entertainment, advertising, music, nett in Chicago, describes this change by saying “if
performing arts and architecture has allowed sev- you’re going to do great creative [work], you can’t
eral experts to become leaders in creative think- be a creative department. You have to be a creative
ing, and many are seeing a renaissance that has agency. I think that’s asking every single person to
enabled them to weather economic turbulence. In do their job creatively.” Based on interviews con-
recent years magazines have started to highlight ducted with top creative executives, every employ-
creativity. Major trade publications, like Advertis- ee is expected to be visionary, brave, generous, con-
ing Age and Creativity, as well as business maga- fi dent and curious, independent of job description
zines like Fast Company and INC, feature annual and discipline.
rankings of the most creative individuals and in- Thanks to rapid advances in technology and a
novative organizations. liberated understanding of the benefi ts of how and
The advertising industry, in particular, has where creativity can be applied, creativity has tran-
been the source of many research fi ndings about scended the form of a quality applied to individu-
creativity. Not exclusive to advertising, the grow- als or industries to become a highly sought-aft er
ing need for applied creativity in all business en- skill, a corporate value and way of thinking that
vironments makes the characteristics of creativity is driving innovation and businesses today. With-
relevant to all forms of communication, from tra- in the marketing, communication and advertising
ditional marketing to interactive and social media. industries, traditionally considered to be creative
As a communication discipline, creativity has long industries, the conversation regarding the need for
been considered the driving force of the advertis- creativity at all corporate levels has intensifi ed. Da-
ing industry. According to researchers, creativity vid Droga, founder of Droga5 knows that without
is “arguably the most important aspect of adver- creativity, society would lack innovation. “Creative
tising,”1 with some claiming that creativity is the intelligence is crucial … it’s the creative people who
mission of the entire advertising industry, its rai- instigate everything,” says Droga. This innovation
son d’être. Industry magazines and conferences is becoming increasingly diffi cult. Mark Hunter
focusing on the practitioner’s point of view agree former creative executive at Deutsch LA expressed
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2
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the need for his agency to remain revolutionary in- through dedication and work, strengthened and
stead of reactionary: “Everything needs to be inter- honed into a powerful skill. This book is designed
active. Whether we like it or not, all other forms of to help you do just that.
communication are becoming two-way.” As the knowledge and benefits of how to en-
Additional industry experts describe anoth- hance creativity have grown, the myths surround-
er shift . Edward Boches of Mullen in Boston says, ing the creative process have been deconstructed.
“We’re not in the words-and-pictures business any- The democratization of technology and the fact
more; we’re in the business of building our client’s that creativity can be learned and practiced have
business, and creativity is the strongest asset you created a shift for creative thinking. It has moved
can have to do that.” The lead-
ing creative agencies in adver-
tising and marketing in the
Like any skill, creativity is ours to
United States are acknowledg-
ing that they are not just creat- possess, practice and master.
ing advertising anymore but are
actively helping their clients to
solve their business problems
and create value through prod-
uct development. According to
Marshall Ross, chief creative offi cer at Cramer- from the domain of industries such as advertising
Krasselt in Chicago, it is important for agencies or the fi ne arts to become a core discipline within
to recognize that the defi nition of creativity needs mainstream education that can enhance both the
to be very open. “It isn’t just how you are putt ing learning process and the practitioner’s ability to
words and pictures together. It is about how you think in new directions. With both industry and
are thinking about strategy; how you are think- education converging and modernizing the con-
ing about measurement; it’s how you are think- cept of creative thinking, creativity has become
ing about where the intersections between this known as a skill that is highly benefi cial to all peo-
idea and audience lie.” He adds that it is also about ple and gives practitioners a competitive edge.
influencing the client’s ability to develop prod- Compared to other academic disciplines, cre-
ucts. “If we don’t bring creativity, we don’t bring ative thinking has a relatively short documented
surprise or novelty to readjust the positioning or history. From Alex Osborn’s initial exploration of
product development.” the creative thinking process at the advertising
Changes in technology and advances in scien- agency BBDO in the early 1940s, to the current
tifi c research in the past decade have not increased breadth and scope of academic courses, conferenc-
our creativity per se, but rather have provided ad- es and even dedicated higher education programs
ditional insights into how creativity can be im- focused on creative thinking, our societal percep-
proved. One of the most important fi ndings of the tions of creative thinking have undergone a very
past half century is that creative thinking is a skill. important change. The ability to think creatively,
Like any skill, creativity is ours to possess, practice to develop ideas and to fi nd solutions is beginning
and master. Like any ability, it can be neglected or, to receive universal recognition as a required skill
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INTRODUCTION 3
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that will make world economies more competitive them. When creativity is viewed through the mul-
and students brighter and provide humankind tiple dimensions of the 4Ps—person, process, place
with the answers for the challenges of the future. and product—this complex subject, which cannot
While creativity, and the creative thinking that be understood via one dimension alone, can be ad-
inspires it, is on a trajectory to become the quint- dressed in a systematic way.
essential component of success and customer con- The book consists of three main parts. The fi rst,
nection in the future, the threat still exists that cre- and arguably the core of the work, represents the-
ative thinking is too playful to be taken seriously, oretical frameworks and insights that examine
too risky and too time-consuming to be invested what creativity is, how it works and how we can ap-
in—especially in the minds of busy students, over- ply it in our daily lives. The second part represents
whelmed educators and cash-strapped companies. the insights of experienced professionals; in most
Hopefully together we can change their minds. cases chief creative offi cers, founders and partners
This book is a testament to the importance of in some of the premier creative advertising agen-
creative thinking as a skill and as an investment cies in the United States. These agency executives
in future economic and personal success. The goal have won numerous awards for their outstanding
of this book is to provide not only a complete un- creative work and are respected experts within the
derstanding of creative thinking as a core disci- domain of advertising, marketing and communi-
pline within the context of the current changes to cation. These award-winning agency executives
the advertising, marketing and business indus- share their knowledge, expertise and experience
tries, but also to connect academic knowledge and related to managing for creativity and mastering
professional practice. The book will help readers creativity in their respective organizations. The
to bett er understand and evaluate the quality of insights of these professionals help add a perspec-
creative thinking as well as the creative process of tive we can apply in many situations and indus-
transforming creative ideas and thoughts into ef- tries beyond advertising. Lastly, the third part of
fective business solutions. This book also teaches this book off ers real-world cases from numerous
creative thinking habits and ways to communicate former students who have taken an undergradu-
your ideas that strengthen your ability to succeed ate or graduate course in creativity, creative think-
in competitive environments. ing and problem solving. Through personal essays
The market needs a holistic approach and a they share their opinions and experiences con-
fresh perspective. While I understand that cre- cerning how they have developed the thinking
ativity is a broad and complex topic, twenty years and problem-solving skills they practice regular-
of teaching creativity has confi rmed that it is pos- ly and how they use those skills in their personal
sible to study it, learn it and look at it holistically. lives and professional careers.
Even though creativity is highly complex and in- However, how you use this book and the knowl-
fl uenced by many factors, this book uses a struc- edge in it is most important. Creativity is a broad
tured conceptual model called “The 4Ps of Creativ- and complex topic that cannot be achieved through
ity.” Based on extensive academic research, this one-time workshops or quick fi xes. Mastering the
model provides a lens with which we can look at skill of creative thinking takes time, dedication
the interconnected aspects of creativity, develop and practice. It involves an active mind that will
creative thinking techniques and habits, and apply become more and more open to fresh ideas and see-
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4
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ing new ways of doing things. One can achieve bet- book or as it feels most appropriate to your indi-
ter creativity and creative thinking only by mak- vidual situation. Each interview and case includes
ing behavioral changes within oneself and the or- cross-references that connect to the 4Ps of Creativ-
ganizations one works in regularly. The perspec- ity. Hopefully, you will be inspired by the frame-
tives of advertising executives and former students work of the 4Ps as well as by the many examples
illustrate how everyone can use and practice the you can apply to your own personal journey. Use
various topics of this book in diff erent and very this book as a framework to begin building one of
individual ways. Since not only one path to suc- the most valuable life and business skills there is.
cess exists, the interviews with agency profession- When applied, creative skills will take you much
als, as well as the cases of former students, invite further than the classroom or the boardroom and
you to read the book in a nonlinear way. I invite into a world of infi nite possibilities and opportuni-
you to jump from one topic to another based on its ties. It is time to develop thinking habits that lead
connectedness to each testimonial featured in the to breakthrough thinking!
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INTRODUCTION 5
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