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"All of the above in a charming, personable, tongue-in-cheek style that makes How to Write an Inspired Creative Brief not only a pleasure to read, but a well-nigh essential foundation on which to build a successful advertising career." -Dave Butler, Creative Director (retired ), TBWA/CHIAT/Day, Los Angeles "Howard Ibach has written the essential brief for the briefers, a simple, memorable, enoyable book for those who need to practice the art of strategic reduction for a living. He expounds several oft-forgotten principles: simplicity, clarity, collaboration." -Steve Wehrenberg, CEO, Campbell Mithum Advertising, Minneapolis
In a step-by-step process, Howard demonstrates how five key ingredients on every creative brief work together to produce the single-minded proposition (SMP), the singular message that explains your brand's promise. Then he introduces you to two thought leaders who offer alternative ideas on where the creative brief can go.
"The Business Skills Every Creative Needs! Remaining relevant as a creative professional takes more than creativity--you need to understand the language of business. The problem is that design school doesn't teach the strategic language that is now essential to getting your job done. Creative Strategy and the Business of Design fills that void and teaches left-brain business skills to right-brain creative thinkers. Inside, you'll learn about the business objectives and marketing decisions that drive your creative work. You already have the creativity; now it's time to gain the business insight. Once you understand what the people across the table are thinking, you'll be able to think how they think to do what we do." -- Provided by publisher.
The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.
IDEO founder and Stanford d.school creator David Kelley and his brother Tom Kelley, IDEO partner and the author of the bestselling The Art of Innovation, have written a powerful and compelling book on unleashing the creativity that lies within each and every one of us. Too often, companies and individuals assume that creativity and innovation are the domain of the "creative types." But two of the leading experts in innovation, design, and creativity on the planet show us that each and every one of us is creative. In an incredibly entertaining and inspiring narrative that draws on countless stories from their work at IDEO, the Stanford d.school, and with many of the world's top companies, David and Tom Kelley identify the principles and strategies that will allow us to tap into our creative potential in our work lives, and in our personal lives, and allow us to innovate in terms of how we approach and solve problems. It is a book that will help each of us be more productive and successful in our lives and in our careers.
Brenda Ueland was a journalist, editor, freelance writer, and teacher of writing. In If You Want to Write: A Book about Art, Independence and Spirit she shares her philosophies on writing and life in general. Ueland firmly believed that anyone can write, that everyone is talented, original, and has something important to say. In this book she explains how find that spark that will make you a great writer. Carl Sandburg called this book the best book ever written about how to write. Join the millions of others who've found inspiration and unlocked their own talent.
Offering insights from the spheres of anthropology, psychology, education, design, and business, Creative Intelligence by Bruce Nussbaum, a leading thinker, commentator, and curator on the subjects of design, creativity, and innovation, is first book to identify and explore creative intelligence as a new form of cultural literacy and as a powerful method for problem-solving, driving innovation, and sparking start-up capitalism. Nussbaum investigates the ways in which individuals, corporations, and nations are boosting their creative intelligence — CQ—and how that translates into their abilities to make new products and solve new problems. Ultimately, Creative Intelligence shows how to frame problems in new ways and devise solutions that are original and highly social. Smart and eye opening, Creative Intelligence: Harnessing the Power to Create, Connect, and Inspire illustrates how to connect our creative output with a new type of economic system, Indie Capitalism, where creativity is the source of value, where entrepreneurs drive growth, and where social networks are the building blocks of the economy.
How DO they do it? If you could ask your favorite artist or crafter only one question, chances are you'd ask about creativity: Where do your ideas come from? How did you get started? What are your tricks for overcoming blocks? In Living the Creative Life, author Ricë Freeman-Zachery has compiled answers to these questions and more from 15 successful artists in a variety of mediums—from assemblage to fiber arts, beading to mixed-media collage. Creativity is different for everyone, and these artists share their insights on the muse (if you believe in her), keeping a sketchbook (or not), and prioritizing your art, whether you aspire to create solely for your own pleasure or to become a full-time artist. • Try your hand at creative jumpstarts straight from the pros. • Glimpse the artists' innermost thoughts and works in progress as you peruse pages from their journals and notebooks. • Share textile artist Sas Colby's triumph over creative block during an exotic art retreat. • Learn how internationally acclaimed artist James Michael Starr uses experience from his former "day job" to fuel his creation today. • Explore the work of Michael deMeng, Claudine Hellmuth, Melissa Zink and the other artists right alongside their insights. No crafter or artist should live the creative life without Living the Creative Life! The inspiration is contagious.
More of Mason Currey's irresistible Daily Rituals, this time exploring the daily obstacles and rituals of women who are artists--painters, composers, sculptors, scientists, filmmakers, and performers. We see how these brilliant minds get to work, the choices they have to make: rebuffing convention, stealing (or secreting away) time from the pull of husbands, wives, children, obligations, in order to create their creations. From those who are the masters of their craft (Eudora Welty, Lynn Fontanne, Penelope Fitzgerald, Marie Curie) to those who were recognized in a burst of acclaim (Lorraine Hansberry, Zadie Smith) . . . from Clara Schumann and Shirley Jackson, carving out small amounts of time from family life, to Isadora Duncan and Agnes Martin, rejecting the demands of domesticity, Currey shows us the large and small (and abiding) choices these women made--and continue to make--for their art: Isak Dinesen, "I promised the Devil my soul, and in return he promised me that everything I was going to experience would be turned into tales," Dinesen subsisting on oysters and Champagne but also amphetamines, which gave her the overdrive she required . . . And the rituals (daily and otherwise) that guide these artists: Isabel Allende starting a new book only on January 8th . . . Hilary Mantel taking a shower to combat writers' block ("I am the cleanest person I know") . . . Tallulah Bankhead coping with her three phobias (hating to go to bed, hating to get up, and hating to be alone), which, could she "mute them," would make her life "as slick as a sonnet, but as dull as ditch water" . . . Lillian Hellman chain-smoking three packs of cigarettes and drinking twenty cups of coffee a day--and, after milking the cow and cleaning the barn, writing out of "elation, depression, hope" ("That is the exact order. Hope sets in toward nightfall. That's when you tell yourself that you're going to be better the next time, so help you God.") . . . Diane Arbus, doing what "gnaws at" her . . . Colette, locked in her writing room by her first husband, Henry Gauthier-Villars (nom de plume: Willy) and not being "let out" until completing her daily quota (she wrote five pages a day and threw away the fifth). Colette later said, "A prison is one of the best workshops" . . . Jessye Norman disdaining routines or rituals of any kind, seeing them as "a crutch" . . . and Octavia Butler writing every day no matter what ("screw inspiration"). Germaine de Staël . . . Elizabeth Barrett Browning . . . George Eliot . . . Edith Wharton . . . Virginia Woolf . . . Edna Ferber . . . Doris Lessing . . . Pina Bausch . . . Frida Kahlo . . . Marguerite Duras . . . Helen Frankenthaler . . . Patti Smith, and 131 more--on their daily routines, superstitions, fears, eating (and drinking) habits, and other finely (and not so finely) calibrated rituals that help summon up willpower and self-discipline, keeping themselves afloat with optimism and fight, as they create (and avoid creating) their creations.