Psychology of Creativity For Marketing C

Psychology of creativity
for marketing communication

Selected aspects
Katarína Fichnová
2013
Noailles
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FICHNOVÁĽ KatarínaŚ
Psychology of creativity for marketing communication
FichnováĽ KatarínaŚ - 1. ed. –
Noailles: Association Amitié Franco-Slovaque, 2013. 120 p. ISBN 978-2-9536153-6-4.
 Creativity
 Psychology of creativity
 Marketing communication
 Creative industry
Reviewed by:
Prof. PhDr. Štefan GeroĽ CSc. / Constantine the Philosopher University in Nitra, Slovak Republic
Prof. nadzw. Dr. hab. Agnieszka Ogonowska, PhD. / Pedagogical University of Cracow, Poland
Doc. PhDr. Eva SzobiováĽ CSc. / Paneuropean University, Bratislava, Slovak Republic
Noailles
© Association Amitié Franco-Slovaque
This books is published as a part of V4 VF grant - 60900018: „Creativity for masmedial studies -
marketing communication in the V4 countries conditions (3 semesters): 1.) Creativity Psychology
2.) Creativity Training 3.) Creativity Practice for Creatives“
Publication was supported by grant 60900018 and Constantine the Philosopher University in Nitra,
Slovak Republic
© Éditeur ůůFS
7 place Hotel de Ville
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France
D. L. : decembre 2013
ISBN 978-2-9536153-5-7
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Droits de traduction et de reproduction réservé pour tous les pays. Toute reproduction, même partielleĽ de
cet ouvrage est interdite (loi du 11 mars 1957).
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Content
Introduction …………………………………………………………………. 5
Study objectives ……………………...……………………………………… 6
Core areas of study ………………………………………………………….. 6
1. Term creativity in psychology, its importance for creative industry and
marketing communication. Creativity and effectiveness. ………………. 9
1.1. Psychology of creativity - formation and basic concepts ………… 9
1.2. Creative industry ……………………………………………………. 11
1.2.1. Creative industry classification system models ……………. 13
1.3. Creative potential of an agency …………………………………….. 15
1.4. Creativity in Marketing Communication ……………………….….. 16
2. Criteria of creativity ……………………………………………………. 21
3. Product creativity identification methods ……………………………… 31
4. Environment and cearticity, creativogenic society and barriers of
creativity …………………………………………………………………. 41
5. Creative proces ...………………………………………………………… 51
6. Individual and group creativity, creativity facilitation and stimulation
methods ...………………………...……………………………………… 59
6.1. Group and creative performance ……………………………………. 59
6.2. Creativity techniques ………………………………………………... 62
6.3. Creativity techniques in practice ……………………………………. 63
7. Creativity models and types of creativity. Creative abilities, creative
personality and possibilities of creative personality identification ……. 69
Conclusion …………………………………………………………………... 77
Bibliography ………………………………………………………………… 79
Picture sources ………………………………………………………………. 104
Author index ………………………………………………………………… 104
Subject index ………………………………………………………………… 108
Annexes ……………………………………………………………………... 111
Annex A: Example of Media Space, s. r. o media brief …………………. 111
Annex B: Example of a creative brief …………………………………… 114
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Introduction
„Creativity is a basic element of human existence. ...
Creativity has become a driving force of economic growth. The ability to compete
and prosper in the global economy goes beyond trade in goods and services
and flows of capital and investment. Instead, it increasingly turns on
the ability of nations to attract, retain and develop creative people.“
(Richard Florida and Irene Tinagli, 2004, p. 5, 11)
This study base is composed with the aim to structure study material on the subject
of psychology of creativity for marketing communication, providing orientation in
basic areas of this discipline and guiding students towards autonomous acquisition of
relevant knowledge and understanding from this realm area. Recommended readings
form an inseparable part of this material. Students of this discipline are expected to
manifest inquisitive, inspective, curious and flexible attitude demonstrated by not being
satisfied with facts presented in this material, as well as by individual study effort
beyond the scope of recommended literature.
The aim of the course is acquisition and reinforcement of knowledge from
creativity theory and practice for the purposes of marketing communication and
creative industry. The phenomenon of creativity is an important factor of economy
growth in society, creative industry development, it is an important component of a
communication agency production potential. Creative personality is a personality
completely self-fulfilled, actualized, with adequate level of intrinsic motivation,
therefore the encouragement, cultivation, facilitation and stimulation of personnel´s
creative potential is important. Despite described significance for both individual and
society, we can still encounter a large amount of pending questions in this domain that
are also subjects to current research efforts. However, it is not possible to open any
topic from creativity and its applications without fair adoption of basic terminology.
Even more, currently we are experiencing trends directed towards the constitution of
an independent scientific discipline able to elaborate this complex phenomenon as its
own main subject of exploration. Creativity as a multidimensional phenomenon with
cross-disciplinary outstroke surely deserves this kind of attention.
I believe this brief study material designated for students of marketing
communication specialization will initiate the interest in many areas of creativity and
will stimulate students in autonomous studying as well as in the development of their
own creativity.
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Study objectives
After the course you will be able to:

 Define creativity and its basic attributes. Describe and use available methods
and techniques of product creativity identification and evaluation.
 Explain cardinal features of creative industry, creativogenic environment,
creative climate and creative atmosphere, as well as describe possible negative
influences in terms of barriers to creativity.
 Present important characteristics of particular phases of creative process, know
how to adequately optimize this process.
 Identify and describe factors having an inhibitory influence on team creativity.
 Optimize the process of creativity in order to be able to use synergy effects of
team creativity in real-life conditions.
 Define the difference between creative abilities and characteristics of creative
personality, orientate in basic diagnostic methods for creativity identification
and creative personality identification.
Core areas of study

1. Term creativity in psychology, its importance for creative industry and
marketing communication. Creativity and effectiveness.
2. Criteria of creativity
3. Product creativity identification methods
4. Environment and creativity, creativogenic society and barriers to creativity
5. Creative process
6. Individual and group creativity, methods of creativity facilitation and
stimulation
7. Creative abilities and creative personality
Recommended readings
1. FALAT, Marek.: Psychology of Creative Advertising and Its Authors. In:
Studia Psychologica, vol. 46, 2004, No 4, pp. 305 – 310. ISSN 0039-3320.
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2. FLORIDA, Richard: The Rise of the Creative Class. New York: Basic Books,
2002. 434 p. ISBN 978-04-65024-77-3.
3. FLORIDA, Richard; TINAGLI, Irene: Europe in the Creative Age. Available
onlineŚ httpŚ//www.creativeclass.com/rfcgdb/articles/Europe_in_the_Creative
_ůge_ŇŃŃ4.pdf [cited 15.04.2013]
4. HOWKINS, John A.: The Creative Economy: How People Make Money from
Ideas. [s.l.]: Penguin, 2002. 288 p. ISBN 0140287949.
5. KLOUDOVÁĽ Jitkaś et. al. Kreativní ekonomika. Vybrané ekonomické, právní,
masmediální a informační aspekty [Creative economics. Selected economical,
legal, mass media and informational aspects]. Bratislava: Eurokodex, 2010.
216 p. ISBN 978-80-89447-20-6.
6. MORIARTY, Sandra E. Creative Advertising: theory and practice. New
Jersey: Prentice Hall, Engelwood Cliffs, 1991, 438 pp. ISBN 0-13-189911-2.
7. MIKULÁŠTÍKĽ Milan. Tvořivost a inovace v práci manažera [Creativity and
innovation in manager´s work]. Praha: Grada, 2010. 203 p. ISBN 978-80-247-
2016-6.
8. RUNCO, Mark A.; PRITZKER, Steven R. Encyclopedia of Creativity. Vol. 2.
San Diego: Academia Press, 1999. pp. 465-477. ISBN 0-12-227076-2.
9. STERNBERG, Robert J.: Handbook of Creativity. Cambridge: Cambridge
University Press, 1999. 490 p. ISBN 0 521 57604 0.
10. SV TLÍKĽ JaroslavŚ Kreativita a reklama [Creativity and advertising]. In:
KloudováĽ Jitkaś et. al.Ś Kreativní ekonomika [Creative economics]. Praha:
Grada, 2010. 224 p. ISBN 978 80 247 3608 2.
11. SZOBIOVÁĽ EvaŚ Tvorivosť – od záhady k poznaniu. Chápanie, zisťovanie a
rozvíjanie tvorivosti [Creativity - from mystery to knowledge. Understanding,
examining, developing creativity]. Bratislava: Stimul, 2004, 371 p. ISBN 80-
88982-72-3.
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1. Term creativity in psychology, its importance for creative
industry and marketing communication.
Creativity and effectiveness.
Key words:
Creativity, creatology, creative industry, basic components of creativity, creative

potential, creative personality, creative product, creative process, creative
environment, effectiveness, competitions of creativity.
Study objectives for this chapter:
 Presenting the evolution of creativity research in psychology, presenting parallels

to creative industry.
 Issue of creative industry – its significance and specifics
 Definition, meaning and functions of creativity.
 Basic components of creativity.
 Differences and parallels between creativity and effectiveness.
 Competitions of creativity.
Summary of study material
1.1. Psychology of creativity - formation and basic concepts

The word creativity comes from Latin „creare“ translated as: to create, generate,
produce something new or breed, „come into life“ (compare e.g. Runco, Pritzker,
1999). The word creativity is often being replaced in laic terminology with terms such
as intelligence, invention, inspiration and intuition, while in scholar circles differences
but also intersections are defined. Today, attention to this phenomenon is being paid
mostly by the psychology of creativity, back to which we can track also the beginnings
of systematic and scientific research of creativity. These were initiated in 1949 by APA
lecture of J. P. Guilford on the occasion of his nomination for a president of this
association. Up to this time, only 0,2% academic and research papers were dedicated to
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the exploration of creativity (1975). After J. P. Guilford´s speech a great boom of
interest in phenomenon of creativity occurred, illustrated also by numerous attempts of
its exact definition: in 1953 there were more than 25 different definitions of creativity,
currently there is more than 60 separate conceptual frameworks of creativity.
Regarding the domain of marketing communication, the role of creativity concerns
not only the level of the marketing strategy preparation, communication production,
but also its roles as co-operating factor in communication output overall effectiveness
on settled goals are being discussed (i.a. KoverĽ et. al.Ľ ńřř5ś HradiskáĽ ńřřŘś ůrensĽ
2002; TrouthĽ RivkinĽ ŇŃŃ6ś Pavl Ľ ŇŃŃřś BorovskáĽ 2010). According to R. Florida, I.
Tinagli (2004) we are living in so called Creative Age and year 2009 was announced
as a Year of Creativity and Innovation. These facts underline the meaning of
creativity for the whole society while there exist evidence that there is a significant link
between creativity and economic growth (see, e.g., Florida, Tinagli, 2004).
It is not a coincidence that one of the initial stimuli for creativity research stemmed
from the needs of advertising practice. One of the trailblazers was i.a. A. F. Osborn
(2009), whose experiences with advertising agencies inspired him in creating maybe
one of the most know idea generating techniques - brainstorming. As stated by
R. E. Smith a X. Yang (2004, p. 31.): „...The relationship between creativity and
advertising is long, rich and textured.“ We assume that for the purposes of effective
creativity employment, it is important to be able to reliably identify this phenomenon.
This task is only seemingly easy, as will be mentioned further in the text. The area of
creativity identification and exploration is in the scope of several disciplines, for
example: Theory of Creativity, Psychology of Creativity or newly established scientific
discipline: Creatology. Currently, the phenomenon of creativity is in the center of
interest regarding many domains: philosophy, psychology, art, anthropology,
marketing communication, while it has a fairly big importance mainly for creative
industry.
We can also observe some attempts to create a new discipline that would
synthesize aforementioned approaches (Magyari-Beck, 19981; S. G. Isaksen, 1992;
R. Strenberg, 1999; T. Iba, 2010). These authors understand creatology as a cross-
disciplinary science that should synthetize different approaches to creativity and
innovation: psychological, sociological, economic, scientometric, philosophical, as
well as approaches concerning theory and history of arts, managerial sciences,
computer sciences, social sciences and natural sciences.
Although this new discipline oriented on creativity has not yet been established, its
function can be well covered by the psychology of creativity. Supporter of this
application is M. Falat (2004), who presented in his work interconnections between
creative advertising, more precisely creative marketing communication, with
psychology of creativity.
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First thoughts about creatology mentions I. Magyari-Beck (2013) already in 1977-1979.
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Scheme 1: Shared areas of Psychology of Creativity and creative advertising
according to M. Falat (2004)
Source: FALAT, Marek: Psychology Of Creative Advertising And Its Authors. In: Studia Psychologica.
46, 2004, 4, pp. 305-310. ISSN 0039-3320.
We assume that this discipline (as being suggested by Scheme 1) is able to offer
theoretical framework and practical implications to creative industry as such.
1.2. Creative industry

At the beginning of 20th century, John Anthony Howkins (2001) in his
publication „The Creative Economy How people make money from ideas“ introduced a
new economical concept, different from the classic one differentiating two basic
inputs/sources of production process - work and capital. J. A. Howkins in his
conception adds to these three pillars of economy the third one - the most important
pillar - human creativity (which he understands as a human ability to create something
new). He defines creativity as a neurochemical process during which there is a
connection of emotions and pleasure and which induces one´s own mind operations. It
is an inner subjective process that differs from innovations - innovations are external,
objective manifestations. Hence, creativity became a base of a new - creative -
economy. J. A. Howkins (2001) defines creative economy as an economy where the
main inputs and outputs are ideas, economy in which people spend the most of their
time creating ideas, economy or society where people don´t have a cut-and-dried
working shift exactly 8 hours a day.
According to UNCTAD (United Nations Conference on Trade and
Development, 2004) the concept of „creative industry“ is of a relatively recent
origin. Even though there is an apparent link to cultural industry2 (e.g. theater art or
In Slovak conditionsĽ J. Rusnák ĚŇŃńňě in his inspiring publication called „Popkultúra v elektronických
2
médiách“[Popculture in electronic media] pays attention to the phenomenon of popular culture and its
reflexions in media texts.
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crafts)3, this term represents a historical advance in approach to potential business
activities as well as in domain that had lately been considered as mostly or exclusively
non-economic. According to aforementioned source, this concept showed in Australia
in 1990 (in a report issued by the government), but was strongly exposed thanks to
politicians in Great Britain in 1997 when (as noted in S. Panitchpakdi and K. Dervis
in Creative Economy Report, 2008) The Department for Culture, Media and Sport
(DCMS) created an expert group specialized in creative industry (Creative Industries
Task Force). As a part of this process, DCMS changed the understanding of creativity
from activities having a strong artistic component to any economic activity producing
symbolic products with a heavy reliance on intellectual property and for the
widest possible market. J. A. Howkins (ibid) assigned 4 broad areas (sub-segments)
of creative industry: copyright, patents, trademarks and design. Nevertheless, in the
„creative industry“ set of basic branches or areas of occupation could be also included
areas such as: recording industry; music industry and theatre production; movie
industry; music publishing; book, journal and news publishing; computer software
industry; photography; commercial art; radio, television and cable broadcasting
industries.
Scheme 2: Composition of the creative cluster

according to T. M. Heng; A. Choo; T. Ho (2003)
Source: HENG, Toh Mun; CHOO, Adrianś HOĽ Terence. ŇŃŃň. Economic Contributions of Singapore´s
Creative Industries. In: Economic Survey Of Singapore. First Quarter 2003. Singapore: MTI., 2003. pp.
51-75. p. 52. <http://portal.unesco.org/culture/es/files/29669/11370847883MICA_-_Economic_
Contribution_Singapore_2003.pdf/MICA%2B-%2BEconomic%2BContribution%2BSingapore%
ŇBŇŃŃň.pdf [cit.06.04.2013]
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Several authors have tried to express the relations between „creative industry“, „cultural industry“ and
„intellectual property industry“, in Scheme 2 we mention one of these approaches in which all the
present components are being a part of so called „creative cluster“.
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Since the formation of this concept, quite a lot models trying to systematically
understand and describe structural characteristics of creative industry have been
known. In following lines we try to deliver the overview of four different classification
systems, as stated by UNCTAD (see Panitchpakdi, Dervis, 2008). Each model has its
own substantiation dependant on respective assumptions about the purpose and
functioning of the creative industry. Each model states slightly different basis of its
classification of "core" and "periphery" in various industries within the frame of
creative industry. These differences are caused mainly by the lack of definitional
clarity regarding "creative sectors".
1.2.1. Creative industry classification system models

S. Panitchpakdi a K. Dervis (2008) in UNCTAD report indicate a classification and
overview of creative industry models as follows:
A.) UK DCMS model, created in 90s in Great Britain as an effort to change the
economy of the country to creative one. According to this model, creative industries
are those requiring creativity, abilities and talent, and using this potential for wealth
and creation of new working opportunities by the means of using intellectual property
(United Kingdom Department of Culture, Media and Sport (DCMS), 2001). This
model includes 13 industries that could be understood as „cultural“Ľ but the
government of Great Britain prefers term „creative“ industryĽ maybe because it tries to
avoid possible connotations of „culture“ referring to so called high culture.
Model includes: (1) advertising, (2) architecture, (3) art and antiques, (4) crafts,
(5) design, (6) fashion, (7) cinema and video, (8) music, (9) theatre, (10) publishing
houses, (11) software, (12) television and radio, (13) videogames and PC games.
B.) Symbolic text model - focuses on cultural aspect of creative industry. This
approach regards „high“ or „serious“ art as a province (periphery) of social and
political establishment. Because of that it is oriented more towards popular culture.
Culture is created and spread by the means of industrial production, as well as by the
means of symbolic texts and messages spread by radio, press or other media.
Model includes:
 Core cultural industries: advertising, film, internet, music, publishing,
television and radio, video and computer games.
 Peripheral culture industries: creative arts,
 Borderline culture industries: consumer electronics, fashion, software, sport.
C.) Concentric circles model states that creative industry classifies art and culture
into separate areas. Model asserts that creative ideas originate in the core creative arts
in form of sound, text and image and these ideas and influences spread through the
series of layers or „concentric circles“Ľ with the proportion of cultural to commercial
content decreasing in the direction towards the outwards of the model. This model has
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become a base for the classification of creative industry in Europe recently prepared
for The European Commission. Model includes:
 Core creative arts: literature, music, performing arts, visual arts
 Other core culture industries: film, museums and libraries,
 Wider culture industries: heritage services, publishing, sound recording,
television and radio, video and computer games
 Related industries: advertising, architecture, design, fashion
D.) WIPO (World Intellectual Property Organization, 2003) copyright model
is created based on the copyright protection and it concentrates also on country´s
intellectual property. The area of intellectual property is stressed as an embodiment of
creativity that has gone into the production of goods and services included in the
classification. Model distinguishes between industries that actually produce intellectual
property and those that are necessary for the transfer of goods and services to
consumers.
Another group of „partial“ copyright industries comprises those industries, where
intellectual property is only a minor part of their activities including:
 Core copyright industries: advertising, collecting societies, film and video,
music, performing arts, publishing, software, television and radio, visual and
graphic art.
 Interdependent copyright industries: blank recording material, consumer
electronics, musical instruments, paper, photocopiers, photographic equipment.
 Partial copyright industries: architecture; clothing, footwear; design; fashion;
household goods; toys.
It is obvious that the content of the core is markedly different regarding these three
models. For example, fine art which is at the epicenter of Concentric circles model is
regarded as peripheral within Symbolic text model.
There is no "good" or "bad" model of creative industry, it is more about a different
way of creative production´s structural characteristics interpretation. ĚPanitchpakdi,
Dervis, 2008, p.11). Diverse models can be suitable and usable for diverse purposes,
but if we would like to, for example, statistically compare creative industries of various
countries, or propose several operational changes for the management of creative
industries, it is necessary to have at hand a common classification system standardizing
the creative industry categorization the way it will be valid for the whole economy. In
presentĽ under the term of „creative industry“Ľ different countries understand and
include different industries from their economies, majority of them not trying to
understand interactions between industries in terms of more precise classification of
industries into groups or sub-groups. This fact is bringing difficulties when aiming for
quantitative or qualitative analysis or comparison.
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Scheme 3: The United Nations Conference on Trade and Development
(UNCTAD, 2008, p. 14) - classification of creative industries
Source: scheme acquired fromŚ BÉRůUDĽ Philippeś du CůSTELĽ Vivianeś CORMERůISĽ Franck
Cormerais: Open Innovation, Economy Of Contribution And The Territorial Dynamics Of Creative
Industries. In: Journal of Innovation Economics. 2012Ľ ŇĽ n°ńŃ. Ň4Ň pagesĽ pp. Řń-105. ISSN 2032-5355.
˂httpŚ//www.cairn.info/article.php?ID_ůRTICLE=JIE_ŃńŃ_ŃŃŘń [cit. 06.04.2013]
E.) Model UNCTAD is trying to offer a more complex classification by dividing

creative industry into four main categories:
 heritage,
 arts,
 media a
 functional creations.
These groups are further divided into nine sub-groups, as presented in Scheme 3.
1.3. Creative potential of an agency

In relation to the place of creativity within Mass Media Communication or the
whole creative industry, it is important to realize that the manifestations of creativity
emanate from certain sources. These sources are represented by so called creative
potential of an agency. According to I. Fišera ĚńřřŃĽ p. 11), creative potential is one
of the key parts of each agency´s overall production potential. The result of creative
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potential is heretofore unknown, but at the same time effective, solutions of existing or
future tasks and problems. According to this author:
„It is the part of the whole agency potential, that reacts the most to the changes and
needs of future development and that influences the most its complex innovation
potency (this regards also facilities, flexibility, employees, sources...) and dynamics
and therefore economic effectiveness itself“ I. Fišera ĚńřřŃĽ p. 11).
Creative potential is a benchmark of agency´s competitiveness. It is a complex and
dynamic phenomenon made of following components:
(1) creative subjects, meaning people – employees of the agency - their abilities,
motivation, personal characteristics, working habits etc.
(2) creative behavior patterns - working methods and procedures and
(3) real equipment of creative work - technical equipment that agency owns
If all the components of creative potential are adequately represented, it is possible
to expect good results of creative work in form of highly creative ideas and solutions or
other types of creative products.
1.4. Creativity in Marketing Communication

Not to stay only at the level of assumptions, it is necessary to clearly define what is
and what isn´t creativity as such. One of the first - and even one of the most often used
and cited- definitions of creativity these days is the one presented by E. P. Torrance
(1972) who defined creativity as an ability to become sensitive to problems,
deficiencies, gaps in knowledge, to search for solutions, formulate and test hypotheses.
In our conditions, M. Zelina (1997), i. a., Ěe.g. JurčováĽ ńřř5ś SzobiováĽ ŇŃŃ4Ľ
Sv tlíkĽ ŇŃńŃě has merit in theoretical framework of creativity, creativity concepts and
research. He defines creativity as a kind of interaction between subject and object,
during which subject transforms environment, creates new, useful, and for the
subject and referential group or population, meaningful values.
Aforementioned definitions are universally applicable in several areas of human
creativity as well as areas of creativity research. P. Macejka (2003) has attempted for a
definitional shift towards needs of marketing communication when defining creativity
in marketing communication as an ability to find means of communicating bald, not
always interesting facts that client wants to announce to the public – people
potentially interested in his product – in a new, interesting and appealing way.
There are various opinions on the relation of marketing communication and
creativity. These concern different notions:
 position of creativity within marketing communication (Is it an idea itself, the
realization, final visual product, text or the concept of a strategy?)
 function of creativity in marketing communication (Understood as a prestige,
engagement, the ability of creativity to sell a product. Or is it just about getting
an award in a competition?)
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 the importance of creativity in marketing communication (purposelessness
versus significance)
The fact that the relationship between creativity and marketing communication is
being more debated in academic circles is indicated by the scientific seminar
„Creativity in Advertising“ organized in 2005 by The Department of Marketing
Communication, Faculty of Arts, Comenius University, Bratislava. Based on the
information from journals targeted on marketing communication experts, it is possible
to come to the conclusion that every marketer would like to produce creative marketing
communication. Supportive fact is indicated also in the article of M. Falat (2004), as
one of the main reasons that the relationship between creativity and marketing
communication is being more discussed is the fact that creativity is considered a
competitive advantage.
As early as in the famous book of Claude Hopkins (1966) this author speaks about
the importance of individuality and rareness. There are attempts to verify the justness
of creativity in marketing communication presented by D. Gunn (2000) (the first
creative director of Leo Burnett Worldwide agency) who is convinced, based on the
research work he has conducted, that creativity sells. P. Macejka (2003, p. 72) agrees
when stating: „Creativity is a basis of effective media strategy“. Viral advertisements
support this statement. We are keen to share them if we consider them interesting and
amusing and this act implicitly comprises the fact that they are creative. Similarly,
T. Johánek ĚŇŃŃ5ě affirmsŚ „The evaluations of the most important criteria that are
taking role while choosing an agency are assigning the biggest importance to the
creative draft.“ Anyhow, there are opinions against creativity in marketing
communication, too. Authors J. Trouth and S. Rivkin (2006, p. 41) claim that: „A large
amount of today’s advertising has gotten so creative or entertaining that it’s sometimes
hard to tell what companies are even advertising.” This opinion also comes out from
the assumption that creativity is defined only by novelty and originality. In this
approach we lack value and relevance, therefore creativity is judged in a negative way.
If relevance and value had been included to the concept, the connection with advertised
product would have been preserved.
Another mistake or myth we encounter in marketing communication is that
creativity equals effectiveness. Creativity is one of the means of enhancing
effectiveness. But these two are not the same phenomena. Creativity can´t be
purposeless, it has to fulfill a defined goal. R. Crain (in: J. Trouth a S. Rivkin, 2006)
bewares of indistinct and inefficient advertising hidden under the mask of creativity.
M. MacDougall (1981) also emphasizes the necessity of strategy and creativity
operating together. In relation to this, J. Trouth and S. Rivkin (2006) mention the
message of B. Bernbach: „His work is traditionally considered to be groundbreaking,
it started a revolution that enhanced the influence of creativity in advertising
production.“ (J. Trouth and S. Rivkin, 2006, p. 42).
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Survey realized by one of our graduate students K. Šeligová ĚŇŃ07) illustrates how
creativity can contribute to meeting of marketing - communication goals. The aim of
her work was to identify differences in perception regarding creative and uncreative
print advertisements, as well as to find out how it affects the ability to catch recipients´
attention and remember the advertising. Print car advertisements (total number=8)
were used as a research material. By using Q-methodology and semantic differential
method, we identified high significance (t-test) of the relation between the level of ad
creativity and ability to catch attention and been remembered. Results suggest that in
this case creativity helped enhancing the ability to captivate target group by
advertising, as well as it helped in terms of ad retention.
The importance of creativity is accentuated by different competitions. Sometimes
they are termed as creative competitions, but to be precise, in fact they are
competitions in creativity (even though competition as such could be creative under
certain conditions). (The first competition in Czechoslovak Republic was the
International festival of promotion films of Comecon countries and Yugoslavia held in
ńř65 in Gottwaldov ĚZlíněĽ currently there are more than ten different competitions
known in Slovakia and Czech Republic in scope of which creativity is one of the main
parameters of marketing communication reviewing).
Regarding competitions, the question of evaluation criteria is emerging again.
Because these criteria are not clearly defined, it results in vague and invalid evaluation.
These situations are well illustrated by the quote of D. Gunn (2000, p. 42): „Judges
evaluate the same ad as moderately creative, and in other competition as great“ We
assume that aforementioned problem is caused by the fact that judges don´t have
clearly defined criteria of creativity (creativity seems to them to be so easy to
understand that they don´t even think it is necessary to describe it in terms of some
definitions or criteria) We focus on the criteria of creative product in following chapter.
Control question:
Based on studied literature, compare the nature of creativity according to

various domains of occupation and describe basic connections and differences
regarding creativity in commercial sphere, art and creativity as an objective of
personality development.
Task for reflection and discussion:
How would you develop creative potential in communication agency? Suggest

tactics for all components of creative potential.
18
Text-related tasks:
Analyze carefully criteria of creativity and their description in individual

regulations of advertising creativity competitions. Make conclusions and suggest
improvements.
Questions:
1. What are the roles of creativity within marketing communication?

2. Explain how creativity relates to economical growth of the country.
3. What are the basic components of creativity?
4. What are two basic attributes of all creative products from the area of creative
industry?
5. What is the position of advertising in each of the model of creative industries?
6. How are models of creative industry different one from another?
7. Describe relations between creativity and effectiveness in marketing
communication.
Recommended readings:
1. CSIKSZENTMIHALYI, Mihaly: Creativity: Flow and the Psychology of

Discovery and Invention. New York: Harper Collins Publishers, 1996. 456 p.
ISBN 0 06 092820 4.
2. FALAT, Marek: Psychology Of Creative Advertising And Its Authors. In:
Studia Psychologica. 46, 2004, 4, pp. 305-310. ISSN 0039-3320.
3. SZOBIOVÁĽ Eva.Ś Tvorivosť – od záhady k poznaniu. Chápanie, zisťovanie a
88982-72-3.
4. ŽÁKĽ PetrŚ Kreativita a její rozvoj [Creativity and its development]. Brno:
Computer Press, 2004. 316 p. ISBN 80-251-0457-5.
5. STATUTE of Effie, Slovakia. Available onlineŚ httpŚ//www.kras.sk/index.php
?effiestatut [cited 11.08.2008]
19
6. STATUTE of Zlatý klinec. Available online: http://www.zlatyklinec.sk/statut.
php [cited 11.08.2008]
7. STATUTE of Duhová kulička. Available onlineŚ httpŚ//www.duhovakulicka.
cz/ [cited 11.08.2008]
8. STATUTE of Zlaté držátko. Available onlineŚ httpŚ//marketer.hnonline.sk/cń-
21883820-zlate-drzadlo-ŇŃŃ7 [cited 11.08.2008]
9. STATUTE of Zlatá pecka. Available onlineŚ httpŚ//www.zlatapecka.cz/index.
htm [cited 11.08.2008]
10. REGULATIONS of AKA Awards. Available onlineŚ httpŚ//www.aka.cz/
souteze-aka_awards.php [cited 11.08.2008]
11. Louskáček COMPETITION. Available onlineŚ httpŚ//www.aka.cz/souteze-
louskacek.php [cited 11.08.2008]
20
2. Criteria of creativity *
Key words:
Criteria of creativity, originality, value, relevance, subjective criteria, objective

criteria, transactualization, big and little creativity, borders of creativity.
 To explain basic criteria of creativity and their importance for the field of
marketing communication.
 Understanding the nature of originality as a criterion.
 Understanding the nature of creative product value as a criterion.
 Description and explanation of borders between creativity and ordinary product.
Some problems with defining creativity criteria in advertising creativity

competitions were outlined in previous chapters. Psychology of creativity has a rather
clear statement about this issue: product of human activity is considered creative when
- as stated for example by A. Rothenberg, C. R. Hausman (1976), R. M. Garrett (1987)
- novelty (originality) but also usability, value of the product is represented. Actually,
these criteria respond to J. Trouth´s and S. Rivkin´s ĚŇŃŃ6ě statement about creativity.
What they have considered to be creative has in fact never been creative because of the
lack of usability and value. The relation between these two criteria has its own
regulations which we present in graph 1.
M. Zelina (1997) mentions that both criteria have to be met at once. Thus, if
product is only new (original), but it is not useful, valuable and usable, it can´t have the
attribute of being called creative. On the contrary, when product is only useful,
valuable, usable, but not original (new), again, it can´t be identified as creative.
(M. Zelina, 1997 on the p. 44 mentions following example: I have an idea to wash my
teeth in the morning. The idea is useful, but not new and therefore not creative)
21
Graph 1: The relationship between novelty (originality) and usability (value).
Source: GARRETT, Roger M. 1987. Issues in Science Education: Problem Solving, Creativity and
Originality. In: International Journal Science Education. 1987, 2, p. 125-137. ISSN 0950-0693, Online
ISSN 1464-5289.
It seems that by this distinction the topic of criteria is closed and solved once for all.
However, it is not that easy because regarding communication and its outputs we need
to define the criterion of originality itself. How do we know whether one idea is
original and the other is not? Also, it is necessary to objectify and validate these
criteria. The simplified definition of originality from psychology defines it as an
infrequence of idea in population referring to prevalence, occurence of idea or solution,
hence, the occurence of idea or solution decreases the level of adverfact4 originality.
(picture 1 and 2).5
By contrast, solutions and products considered original are those that are new and
that haven´t been present so far in any result/solution. It is important to take into the
consideration the fact that novelty - originality can have various expressions: not only
in terms of protagonist selection, composition, or color design. Novelty can be
expressed by the ability to get beyond the border of the object where the advertisement
is placed, unconventional connection to the environment, when we can talk about so
called bisociation described by A. Koestler (1976) that stood by the birth of many
discoveries. We present the example of such concept in picture 3.
Term adverfact was coined by M. Zelinský ĚŇŃŃ7ě. It stems from an analogy to the term artefact Ěin
4
general product made by human, in narrow definition it stands for artwork of any character). Term
adverfact (advertising, artefact) is a neologism. In this work we will use both terms as synonyms.
5
In this context we should mention a publication of Š. Gero ĚŇŃńŇě called „Komunikácia-umenie-
marketing“ (translation: Communication - Art - Marketing), which, among other topics, regards also
the comparison of art and marketing from the point of originality, repeatability and reproducibility.
22
Picture 1: Example of two unoriginal advertfact versions (pinguins).
Picture sources: Tento.Slovakia<http://www.tento.sk/engine.php?page=novinky&main=ospolocnosti&
jazyk=sk> [citované ŃŘ.ŃŘ.ŇŃŃŘ], Batteries <http://adsoftheworld.com/media/print/eveready_
penguins> [cited 08.08.2008]
Picture 2: Example of (un)original book covers.

Sources: <http://www.grada.cz/katalog/kniha/nekonvencni-mysleni/> [cited 08.08.2008]
<http://www.grada.cz/katalog/seznam/odlis-se-nebo-zemri/> [cited 08.08.2008]
23
Picture 3: Example of three original executions of marketing concepts.
Source: http://swartzonmedia.wordpress.com/2007/08/24/bic-billboard-gardner-required/ [cited
10.08.2009]; http://adland.tv/ooh/mcdonalds-pouring-coffee-sign-ambient-usa [cited 10.08.2009],
httpŚ//www.smallbusinessbranding.com/5ńŇ/advertising-worth-admiring/ [cited 10.08.2009]
Margaret A. Boden (2004)6 distinguishes two categories of novelty: P-Novel -

that means psychological novelty, speaking about thoughts, ideas that are new for the
personality, but that can be taught from others and H-Novel (historical novelty)7 as
thoughtsĽ ideasĽ solutionsĽ concepts that hasn´t been discovered before. For the
purposes of marketing communication, creativity on P-Novel level is probably
sufficient. Anyway, some areas of creative industry fall within the category of H-Novel
(e.g. movies, fine art). The issue of creative product value is as well quite extensively
developed. From all of approaches availableĽ we would like to mention E. N cka
(2003), who presents 4 types of values in relation to goals that display in multiple
domains of creativity (see table 1).
6
First edition of cited book is from 1990.
7
R. E. Ripple (1999, p. 629) uses terms „Capital C“ and „Small c“ creativity.
24
Table 1: Four domains of creativity according to E. Nęcka (2003)
SourceŚ N CKůĽ Edward.: Psychologia twórczości [Psychology of creativity]. SopotŚ Gda ske
Wydawnictwo Psychologiczne, 2003. p. 15. ISBN 83 87957 50 X. (altered).
domain of values cognitive aesthetic pragmatic ethic

values values values values
goal truth beauty usefulness good
domain of creativity science arts discoveries public function
Based on this classification, it is possible to infer that creative industry is able to

fulfill cognitive values (for example information about product presented in the
advertisement), aesthetic values (design and artistic production), pragmatic values
(functional or economical benefits) and last but not least ethical values (area of public
functioning).
A more precise analysis of relations between creativity criteria is presented in the
work of M. Kilgour (2006) who adds to this approach the identification of the extent to
which criterion is met, so that adequacy, applicability and relevance conjoint with
originality don´t ensure the product to be creative - product is creative only in case of
high level of adequacy, applicability and relevance together with high level of
originality (graph 2).
Graph 2: The representation of relations between individual creativity criteria

and their extent according to M. Kilgour (2006).
Source: KILGOUR, Mark. Big C versus little c Creative Findings. 1-26 pp. Available online:
<www.cream.oulu.fi/tutkimus/documents/Kilgour_kkjouluk.pdf> [cited 30.07.2007].
high level bizzare products creative products

originality
relatively common existing products

low level productions
0 low level high level
adequacy, applicability, relevance
As has been already mentioned above, the issue of creativity criteria is somehow
more complex, as has been proven in works of several authors. From all of them we
will refer to the approach these days considered to be historical, but still actual, of
C. W. Taylor (1988) and his Theory of Creative Transactualization in which he
describes, among other aspects, seven criteria of creative product identification. These
25
criteria consist of generation, already described originality and relevance, hedonics
(utilization is comfortable), complexity, condensation, unification, simplicity, integrity,
compactness, reformulation. Nonetheless, the higher levels of objectivity, validity and
reliability have those creativity criteria that have gone through the process of
standardization (e.g. S. Spoelders, R. Claes (2006) test CPAM, or S. P. Besemer,
K. O´Quin CRS Scale SPůF (In Encyclopedia of Creativity, p. 759).
When talking about the significance of creativity in marketing communication, the
criterion of novelty is basically clearly delineated (see thereinbefore). It is the value
(graph 3) that is questionable according to concepts of M. I. Stein (1987), T. Amabile
(1983), C. M. Ford (1996). Within the framework of these concepts, value is dependent
on social sphere - meaning significance by which they enter the consciousness of
narrow (little creativity – little „c“ – short-term effects) or wider group of people (big
creativity – Big „C“ – significant contribution to society). Social impact and
significance substantiate the value of creative idea, its importance, effectiveness - signs
that are relatively independent from criteria of novelty, but together with novelty they
are an important components of creativity. Little and big creativity were designed as
terminology tools in order to reduce weak spots in creativity research - substitutions
between creative potential and creative product, creativity causes and creativity results
etc. Contrariwise, C. R. Rogers ĚńřŘňě doesn´t distinguish among levels of creativityĽ
Graph 3: Borders of Creativity according to T. Amabile (1983) and C. M.

Forda (1996).
Source: FORD, Cameron M. 1996. A Theory of Individual Creative Action in Multiple Social Domains.
In: Academy of Management Review. Vol. 21, 1996. No. 4, pp. 1112-1142, ISSN 0363-7425.
Picture: H. Fichna, 2008.
26
but his approach is more likely applicable within the scope of humanistic psychology
in terms of personality creative potential development rather than for the purposes of
creative products classification. As stated by M. Falat (2004, p. 306-307): „Creativity
in advertising ... is a second-hand tool of commercial goals and its impact on other
people is situational, therefore it meets the criteria of little creativity.“
Aforementioned does not intent to derogate or question the importance of creativity for
planning and realization of marketing communication, per contra it underlines its social
context and significance for the certain group of people (marketing manager, creative
team, client, target group). M. Csikszentmihalyi (1997) a H. Gardner (1997) state that
creativity is dependent on external context and thus it is not only a mental process.
H. Gardner (1999) created so called dynamic model of personality, where cognitive
dispositions for creative production are only one of the components participating in
creativity. Model includes other components that play role in creation and evaluation
of particular idea, product, work as creative: author (system of intellectual, personality
and social conditions); domain or specialization in which author creates (specific
repertoire of signs, symbols and rules of that field of specialization) and branch. This
last part is important regarding the reference to a group of people that create criteria of
evaluation and who decide whether something is or is not labeled as creative. In
general, evaluation criteria accrue mainly from social agreement that take place in
formal and expert groups in line with explicit rules and group norms. Society of
partakers (critics, journalists, directors, marketing employees) decides what changes
should permanently become a part of specific field as well as what is its integral part
and what isn´t. They judge what is right and wrong, what is relevant and what is
creative. In a sense, little creativity reflects social standards8 and expectations
established by reference groups in certain fields, while these are implicitly or explicitly
expressed in public appreciation or neglect, social approval or denial.
* note: completed and reviewed according to more widely conceived study: FICHNOVÁĽ Katarína:
Kreativita a marketingová komunikácia [Creativity and marketing communication] In: (KO)MEDIA:
conference collective volume. Zlín: Tomas Bata University, 2007. pp. 20-27. ISBN 978-80-7318-677-7.
Control question:
After studying presented material, are you able to explain in your own words
why it is important to settle criteria of creative product and what is their usage
in management and creative industry?
8
for more details about social standards and norms see e.g. T. PružinecĽ F. Škvrnda ĚŇŃńŃě
27
Try to find relations between so called „H“ and „P“ novelty on the example of
creative product (either your own or generally known, e.g., from science, art etc.).
Suggest methods of novelty identification in products.
Text-related tasks:
Get thoroughly familiar with recommended readings concerning criteria of

creativity as characterized by different authors, mainly S. P. Besemer and
D. J. Treffinger, S. P. Besemer and K. O´Quin, C. W. Taylor and others. Describe
the relationship between these criteria and corresponding domain.
Questions:
1. Which are the basic criteria of creativity and creative product?

2. How would you define relationship between criteria of creativity?
3. How would you find out whether advertising is original?
4. How do you see the criterion of value in creative advertising?
Correspondence task:
Find at least four examples of adverts on which you will demonstrate the
extent of creative product criteria fulfillment. Decide which of evaluated
adverfacts are the most creative. Justify your evaluations.
1. O’QUINĽ Karenś BESEMERĽ Susan P.Ś Using the creative product semantic
scale as a metric for results-oriented business. In: Creativity and Innovation
Management. 15, 2006. 1, pp. 31-41. ISSN 1467-8691.
2. KAPUSTA, Györgyi: ůnalýza faktorov podnecovania tvorivosti a ich podoby
v televíznej reklame [ůnalysis of creativity stimulation factors and their
28
reprezentations id television advertising]. InŚ FichnováĽ Katarína Ěed.ěŚ
Európska identita, masové médiá a kultúra – vybrané aspekty [European
identity, mass media and culture - selected aspects]. Nitra: Constantine the
Philosopher University in Nitra, 2010. 117 p. ISBN 978-80-8094-849-8.
3. KUSÁĽ DanielaŚ Malá či ve ká tvorivosť [Little or big creativity]. InŚ SchullerĽ
Ivan S.Ľ KoššĽ M.Ľ JaššováĽ Eva (ed). Zborník: Človek na počiatku tisícročia.
Psychologické dni 1997 [Collective volume: Man at the beginning of
millenium. Psychological days, 1997]. Bratislava: The Slovak Psychological
Society, 1998. pp. 222-225. ISBN 80-967228-9-1.
4. SV TLÍKĽ JaroslavŚ Kreativita a reklama [Creativity and advertising]. In:
Grada, 2010. 224 p. ISBN 978-80-247-3608-2.
88982-72-3.
29
30
3. Product creativity identification methods *
Key words:
Methods, creativity identification, invention, consensual techniques, central

paradox of creativity, resultativeness, synthesis, CPSS, CPAM, reliability, internal
consistency, construct validity, congruent validity, parallel validity, objectivity, content
analysis.
 Knowledge of basic methods of creative product identification.

 Introduction to content and utilization of particular methods.
 Explanation of consensual technique procedure.
In previous chapters we have brought criteria that are helpful in determination of

whether or not the product is creative. But how can we possibly identify and reliably
determine whether the criterion is met in case of products like advertising? (In the
pictures from previous chapter we placed several examples of seemingly original
advertisements, but the attribution of originality is dependent on the ability to compare
ideas not only from given socio-cultural conditions, but also from other ones, while it
is necessary to know the time of products´ creation.ě 9
9
It is essential to keep in mind that novelty - originality could have diverse manifestations in marketing
communication, not only: (1) composition, (2) color choice, (3) order of elements, (4) unexpected
combination, (5) selection of protagonists Ěsee e.g. MikulášĽ ŇŃńńaě. Novelty can be expressed also by
the ability to: (6) cross the borders of the objectĽ where the product is placed ĚKoškováĽ ŇŃńŃěĽ (7)
unconventional connection to the environment, (8) medium itself can be original Ěsee e.g. MikulášĽ
2011b; ŠtrbováĽ KapustaĽ ŇŃńńś ŠtrbováĽ ŇŃńŇ a 2013; Wojciechowski, 2009; WojciechowskiĽ MikulášĽ
2011; W si ski (2010); Gajdka, 2012; Ogonowska, Ptaszek, 2013; MagoĽ MikulášĽ ŇŃńň; Mago, 2013;
and others).
In marketing communication we talk about so called ambient media, new directions in marketing (9),
represented for example by guerilla marketing, viral marketing, promotional marketing, digital
marketing, event marketing, mobile marketing etc. This topic is covered in one of our other works (see
FichnováĽ ŇŃŃŘě. In this context we have to mention the identification of new phenomena in marketing
communication noticeable in all of its types, e. g. nekromarketing (Wojciechowski, 2010a, 2010b).
31
In present we dispose a quite large scale of methods aimed directly at identification
of creativity in creative product. One of them is for example Tangram of author
G. Domino (1979) with performance-verbal character or the Creative Product
Assessment Method from authors S. M. Reis and J. S. Renzulli (1991). In latter,
criteria are: novelty, elaboration, synthesis and resolution.
There was an attempt to identify creative power in product that we consider to be
interesting - J. H. McPherson´s Test for the assessment of creative product (invention)
to which refer J. HlavsaĽ M. Jurčová Ěńř7Řě. It identifies creative potential (effort),
while it takes into an account the extents of utility and progress, analyses novelty and
overcoming difficulties, it focuses on criterion of technical and economical effect and
for example also commercial or historical success. I. A Taylor´s and B. E. Sandler´s
(Taylor, 1975b) method called Creative Product Inventory assess product according to
following criteria: generation, reformulation, originality, relevance, hedonics,
complexity, condensation. In our conditions, M. Zelina (1981) designed the Method of
creative products assessment experimentally validated by I. LokšováĽ J. Lokša Ěńřřňě.
Following dimensions were included in criteria: expression, composition, contrast,
intentionality, dimensionality, variability, originality. The main principle of all these
methods is a comparison of assessed product attributes with pre-defined criteria, even
though a norm, an "etalon" for an adequate assessment of the level of product
creativity is usually missing.
When applying these methods, the responsibility is being partially transferred on
reviewer who has to determine the extent to which criteria are met. This suggests lower
objectivity of presented methods. The starting point quite often used in the history of
exploration and identification of creative product (and not only in the field of
advertising creativity contests) is a consensus of experts who have a crucial importance
in assessing products within particular creative activities of that respected field or
domain. The advantage of this method is that creativity is evaluated in real conditions
of its demonstration. The level of subjectivity can be lowered by adding base points,
schema or scale according to which experts are evaluating the product. T. Amabile
(1983), the creator of consensual techniques, states: „A product or response
is creative in respected field to the extent that appropriate observers
independently agree it is creative." (Amabile, 1983, p. 1001). Technique relies on
evaluation of products by independent experts by the means of simple scales and by the
observance of these basic conditions:
a) Task result must be a product or evidently observable response.
b) Task should have open (divergent) ending so it enables various and new
responses.
c) Judges (experts) should be familiar to some extent with the field, even though
the level of experience and knowledge doesn´t have to be the same for all the
judges, (judges don´t need to have the very same opinion on the criteria of
32
creativity, but certain adequate level of agreement about criteria of creativity is
necessary).
d) It is important for judges to evaluate creative products independently.
e) Judges should evaluate creative products in relation to the average level of
creativity for products and members of given reference group.
f) Each judge should evaluate products in different order.
In this respect, the Central paradox of creativity of author P. N. Johnson – Lairda
(1988) is being mentioned. It says that people are better critics than creators and
therefore they are able to evaluate the creativity in a product. J. LokšaĽ I. LokšováĽ and
A. Akimjak (2006) consider this consensual technique to be valid and reliable method
of creativity identification in artistic products. They think that there exists a high level
of concordance between subjective evaluations of creativity of individual judges.
B. Vanden Bergh, L. Reid, and G. Schorin (1983) present positive experiences
regarding usage of this technique for the evaluation of so called „advertising
creativity“. In their study a panel of experts consisted ofŚ creative directorĽ film
architect, copy supervisor and famous writer. There is still a group of authors that
criticize consensual techniques, such as X. Caroff, M. Besançon (2008) who claim that:
„Judgments obtained with CAT are usually reliable and valid. However, notable
individual differences in judgment exist“. Their study confirmed that creativity
evaluation in advertising varies. It depends on several factors, not only on the levelof
originality and relevance but also on the creative abilities of judges, their previous
training and information they have. Similarly, D. Hocevar (1981) states that this
method has limits regarding judges themselves, used criteria, subjectivity and the fact
that judges have to formulate their decisions. Other limits are mentioned by
N. Bonnardel and E. Marmèche (2005) who found a difference in evaluations of
creative products between the groups of experienced vs. inexperienced judges. This
leads to disbelief in method´s objectivity Ěthat means its independence from the
administrator). Correspondingly, J. Corko, A. Vranic (2007) confirmed that
experiences in the field influence the evaluation of product creativity. J. C. Kaufman;
J. Baer; J. C. Cole; J. D. Sexton (2008) note low inter-rater10 reliability (experts versus
non-experts). The efforts to find an exact and valid identification of product creativity
may lead to a construction of such tools that has clearly defined not only criteria but
also the specification of score levels. In this case a systematic elaboration of
knowledge about important parameters of creative product is necessary. These are
offered by S. P. Besemer and D. J. Treffinger (1981) in a review of 90 citation
sources describing 125 criteria of creative product. Authors summarized these criteria
into 14 categories creating 3 basic dimensions.
10
Inter-rater = the consent of evaluators represents the extent of homogenity or consensus that evaluators
put into evaluations (ratings).
33
Dimension of novelty (a) represents aforementioned level of product novelty - new
techniques, processes, materials, terms, ... and their effect on future creative products.
It includes three factors: originality, incentive11, transformational effect.
Dimension of resolution (b) includes criteria related to appropriateness or
feasibility of creative product. It includes: logicality, relevance, usefulness, value.
Dimension of synthesis and elaboration (c) is according to S. P. Besemer and
D. J. Treffinger (1981) related to the characteristics of style - usually aesthetic,
expressing the extent of design elaboration. The term „balanced creativity“ and
„accuracy“ of solution is being used. The dimension of synthesis and elaboration
includes: complexity, organic, well-craftedness, attractiveness, elegance,
expressiveness.
All aforementioned criteria don´t have to reach the same level/extent in creative
product and they are not equally important. If the evaluation of creative product has to
be objective it has to stem from complex view and it has to take into consideration the
dynamic connections and relations that are a part of creative actionsĽ while it shouldn´t
be limited to just some of the aspects, criteria or demands.
Based on stated criteria authors made a tool for the identification of product
creativity called Creative Product Semantic Scale (CPSSě ĚBesemerĽ O´QuinĽ ŇŃŃŇě
which is a modification of semantic differential identifying differences in advertising
creativity perception of diverse groups. Authors present the utilization of this scale for
testing new products from the domain of the design as well as advertising ĚO´QuinĽ
Besemer, 2006). Another example of this research and identification tool application is
the contribution of A. White and B. L. Smith (2001) who let evaluate advertisements
(total number 14) by CPSS. Results showed that they are influenced by the personality
of the evaluator since statistically significant differences in the evaluation of
advertisements by professionals, students and common people were detected. These
scales are universally applicable for the purposes of creativity evaluation of basically
any product, therefore also advertising, as it has been described before. Currently, there
exist evaluation tools designed for the utilization mainly within the scope of marketing
communication, one of them being Creative Product Analysis Matrix (CPAM) used
by authors S. Spoelders a R. Claes (2006) for evaluating 120 radio ads. This tool
identifies the originality factor, the level of usefulness and expressivity. Data about its
reliability or validity are unknown.
One of the reasons of problematic issue regarding the ability to identify the extent
of product creativity is the initial situation. Options are different concerning relatively
more simple situation of creative personality identification (detecting their abilities).
While evaluating the creativity of a personality, the situation is standardized (identical
instructions, unified stimulus, units and measurements).
11
In original work of S. P. Besemer and D. J. Treffinger this criterion of novelty is described by the
adjective „germinal” as product generating other new ideas.
34
Table 2: The comparison of reliability in two types of methods: method of creative
abilities identification and method of creative product identification.
Source: own elaboration according to sources stated in the table.
Reliability Consisitency Test-retest Inter-rater

- internal R concordance of evaluators
CREATIVE THINKING .60 - .70 .65 - .90+
(Cropley, 1999) .70 - .90 .50 - .85 trained – untrained: .90
TTCT (Torrance In: - Bfa, Bfu., Pe. .89 -.97
JurčováĽ ńřŘ4 a,b) - above .50
TSD-Z (Urban, Jellen,
KováčĽ ŇŃŃŇě
CREATIVE PRODUCT .70 - .90+ -- ! .70 - .90+
(Cropley, 1999) .69 - .93 trained - untrained.: Coleman (1999)
CPPS (Howe, 1992) .69 - .87 Sign. difference ! 0,001
(overall score)
(Besemer, 1998)
CONSENSUAL .73 - .93
TECHNIQUES .70 - .90 above .93
Hennesey (1994)
J. Baer, J. C. Kaufman
et. al. (2004).
Aforesaid disadvantageous starting point, defined within the products of marketing

communication as a non-standardized basis situation, is not the only problem
researcher has to face (there are no identical instructions regarding creation, compact
stimulus and a way of measurement and units of measurement are all missing). Basic
criteria of method suitability can be also questioned. In table 2, we are presenting a
comparison of reliability values for methods identifying creative personality skills in
comparison to the reliability of methods identifying the extent of creativity in creative
product - adverfact. A glance in the table is providing us with a clue that data are
unfavorable for the creative product identification, actually, for the test-retest reliability
data are not available. Moreover, the problematic inter-rater reliability where
significant difference between evaluators was found suggests that the method is not
objective and the results therefore do not depend on the creative power in product but
on the evaluator. Such state is inacceptable in scientific approach.
Similar situation based on available sources was found in the case of validity
measurements. Again, within the scope of creative thinking identification, the validity
is rather weak, highly objectionable is the fact that the data for the creative product
identification are not accessible. Hence, the usage of these methods seems not valid
and discrediting identified measurements.
35
Solutions proposals: We see the way out of this situation in the harmonization of
dominant paradigm with the dimensionality of methods, respectively, in the completion
of methods or in the correction of their mono-dimensionality. Inspirational is the
approach of author M. Csikszentmihalyi (1999) who presented so-called dynamic
model of creativity consisting of several dimensions: 1. person, 2. domain
(specialization) characterized according to the author as a specific repertory of signs,
symbols and rules that certain sphere has developed and that are the instruments of
innovations and provide means of expressions by which the creator communicates
his/hers ideas. Another, 3rd dimension is the field/branche representing groups of
people in which evaluations are made and who decide whether or not something of
someone is recognized as creative. In this way, the assessment criteria are created by
social accordance. From the aforementioned ensues that it isn´t possible to design
creativity identification methods regardless the context of situation, group and field, as
it has been done up to now.
We consider the approach of G. Haberland and P. A. Dacin (1992) as highly
inspiring. They present the possibility of advertising creativity assessment by
proposing two levels of evaluation: cognitive or evaluative level that requires the exact
establishment of presented criteria (e.g. what will be considered as original, acceptable,
transformative etc. and under which conditions) and affective level within which
authors suggest the evaluation of emotional reactions of target group after viewing the
advertisement (for example the extent of surprise). This approach is beneficial from the
point of including target subjects who are the receivers of advertising message into the
process of evaluation. Similarly, M. Dahlen, S. Rosengren, F. Törn (2008) mention that
consumers are what is important in the evaluation of advertising (or other form of
marketing communication) creativity. Prior to any marketing communication campaign
implementation, there is a testing on target group - testing of the target group
packaging perception, perception of print advertising, etc. Why wouldn´t we use target
group for the testing of advertising creativity? Advertising creativity concerns the type
of little creativity as defined by M. I. Stein (1987), that means there is no risk that
target group won´t understand it or will appreciate the ad only historically as some of
the excellent creations in the past. In case it would happen, still, for the purposes of
marketing communication, „little c“ products are what is essential, and essential is also
their evaluation by the target group. Another inspiration lies in so called formalized
content analysis (B. Berelson, 1952) that offers the opportunity to analyze any material
including adverfact. The inter-rater reliability of content analysis falls between 0,78 -
0,99.12 Validity as presented by L. MaršálováĽ O. MikšíkĽ V. B icháčekĽ M. HrabovskýĽ
ů. HrabovskáĽ V. Smékal ĚńřřŃě depends on the veracity of the original document.
12
good experiences mention for example E. PolákováĽ L. Spálová ĚŇŃŃřěś B. Šramová ĚŇŃŃ7ěĽ P. Mikuláš
(2011a) and others.
36
The fact that we speak about the utilizable area of exploration is supported by some
authors, i.a. J. Alisio (1997) who applied qualitative analysis in research of advertising
creativity and communication strategy success.
Based on aforestated facts, we can say that approaches regarding the product
creativity identification have gone through quite a long and miscellaneous evolution.
The identification began with empirism: „this seems to be creative‟ (implicit theories),
followed by the efforts to objectify and settle objective and standardized methods
(statistical analysis). These efforts, as already explained, haven´t been sufficientĽ that is
why the crisis is to what we arrived next (insufficient criteria). Currently, we note a
shift towards qualitative approach, focus on individual evaluation, positionality of the
evaluator and procedures of so called methodological triangulation. The future will
lead us towards Rhodes´s 4P (product, process, personality, press = environment) and
their synthesis, as well as towards respect for the multidimensionality of creativity
phenomenon in the conceptions of method identification dimensions (Rhodes, 1961).
Despite this optimism regarding the area of creativity research and its presence in
product itself, a closer analysis of stated tendencies and trends is necessary. It is
predictable that not all the efforts, proceedings and directions will lead towards the
formation of objective, valid and reliable method(s).
* author´s note: completed and reviewed according to more widely conceived study: FICHNOVÁĽ
KatarínaŚ Kreativita v marketingovej komunikácii a kríza [Creativity in marketing communication and
crisis] In: (KO)MEDIA: conference collective volume. ZlínŚ Tomáš Baťa UniversityĽ ŇŃńŃ. pp. 1-14.
ISBN 978-80-7318-903-7.
Control question:
After the acknowledgement with study materials and recommended readings,

are you able to explain in your own words on what principles all available
creative product identification methods are formed, as well as describe their
strengths and weaknesses?
You familiarized yourselves with particular creative product identification methods.

Can you define their advantages and disadvantages and situations in which they are
applicable?
37
Text-related tasks:
Get well informed about the criteria of creative product identification

methods. Describe in your own words why these criteria are important. Compare
scientific methods with non-scientific and write down basic risks link to the
application of non-scientific procedures.
Questions:
1. What is the key characteristic of the effectiveness criterion? Find an example

of fulfillment and failure to comply of this criterion e.g. in billboard, in advert.
2. Describe the dimension of synthesis and elaboration, its significance and
application in creative industry.
3. T. Amabile created several rules for the consensual technique. Think about the
consequences that should be applied during the creativity evaluation in case
that Amabile´s rules are not respected.
4. Search for creative product identification methods in recommended readings
and describe methods you have found.
Choose any adverfact and choose one of described methods. Apply this method
on selected adverfact. Write a report about the process and results. Try to analyze
and interpret your results and provide conclusions.
1. AMABILE, Teresa M.: The Social Psychology of Creativity: A Consensual

Assessment Technique. In: Journal of Personality and Social Psychology. Vol.
43, 1982, No. 5. pp. 997-1013. ISSN 0022-3514.
2. FICHNOVÁĽ Katarína: Kreativita a marketingová komunikácia [Creativity and
marketing communication] In: (KO)MEDIA: sborník konferenčních příspěvku
[(KO)MEDIA: Conference collective volume]. ZlínŚ Tomáš Baťa University,
2007. pp. 20-27. ISBN 978-80-7318-677-7.
38
88982-72-3.
39
40
4. Environment and cearticity, creativogenic society and
barriers of creativity *
Key words:
Genetic limits, heredity, environment, exogenous factors, macro-social level,

creativogenic society, economical growth, micro-social level, leadership style, creative
climate, creative atmosphere, activation, motivation, authenticity, empathy, autonomy,
support, interpersonal relations, self-perception, barriers, perception, internal,
external barriers, situational barriers, barrier elimination.
 Knowledge of environment characteristics supporting and inhibiting creativity.

 Knowledge of creatogenic society attributes.
 Knowledge and understanding of micro-social factors influencing the creativity
manifestation in working groups.
 The explanation of basic barriers of creativity with the emphasis on environmental
barriers.
Regarding the common division of psychological determinants into environment

and heredity, in past, different share of environmental influences was ascribed to
creative performances. One of the newer theories is the one of V. Dočkal Ěńřř5ě called
The model of genetic limits that doesn´t exclude a certain share of heredity on
creative performances and expects some genetic limit of the modality - on the one side
creative performance and on the other side the real, measurable level of this modality
as the other subject. Environment that doesn´t provide enough stimuli has a
consequence of not fulfilling the genetic limit of individual. Based on many years of
experience and research regarding creative skillsĽ T. Kováč ĚńřŘ5ě highlights the
quality of environment as a strong formative influence on the progress in creativity.
Environment is an exogenous psychological determinant within which we can
differentiate two levels ĚSzobiováĽ ńřřřś Dacey, Lennon, 2000):
41
1.) Macro-social level including whole-society factorsĽ culture ĚBednárikĽ
PružinecĽ et. al. ŇŃŃřś PružinecĽ ŠkvrndaĽ ŇŃńŃś SpálováĽ SzaboĽ MikulášĽ ŇŃńń), social
standard of living, religious, ethnical, economical and political environment. „ It is
manifested under conditions supporting creative people nonetheless for the stake of the
whole-society goals, but as well for individually important self-realization“ ĚSzobiováĽ
1999, p. 40). This relation is interactive in the meaning that not only the society is
encouraging one´s creativityĽ but creative people are helping the prosperity of society.
R. Florida and I. Tinagli (2004) consider creativity as one of the main conditions of
economical growth.
There are well-known examples of creative personalities in history, who were
developing under ongoing unfavorable social circumstances and who were in conflict
with social environment (see Feldhusen, 1995). It remains questionable, whether their
creativity was shown „thanks to“ or „despite“ these circumstances. However, there is a
big-enough group of authors who present, based on research evidence, some typical
characteristics of so called creativogenic society (Dacey, Lennon, 2000). S. Arieti
(ibid) considers these attributes to be crucial for this kind of society: (A) availability of
cultural means, (B) openness to cultural stimuli, (C) emphasis on the journey to
something, (D) free access to cultural media for all citizens13, (E) freedom (or even
moderate discrimination) after severe oppression (of course author doesn´t recommend
that, he only states that people did express more creatively after the oppression had
passed away), (F) exposition to different and often even contrasting cultural stimuli,
(G) tolerance of unusual views and thoughts and interest in them, (H) opportunities for
significant individuals to interact, (I) promoting incentives and rewards.
2.) Micro-social level includes primary and secondary groups (family,
educational institutions, working environment). These areas are relatively richly and
profoundly covered in literature (in case the reader is interested, more details can be
found in works of following authors: the influence of family constellation and sibling
birth orders were in our conditions examined by E. SzobiováĽ D. Jansová ĚŇŃŃ5ěĽ
E. Szobiová ĚŇŃŃřěś creativity - humanism contexts of ethical and family education are
subjects of work of I. Lomnický ĚŇŃńŃěĽ I. Lomnický and J. Jurová ĚŇŃŃ7ěĽ Ł. Tomczyk
(2011); the influence of advertising on children´s creativity was examined by
G. Kapusta (2012); media influence on cognition and other aspects of personality
presents for example T. Pružinec Ě2006, 2007); autocreation of personality was
examined by ů. W si ski (2009); research regarding the influence of educational
institutions on creativity has a rich tradition worldwide (Torrance, 1972; Pezzullo,
Thorsen, Madaus, 1972; Plucker, Runco, 1999; N ckaĽ ŇŃŃń and others), as well as in
our area ĚKováčováĽ 1979Ľ ńřř5ś KováčĽ Matejík,ńřř4ś ĎuričĽ et. al.Ľ ń981;
Korš ákováĽ ŇŃŃńś JurčováĽ PišútĽ ńřŘř; SatkováĽ ńřřřś SatkováĽ WojciechowskiĽ
2010; SzobiováĽ ŇŃŃ7; SzyszkaĽ ŇŃńňś W si ski, 2011; and many others). Working
13
see for example T. Pružinec ĚŇŃŃ5Ľ ŇŃŃ6ě
42
environment and its influence on creativity of employees were in our conditions
examined by I. Fišera ĚńřřŃěś L. Kolajová ĚŇŃŃřěś M. Jurčová Ě1995); M. Mikuláštík
(2010) and others.
Several factors can enhance or inhibit creativity at micro-social level: (1) education
system and related issues, (2) exerted methods of work (3) personality of the leader
and his/her knowledge from psychology of creativity, managerial abilities – i.a. how to
adequately use and boost creative potential of employeesĽ as well as leader´s own
creativity are important factors influencing the manifestations of creativity in
employees and members of working groups. (Hlavsa, 1975; Bakalá Ľ ErazímĽ ńř86;
FišeraĽ ńřřŃś Adams, In KordačováĽ ńřř4ś and others). Creative manager will highly
probably support the creativity of his/hers subordinates and vice versa, non-creative
manager will try his/hers best to consciously or unconsciously pull creative
subordinates towards the average (as proven by empirical and research evidence:
GulášĽ ńř76; Bakalá Ľ ErazímĽ ńř86ś FišeraĽ ńřřŃś JurčováĽ 1997; ...). Important part of
the micro-social environment are (5) colleagues from working group and their mutual
relations that can have a negative impact on creativity by the means of conformity
pressure. T. Amabile (1983) considers the pressure between individuals to be the main
inhibitory factor of willingness to risk and present one´s own creative ideas. ůccording
to the research of W. Blesse, J. Hlavsa, Ch. Thormannová (1979), creative individual is
having a place of outsider in the group, similar findings were brought by M. Hrašnová
Ěńřř6ěĽ though research findings of J. HlavsaĽ ů. Komárová ĚńřŘńě didn´t support
these findings, moreover, in the group of older individuals, positive dependence
between creative individuals and their group influence had been shown.
More frequent (and their results more outright) are researches monitoring the
relation of (6) leadership style and creativity of group members. In this context,
findings of T. W. Adorno and his colleagues (in: Dacey, Lennon, 2000) seem alarming
(even though they are older). T. W. Adorno et al. (ibid) administered the test of
authoritativeness to a large sample from 400 different occupations in the U.S.
According to authors, individuals with high score in this test have these typical
characteristics: requesting obedience, high level of control, excessive sense of
hierarchical order, dominance and subjection as key factors in life. First place in
scores was taken by managers/leaders in these occupations: army (officers), police,
education (!). (There were no findings noticed for the area of creative industry.) All
aforementioned characteristics could be assinged to style known in the literature as
autocratic (e.g. Woolfolk, 1990) or in newer sources (Zelina, 1992a) called directive
leadership style that influences activity, motivation and creativity in a negative way.
Regarding the reinforcement of creativity, the most suitable is creative leadership style
ĚZelinaĽ ńřřŇaś GulášĽ ńř76ś SatkováĽ ŇŃŃ4ě based on constant searching for and
creating of adequate environment regarding all influences. This style provides more
freedom and autonomy, the leader is communicating feelings more often, the leader is
more flexible and shows empathy. Another characteristic is high demandingness that is
43
differentiated and individualized, trying to reach the highest possible realization of the
development potential.
Closely linked to the leadership style are atmosphere and climate in the working
place. Some authors are using both terms synonymously, some authors use the term
atmosphere for „...the reflection of current state of the group... [characterizing] short-
term relations in the group...“ (M. Zelina, 1993, p. 34), while term climate refers to
long-term group relations including: perception of group members, ways of
cooperation, leadership style. The comparison of atmosphere enhancing versus
inhibiting creativity performance is presented by M. ZelinaĽ E. Jaššová (1984, pp.170-
171) and we display it in table 3.
Table 3: The comparison of atmosphere enhancing creativity versus athmosphere

inhibiting creativity according to M. Zelina and E. Jaššová (1984, pp. 170-171).
Source: ZELINůĽ Mironś JůŠŠOVÁĽ Eva. Tvorivosť - piata dimenzia [Creativity - fifth
dimension].Bratislava: Smena, 1984. 206 p. no ISBN.
 openness of mind,  strong emphasis on logical-analytical

FACTORS FOR CREATIVITY FACTORS AGAINST CREATIVITY
 openness to new experiences,

 sensibility to oneself and to other people
thinking, that does not mean that
 openness to new thoughts, new attitudes

science is anti-creative, logical-
analytical thinking is a precondition of
 openness to imagination
 emphasis on words, their exact
creativity
 ability to tolerate ambiguities in
definition, stagnation on pedantry,
 ability to live complexly
personality
again: mastering of terms is a
 ability to play condition of creativity, but the
 wideness of needs, interests
 the emphasis on the opinion that
stagnation on them is anti-creative
 fantasy, imagination
 generating many different thought
human intelligence is limited and that
 generating original thoughts
it has boundaries that cannot be
 high independency
 falling in love with a thought that one
crossed
 low tendency to defensiveness, not taking
 believing that only genius can be
has no creativity
 accepting chaos as a stimulation
refuge to defense
 elimination of the fear of unconventional

creative or only person born with
 need for self-development  not supporting, or prohibiting different

"creative cells" can be creative
 orientation more towards the process children´s interests such as modeling,
 understanding oneself, self-support, self-

than towards the result
 destructive criticism and excessive
writing, drawing etc.
acceptance, openness towards oneself,

 limiting fantasy, imagination, fabling
accentuation of norms
 courage
self-regulation, self-sufficiency
 punishing for sensibility, moral
 self-discipline
 mental health  rewarding or complimenting average
courage, intuition, play
 ability to express feelings and emotions

 optimism
performances, rewards/compliments
for not causing troubles
44
  time limitation and time pressure on

ability to see the world around differently
  employment emphasizing money and

unrestrained mind individual

will to risk, moral courage
  escape from oneself, from autonomy

need for change and innovation fame, aiming towards practice

ability of divergent thinking
 tendencies to self-depreciation or high

and identity

originality

independence
 underestimating
over-confidence

intuition
learning, work,

self-motivating inspiration
 prejudice about oneself and age,

ability to occupy oneself with bizzarre discipline, perseverance
 fight against stereotypes

tasks
 lack of joy, love, impressions, humor

negative attitudes about oneself
 good sociability, integration in society
 character blocades, lack of self-
 laziness
discipline and persistency
 lack of motivation
 lack of the wish to be creative
 fear of risk and courage, fear of
 difficulties in decision-making
oneself, fear of own strengths
 rigidity in thinking
 nervosity, neuroticism
 need for aggression, and other
Psychologists have paid and still are paying today a special attention to the
exploration and description of quality and creativity supporting climate (e.g. Torrance,
1975; Rogers, 1983; Isaksen, 1983; Amabile, 1989; Zelina, 1993; Furman, 1998). They
differ in selection and quantity of respective characteristics, we are presenting some of
them:
 C. R. Rogers (1983) elaborated a comprehensive system of a „personality
centered approach“ according to which we can reach a creative climate when
leader as a personality acts towards his subordinates authentically, is sure of
himself and his relations that enables him to experience trust in abilities of
others and to learn for himself. Acceptance of personality, empathy and
mutual trust, intrinsic motivation and responsibility, participation at creation
and evaluation of results play also an important role.
 E. P. Torrance (1990) considers acceptance and feeling of safeness to be
important attributes of procreative environment, at p. 146 he states: „...overall
the most important step ... to enhance creativity is to ensure them in belief that
their creativity will be appreciated.“
 Tolerance and conciliatoriness of environment together with an access to
resources are according to J. A. Plucker and M. A. Runco (1999) key
component characteristics of an environment encouraging creativity.
45
E. M. Alencar, M. F. Bruno-Faria (1997) followed also the extent of creative
climate saturation by its various characteristics. As the most significant appeared: (a)
encouragement of the environment, (b) organizational structure, (c) encouragement
of the boss, (d) encouragement of colleagues, (e) freedom, (f) autonomy, (g) salary or
benefit, (h) physical surroundings (adequate temperature, ventilation), (ch) technical
and material conditions, (i) preparation (j) courage stimulation. These authors
included to the original dimensions new ones, those regarding physical, ergonomical
conditions, however they consider psychological dimensions to be more substantial
and more important (as resulted from their research).
G. Ekvall (1996) analyzed and compared innovative and stagnating organizations
while he also created a tool for the identification of a creative climate (the Creative
Climate Questionnaire - CCQ) that describes its 10 dimensions: challenge, freedom,
idea support, trust/openness, dynamism/liveliness, playfulness/humour, debates,
conflicts, risk, time for ideas. As mentioned by the author, researches show that these
ten dimensions differentiate between highly innovative and stagnating organizations.
Dimensions with crucial importance for innovativeness are following: challenge,
freedom, trust, playfulness and low number of conflicts.
In terms of organizational process, climate plays a role of an intervening variable
(see scheme 4) influencing the economic results of organization. Climate has this
modifying power because it has an influence on organizational processes such as
problem solving, decision making, communication, coordination, management and
psychological processes of learning, creative production, motivation, determination
and commitments. Organization has various types of sources - people, money,
machinery etc. that are used during organizational processes and operations. These
operations bring various kinds of effects on different levels of abstraction: high or low
product/service quality; radically new products or only minor improvements of older
products; high or low relationship amenity between coworkers and financial gain or
loss. G. Ekvall (1996) mentions that climate shows high influence on aforementioned
results, but on the other side, these results influence financial aspects and climate itself,
too. These causal relations are very difficult and it is possible to identify circulating
connectedness of these factors.
The importance of creative climate stresses also A. L. Pagano (1979) according to
whom the creation and reinforcement of creative climate is one of the key components
of creativity development. Other components are: the active use of creative skills, the
use of previous knowledge, a disciplined use of technique (this item is corresponding
with abovementioned finding that too much as well as too little control restrain child´s
curiosity) and contacts with artists. Creative climate is characterized as „open“ or
„free“ environment in which an individual can express own feelingsĽ ideasĽ emotions
and he/she feels safe there. It is an environment with its own rules, but the leader is not
authoritative or dominant. M. JurčováĽ D. KusáĽ E. Kováčová Ěńřř4Ľ p. 64ě list these
environmental factors facilitating creativity as the most frequently mentioned:
46
- creating a space for invention and idea time
- challenging curiosity, forming a need for creative approach to problem
solving, motivation for knowledge
- supporting unusual or eccentric ideas and solutions
- ability and willingness to discuss and accept opinions of other people, while
being able to offer one´s own ideas (debate)
- maintenance of welfare, freedom, playfulness, dynamism at workplace
Scheme 4: G. Ekvall´s (Ekvall, 1999) scheme of climate and intervening

variables in organization.
Source: EKVůLLĽ Göran. ńřřř. InŚ Mark ů. RuncoĽ Steven R. Pritzker. Encyclopedia of Creativity. vol.
1. San Diego: Elsevier, Academic Press, 1999. 810 p. ISBN 9780122270758. pp. 403 – 412.
B. A. Hennessey, T. Amabile (1988) stem from the interactionistic understanding of

mutual relations person↔environment↔creativity. They came with fundamental
findings that have highlighted the importance of thinking not only in terms of
individual psychological perception14 of social environments, but as well thinking
about the characteristic of actual person. Their research confirmed that the very same
environmental conditions can be perceived differently by people differentiating in
specific personality dimensions. They compared highly and poorly creative
individuals, whose intrapersonal characteristics were different. More creative people,
as well as those highly original participants whose personality characteristics have a
14
Perception in relation to marketing communication is a subject of work of these authors: T. Daugherty,
K. Logan, et. al. (2008); H, A. M. Voorveld, P. C. Neijens, E. G. Smit (2011), E. du Plessis (2007), M.
Kačániová ĚŇŃńňaĽ ŇŃńňběĽ P. DudášováĽ et. al. ĚŇŃńŇě and others.
47
high prosocial aspect: sociability, trust in other people, naturalness, approachability,
relaxation and most significantly (out of social aspects) empathy, perceived more
favorably humor in the creative climate. Highly original individuals who are according
to personal questionaire more closed and selfcontained (this is typical for introverts)
didn´t perceive humor and other characteristics of creative climate to such extent.
Hence, individual psychological characteristics and individual personality traits
contribute to the perception of the environment in relation to creativity.
Complex view on this topic is offered by M. Zelina (1992b) in his draft of structure
and content of creativogenic environment in which author delimitates four categories:
 work: questions, goals, methods, techniques.
 interpersonal relations: vertical relations: student-teacher, horizontal relations:
student-student, climate, communication.
 control: style of control, leadership, knowledge, evaluation, motivation.
 other factors: time, help, health condition, place, material conditions.
These categories indicate desired characteristics of the environment and they
represent one of the possible ways of creative skills development. Briefly, they
concentrate on the creation of the most suitable conditions for the demonstration of
creativity.
Another approach assisting the development of creativity is the identification and
consecutive elimination of barriers in creativity. The short definition of barriers in
creativity could be as follows: barriers in creativity can be described as negative factors
of external and internal surroundings of a personality that restrain or inhibit the
realization of this personality´s creative potential. Barriers influence in a negative way
the whole group or society as stated by M. JurčováĽ M. Zelina ĚńřřňěŚ barriers inhibit
the creative potential (from its formation, expression and whole versatility) of an
individual, group, society. L. Jones ĚinŚ JurčováĽ ńřř5ě distinguishes four groups of
barriers:
- First group is represented by perceptual barriers that arise from the lack of
awareness regarding sensual qualities on the physical level. These barriers
contribute to insufficient affective implications of a situation.
- Second group consists of value barriers causing personal beliefs and values to
limit the content of ideas subject could have considered.
- Third group includes strategic barriers that influence problem solving
approaches. It includes three areas: tendency to overly lean upon previous
experiences or techniques regardless their applicability; focusing on narrow
range of alternatives while defining or solving a problem; excessive
seriousness regarding the approach to problematic situation that averts playful,
imaginative, humorous climate.
- Fourth group is represented by barriers of self-perception. These barriers
lower the efficiency of person´s assertive idea development. They arise from
48
insufficient self-confidence and they contribute to the insufficient belief in the
value of one´s own ideas.
In literature we can come across other efforts to classify types of barriers into more
complex or more subtle systems. In Slovak conditionsĽ M. Jurčová and M. Zelina
(1993) i. a. devote their professional interest to the exploration of barriers in creativity.
According to the potential source of barriers in creativity they describe following
types: a.) internal barriers of subject: intellectual barriers, motivational barriers,
psycho-physiological barriers and attitudinal-emotional barriers, b.) situational
barriers, c.) external barriers - environment: psycho-social barriers, cultural-historical
and material barriers, time, space, leadership style, climate. d.) Another group is
formed by procedural - style barriers: rigidity, stereotypes, strategies etc.
As already mention at the beginning of this chapter, the proportion of exogenous
and endogenous factors on the realization of creative potential is not clear. In relation
to this, J. Hlavsa (1985) says we need to search for a creative production source in
terms of a synergy between external conditions and internal tendencies of a subject,
even though he doesn´t consider the division to external and internal sources of
creation to be convenient. Similar is the opinion of T. M. Amabile (1989). According
to her, some elements of creativity are innate, some depend on learning and
experience, while social environment is considered an important factor. According to
T. M. Amabile (1989), creativity develops as a concurrence and interaction of certain
components and each component is having its important role.
* Author´s note: for more see FICHNOVÁĽ Katarína: Tvorivosť a prostredie [Creativity and
environment]. In: Niektoré aspekty tvorivosti … [Some aspects of creativity] Nitra: Constantine the
Philosopher University in Nitra, 2008. 135 p. ISBN 978-80-8094-008-1. Chapter is a completed and
remade version of this paper.
Control question:
Could you concisely explain in your own words which environmental

variables influence creativity of individual or a group?
Try to make a list of statements, thoughts and sentences that induced the production
of ideas in your group. Make a list of those statements and sentences (of group
members and leader) of which you think were having an inhibitory effect on your
creativity. Discuss the content of lists in groups and try to find practical
recommendations.
49
Questions:
1. Describe attributes of creativogenic society and try to provide examples of

them.
2. Explain why autocratic/ directive style of leadership is not optimal for the
maintenance of employees´ creativity.
3. Name and describe environmental factors facilitating creativity.
4. What is the difference between creative atmosphere and creative climate?
5. Describe basic barriers of creativity and try to design process of their
elimination.
Search for a creative climate questionnaire in recommended readings. Based

on this questionnaire, try to diagnose in your working group components of
creative climate and their extent. Identify main sources of obtained results,
possible barriers in creativity at your workplace. Suggest tactics for
improvement.
1. DACEY, John S., LENNON, Kathleen H.: Kreativita [Creativity]. Praha:

Grada Publishing, 2000, 250 p. ISBN 80-7169-903-9.
2. FICHNOVÁĽ KatarínaŚ Tvorivosť a prostredie [Creativity and environment].
In: Niektoré aspekty tvorivosti …[Some aspects of creativity...] Nitra:
Constantine the Philosopher University in Nitra, 2008. 135 p. ISBN 978-80-
8094-008-1.
88982-72-3.
4. ŽÁK, Petr: Kreativita a její rozvoj [Creativity and its development]. Brno:
50
5. Creative process
Key words:
Creative process, phases, preparation, concentration, incubation, intuition, aha

effect, illumination, verification, conscious and unconscious processes, persuasion,
daydreaming, EEG.
 Understanding and meaning of particular creative process phases.

 Knowledge of conscious and unconscious processes permeation.
 Defining key terms from the area of creative process analysis.
 Understanding and knowledge of processes regarding particular phases of creative
production.
 Ability to identify which phases of creative process can be actively developed and
which methods can be used for that purpose.
Creative process represents a sequence of thoughts and acts that lead to creative
product. „It is a process of subject´s inner stimulation and processing of stimuli
coming from external environment ˝ ĚSzobiováĽ p. 29, 1999, 2004). It causes changes in
basic mental functions and creating specific states related to production.
J. Hlavsa (1985) also alludes the alteration of consciousness: cognitive and non-
cognitive personality factors are entering, while there is a shift from alert objective
perception through states of fantasy formation to states of contemplation and dreaming.
An important personality from the field of creative process examination was Graham
Wallas who published a classical piece of work called “The Art of Thought“ ĚNew
York: Harcourt Brace and World, 1926) where he described in details several stages of
creative process. He mentions these basic stages of creative process:
1. Encounter – a stage of problem identification or encounter with something that
catches the interest of a person
2. Preparation – preparatory work on a problem
51
3. Concentration – concentration and focus on the problem
4. Incubation – maturing of solutions
5. Illumination (inspiration) – the moment when one realizes the solution
6. Verification – control and verification of solution found
7. Persuasion – persuasion of others that our way of solving a problem is the one
that is adequate and efficient.
Later, some of the phases were united. The description of creative process of
G. Wallas is respected by current experts from respective domain even though many of
them attempted to amend his model or to create own models of creative process based
on their own research works. Regardless such efforts, most of these experts approved
the validity of G. Wallas´s approach. At the end of this chapter we present some of
these approaches (table 4). In following lines we offer basic characteristics and actions
typical for particular stages defined by G. Wallas.
Preparation includes any kind of preparation activities for solving a problem or a
task. It covers multiple areas:
a) assignment itself
b) all previous attempts to solve a problem
c) previous preparation of an individual - the upbringing with terms, methods of
thinking, education, established ways of problem solving and other aspects
acquired during the process.
We have to note, this regards conscious work on a problem or task that is being
solved. Person is aware of a problem, is collecting information/data (this could be seen
as boring, but it is very important), searching for possible solutions, analyzing these
sources and analyzing current state. The length of the phase is varying, it can last for
minutes, hours, days, months or even years! The length depends on the type of a task,
as well as on dispositions and attitude of the subject. For example, seminar paper
requires different approach and different preparation phase than client´s assignment for
advertising agency, or writing a book, or making a movie. J. W. Young (1989) uses
more expressive terms in relation to preparation phase Ěin Wallas´s termsě: he refers to
data collection as to „immertion”. By using this term he tried to express the depth and
extent of creative personality involvement into this opening phase of creative process.
Consequently, within the very same phase, follows so called analysis, again called
expressively by Young: digestion.
The example of punctilious preparation is a statement of David Ogilvy, founder of
well-known communication agency (2007): „Become in your agency the most informed
person about the job you have been assigned to. If it regards for example a job about
driving fuel, read chemistry and geology textbooks, books about oil products
distribution. Follow all business journals issued in the field. Go through all notes and
marketing plans your agency has ever written about the product. Spend Saturday
afternoon in services, gas stations and talk to motorists. Visit refineries and research
52
laboratories of your client, study advertising of his competitors and at the end of
second year you will know more about driving fuel than your boss“. (Ogilvy, s.a.)
In this phase it doesn´t have to be about inflexible work with data. We need to look
at facts from different perspectives, while it is important to include divergent and
associative thinking and search for new solutions. Only properly realized preparation
phase can offer adequate material for the following phase. In the domain of marketing
communication, well done creative brief that should provide the most important
information about the assignment belongs to preparation phase of creative process.
Creative brief should beside other information cover the definition of client´s problemĽ
main marketing goals and resultant communication task, target group, competition, the
main idea we would like to communicate to target group, facts supporting this main
idea, characteristic of brand personality, deadlines, budget etc. We list examples of
creative brief in annex.
Incubation is the second phase in latter division of creative process phases
according to G. Wallas (1926). It represents a period during which we do not
deliberately and consciously think about the problem. In this phase, unconscious
processes take place in our brain and these processes can influence problem solving. In
this phase, we are making an unaware progress and possible solution is emerging, it is
so called germination of thoughts. This stage can include also active processing similar
to conscious effortĽ slow automatic „warm up“ of memory activationĽ passive
forgetting of shallow details or precedent approaches ... In this phase, random actions
intersect with goal-oriented (non-random) actions. These actions, altered and
completed, penetrate to consciousness in form of: imaginery, fantasies, dreams,
feelings and emotions.
Unconscious activity is getting more intensive mainly during breaks between
conscious effort, most often during relaxation when the penetration of unconscious
contents into consciousness is not inhibited by strain. M. Mölle et. al. (1996) recorded
EEG reactions during three types of activities: (1) divergent tasks, (2) convergent tasks
and (3) relaxation. Results showed that according to EEG convergent tasks seemed to
be less complex actions. EEG showed complex actions during divergent tasks and
relaxation, actually both records had similar continuance and shape. These results
suggest that unconscious activities (similar to those during relaxation) are probably
linked to divergent production.
Unconscious processes taking part in cognition are labeled as intuition. Definition
of intuition is as inconceivable as intuition itself. Hans Hugo Bruno Selye - doctor,
physiologist, founder of stress theory - states the following definition: „...Intuition is
the unconscious intelligence that leads to knowledge without reasoning or inferring. It
is an immediate apprehension or cognition without rational thought. Intuition is the
spark for all forms of originality, inventiveness and ingenuity. It is the flash needed to
connect conscious through with imagination.“ (in: Malina et al., 1993, p. 96).
53
Illumination is characterized as inspiration and it is another phase of the creative
process. It occurs the moment there is an accord of incidental solution based on
inspiration or intuition with target criterion. „AHA! experience“, sometimes called
„Eureka effect“Ľ is a part of intuition process. Illumination is a moment when a
promising thought is getting into consciousness and appears as applicable. This state is
accompanied by a strong feeling of tension relief. In relation to aforementioned facts it
is not surprising that illumination occurs mostly in unexpected situations and at
unexpected places. This suggests - in relation to previous incubation phase - that these
are mostly situations when our consciousness and cognitive processes are free from the
burden of conscious processing, it is a state similar to relaxation. We know about many
cases from history when highly creative individuals talk about the situations of idea
realization/conscious recognition when they didn´t expect that idea to come. It
happened out of working environment and out of the time scheduled for creative
activity.
Examples:
1.) Jules Henri Poincaré (1854-1912) - French mathematician, physicist,
astronomer and philosopher. His work significantly influenced the
development of the Relativity theory. He mentioned these testimonies about
the creation: „...some answers seemed to occur all of a sudden, while thinking
about something else. Out of my office“ (Pietrasi ski, 1972, pp. 32-33).
2.) Herman Ludwig Ferdinand Helmholtz (1821-1894) - German physicist,
physiologist, mathematician, philosopher. He described similar facts, he
created not in his office, but his best ideas came while entering an omnibus.
(in: Malina, et. al., 1993, p. 223)
According to G. Tellis (2000) in marketing-communication agency while creating
an advertisement it is not only about the stage of illumination, but also about the stage
of exchange. Author understands the stage of exchange as a process of mutual
compromises and concessions concerning a problem.
Verification is a phase which main content is the verification/substantiation of
created ideas or solutions. The feasibility of the idea is verified and evaluated. It is a
phase of idea testing: many ideas seem to be good until the reality shows some
problems. After the idea is verified (proved as suitable, relevant, possible to realize), it
can be followed by the phase of persuasion (of a client) that product or idea is suitable
and that it solves the task.
In actual creative process these phases can interlace and repeat, or some of them can
be omitted. In graph 4, it is illustrated how individual main phases are represented in
concrete parts of creative process.
The division of G. Wallace´s (1926) creative process is not the only one available.
In following table we present approaches to creative process according to various
authors. The analysis of creative process brings the opportunity to understand its nature
and to actively make it more effective, even though some psychologists e.g.
54
K. R. Popper (1997) consider the process of scientific discoveries to be completely
unanalysable. The majority of authors (as it also results from the previous table)
consider creative process to be analyzable and describable.
Graph 4: Experimental research of creative process, author C. Patrick

(in: Kulka, 2008).
Source: according to: PIETRASI SKI, Zbigniew: Tvorivé myslenie [Creative thinking]. Bratislava:
Obzor, 1972. 244 p., p. 32. and KULKA, Ji í: Psychologie umění [Psychology of art]. Prague: Grada,
2008, 440 p. ISBN 978-80- 247-2329-7, p. 384.
Table 4: Comparison of creative process phases definitions

according to various authors
Source: interpreted from DACEY, John S., LENNON, Kathleen H. Kreativita [Creativity]. Prague:
Grada, 2000, 250 p. ISBN 80-7169-903-9.
Wallas (4) Osborn (9) Pólya (5) Amabile (5) Vigiu (5)
Preparation Getting facts Understanding of Task assignment Preparation
Problem a problem Preparation Definition
Preparation Grouping of creation
information Feeling of
frustration
Incubation Creating answers Incubation
Illumination Searching for an Decision and plan Creating answers Illumination
idea of action
Finding an idea
Development of an
idea
Verification Finding a solution Plan execution Evaluation of
evaluation answers
Acceptance of Retrospection- Conclusion and
thought(s) evaluation result
55
S. J. Parnes Ěńř7Ńś In SzobiováĽ ŇŃŃ4Ľ p. ňňě found out that creation of valuable
and original thoughts is related to the duration of the process. Analysis focused on
the occurrence of quality ideas showed that up to 78% of quality ideas were produced
in the second half of all the ideas. In relation to the information about stages, we can
support and optimized this process. Optimization of creative process can be done by
the means of potential development, for example by creativity stimulation methods.
Control question:
Describe in your own words the course of creative process phases.
Explain the difference between conscious and unconscious processes during

creative process.
Text-related tasks:
Get well informed about the criteria of creative product identification

methods. Describe in your own words why these criteria are important. Compare
scientific methods with non-scientific and write down basic risks link to the
application of non-scientific procedures.
Questions:
1. What is the course of creative process?

2. How can creator himself stimulate the production of creative ideas?
3. What is the relation of individual conscious and unconscious activities to the
time continuation of creative work?
4. In what time range we can expect the most extensive production of original
solutions (regarding the duration of productive phase of creative process)?
5. What is the task for creative employee in the phase of persuasion?
6. What is the relation between intuition and illumination?
56
Describe in details what sources of information (beside classic ones) would

you look for during a preparation phase of a creative process in case you would
have to prepare a communication campaign (select a concrete product or
service).
1. SV TLÍKĽ JaroslavŚ Kreativita a reklama [Creativity and advertising]. InŚ

Grada, 2010. 224 p. ISBN 978-80-247-36082.
2. SK IVÁNKOVÁĽ Jana. Jaký klient, takový brief [Like client, like brief].
published 5.10.2009. In: Strategie.cz, Available online: <http://www.strategie.
cz/scripts/detail.php?id=447671>. [cited 09.09.2010].
3. OGILVY, David: Ogilvy o reklamě [Ogilvy on Advertising]. Praha:
Management Press, 2007. 224 p. ISBN 8072611546.
4. WARR ůndyĽ O’NEILLĽ EamonnŚ Understanding Design as a Social Creative
Process. In: Human-Computer Interaction Group 2005. In Proceedings of the
5th Conference on Creativity &Amp; Cognition (London, United Kingdom,
April 12 - 15, 2005). C&C '05. ACM Press, New York, NY, pp. 118-127.
5. COLLECTIVE OF AUTHORS. Mediálny brief [Media brief]. Bratislava:
Media Space, s.r.o., [s.a.]. 3 p. http://www.mediaspace.sk/files/pg0ln1/
Medialny%ŇŃbrief.doc. [cited 09.09.2010]
57
58
6. Individual and group creativity, creativity facilitation and
stimulation methods
Key words:
Individual creativity, group creativity, synergy effect, GSS, cognitive sources,

cognitive stimulation, group inhibition of creativity, nominal groups, real groups,
facilitation, stimulation, development, methods, brainstorming, analogy method,
reversal method, divergence, convergence.
 Understanding significance and differences in individual and group creativity.

 Defining key terms of individual and group creativity.
 The ability to identify key factors influencing group or individual idea production.
 Understanding rules of team work in creative production.
 Theoretical and practical management of procedures and methods of creativity
facilitation and stimulation.
6.1. Group and creative performance

In the domain of creative industry, mainly in its part of marketing communication,
production and creative process is often being a part of group cooperation. There are
voices saying that group cooperation is beneficial to the production of ideas, we think
in terms of so called social facilitation effect. Based on this assumption, many
procedures and methods of creative group work have been constructed. One of the
most popular is the technique of brainstorming that arose from the need of advertising
practice. Its author is Alex Faickney Osborn (1957, 1979) who published it for the
first time in book called Applied Imagination in 1953, even thought technique was
designed already in 1939. A. F. Osborn assumed that: „the average
person can think of twice as many ideas working in a group than working alone“
(Osborn, 1957, p. 229). Many authors (e.g. P. VavrinčíkĽ ŇŃŃŇś S. VincíkováĽ
M. HalašováĽ ŇŃŃřě assume that group will produce more ideas than is the sum of
59
individuals´ ideas during the same time and therefore it is possible to expect so called
synergy effect in groups. In relation to thisĽ L. Kolajová ĚŇŃŃřĽ p. 44ě statesŚ „Team
potential can´t be easily expressed by a simple sum of individual potentials of team
members. People are connected by certain bonds, they complement one´s deficiencies
with advantages of another´s, they enrich each other with ideas and thoughts and that
is how they create new values. The performance of a team then exceed the sum of each
member´s possibilities“. This performance can be described by following formula:
SE =TR-SIP
(SE = synergy effect, TR = team result, SIP = sum of individual performances, well
coordinated team). Synergy effect in group can be improved by GSS (Group Support
Systems). Jillian M. Hender, et. al. (2001) say that GSS can elevate quantity and
quality of generated creative thoughts and ideas in comparison to non-GSS groups.
They see the main difference in anonymity, simultaneity (parallel communication), but
mainly in different structure of group memory.
However, some research outputs suggest, that group creativity doesn´t necessarily
have to be more effective than individual creativity. E. N cka ĚŇŃŃňě points to the fact
that in empirical research where real group effectiveness was compared to nominal
groups (sum of individual scores) showed that the superiority of real groups
performances is only illusory. Author provides an example of the research realized by
C. W. Taylor ĚinŚ N ckaĽ ŇŃŃňě who found out that nominal groups created on average
68,1 ideas per group, while real groups on average only 37,5 ideas per group.
A classical research of co-workers D. W. Taylor, P. C. Berry and C. H. Block (1958)
confirmed that the performance of real groups is significantly lower compared to
nominal groups in these areas: (a) average number of produced ideas (fluency); (b)
average number of originality in solutions (originality); (c) in flexibility of solutions
(regarding quality). Based on these findings, authors declared that group creativity
when using brainstorming inhibited creative thinking. B. Mullen, C. Johnson and
E. Salas (1991) conducted a meta-analysis of multiple research works regarding
productivity in brainstorming groups. They found out, similarly to D. W. Taylor et al.
(1958), that these groups are in fact less productive than nominal groups, both in terms
of quantity and quality. Highest productivity of creative solutions has been shown in
relation to: (a) bigger groups, (b) presence of experimenter, (c) cassette recordings of
productions in comparison to written recordings of production, (d) in so called nominal
groups.
H. Lamm and G. Trommsoorff (1973) presented a study comparing individual
performance in creativity with solving tasks in form of brainstorming techniques, as
well as other techniques. They found out that inhibitory effect in group creation is
caused by multiple factors, among them for example: (A) arousal: the sole presence of
other people doing the same task and/or presence of observer(s) during the task
increases the possibility of arousal causing an increased contribution of energy into the
process; (B) observational learning: observing others solving the same task may lead
60
to imitation of their responses or procedures; (C) social inhibition: potential threat of
being (openly or secretly) criticized from group members. As a reaction to this threat
there is an endeavor to evade criticism, preserve respect of the group and not present
answers or solutions that are not 'safe'; (D) distraction: face-to-face interaction
provides social-emotional clues not directly relevant to problem solving and that could
distract and derive attention; (E) production blocking: in common discussion there is
an implicit rule that only one person speaks at a time, while all other participants have
their apparent thought production blocked; (F) cognitive interference: content
presented by one participant can influence (inner) generation of ideas in other
participants. (I) Cognitive uniformity: response provides the same stimulus for all
participants, cognitive reactions (thoughts, associations) relevant to the task,
participants´ experiences could be similar to each other. ůt the same timeĽ all
participants may be subjected to the pressure of homogenous group decision because
social agreement is psychologically more comfortable than disagreement. (J) Mutual
correction: an idea can be perceived in group as inappropriate or insufficient solution.
(M) Slower task fulfillment: group performance can be time consuming - not only
because (D), (E) and (F), but also because it takes a lot of time in group to discuss
tactics, divide work and coordinate activities. Some authors add more risks of group
work such as: rivalry of group members, bad influence of authorities or the
syndrome of group „dumbness“ ĚE. N ckaĽ ŇŃŃňě.
Group can also have a positive influence on creative production mainly for these
reasons: (G) cognitive stimulation: solutions presented to some of the participants can
contain relevant stimuli for the solutions of other participant that they could not have
uncovered otherwise (at least not at that particular place); (H) conjunction of
cognitive sources: optimal solution of a problem may require different kinds of
cognitive abilities or experiences. (K) Prevention of duplicity: individuals working
alone don´t have means to prevent production of the same ideasĽ thoughts and images,
while during a group work the control is easy, it is always evident which solutions have
participants contributed to the final solution. (L) Work distribution: if it is possible to
divide a task into partial tasks, group is able to organize the work by assigning different
sub-tasks to individual members. This helps to level up work effectiveness.
Concerning advantages and disadvantages of group production, authors
M. D. Dunnette, J. Campbell, a K. Jaastad (1963) present a research with 48
advertising agency employees and 48 scientists. Authors compared working in groups
(brainstrorming) with work of individuals (nominal groups, individual brainstorming).
Results showed that regardless the type of profession, better results (both in terms of
number of ideas and quality of ideas) were provided by individual work.
Despite presented results, work in groups has its benefits. P. B. Paulus (2000) states
that even though there are many factors that seem to inhibit creativity in groups, his
findings and results suggest that group interaction and teams can be an important
source of creative ideas and innovations. Well, the most known technique of group
61
work was created as a result of an effort to eliminate the inhibition of creation. That is
why A. F. Osborn (1957, 1979) suggested rules that could encourage creative
production. Team work is a necessity in nearly are areas of creative industry including
scientific research and work of advertising agencies (E. N ckaĽ ŇŃŃňě. This necessity
originates in the impossibility to cumulate all the competencies and abilities needed for
solving complicated problems of an individual. According to the research of
P. B. Paulus; V. R. Brown; A. H. Ortega ĚinŚ N ckaĽ ŇŃŃňěĽ the dominance of nominal
groups over real groups in creative production is getting weaker or is even dying away,
in case the subject is a difficult problem, not a trivial testing task like an unusual usage
of a paper clip. Procedures of creative work in group can therefore help to get a better
performance and optimized results. E. N cka ĚŇŃŃňě in link to this talks about so called
„group wisdom“ that exhibit when certain conditions are met. The creativity of „group
wisdom“ is probably a result of diffused responsibility for a result Ělower individual
fear of failure), the reinforcement of newly developed ideas and notable condensation
of creative process in time.
6.2. Creativity techniques

Creativity techniques are methodological procedures designed to stimulate
creativity of people while looking for new ideas (as stated by . SuntingerováĽ ŇŃŃ4ě.
Many authors divide creativity techniques into two basic categories: (1) intuitive (e.g.
brainstorming) and (2) analytic-systematic (e.g. morphological matrix), another
classification stems from the goal: (a) development of creative skills or (b) creativity
techniques for idea generation processes (techniques and practice). Stimulation of
creativity is - in contradiction to learning - an extension of development, it is a
purposeful, deliberate process of personality formation under certain conditions. It
means: (a) beneficiation, (b) maximal utilization of individual possibilities and (c)
acquisition of new qualities. We classify methods of creativity development as
follows: (1) facilitation, (2) cultivation, (3) interactive, (4) condition and (5) complex
personality formation (ZelinaĽ ńřř7ś SzobiováĽ ńřřřś FichnováĽ ŇŃŃŇě. Facilitation
methods enable more rational and more efficient realization of an activity (heuristic
procedures, group problem solving etc.) and they optimize conditions (Zelina, 1997;
FandelováĽ ńřřř and othersě. They are helpful not only from subjective perspective
(they help to settle a change in perception, emend emotional life), but also objective
(improvement and adaptation of working environment conditions; improvement of
relations; atmosphere at the workplace; leadership style; simplification of creative
potential manifestations also by the means of reducing barriers in personal growth of
employees).
Cultivation methods focus on the projection of creative development (exercises on
creative abilities development: creative perception, flexibility, fluency, originality etc.),
stimulation of new activities and new interests. They can also include other procedures,
for example: study of creative people autobiographies, study of literature about
62
creativity and daydreaming. Interaction methods are directed towards the
development of social behavior with the aim to enhance social adaptation, cooperation
and communication. Condition methods want to enhance (mental and physical)
endurance, reaction alertness etc. of a personality. Currently, there is a trend promoting
complex personality formation as an encouragement and education towards creative
lifestyle as a whole.
All creative tasks have its own specific characteristics mentioned for example by
M. Jurčová ĚńřŘńěŚ Ěůě they have a moment of uncertaintyĽ haziness, unexpectedness;
(B) while solving, it is necessary to apply creative principle, that means to search for,
investigate, explore, discover the unknown; (C) tasks themselves don´t insinuate the
solutionĽ solution can´t be found based on direct recall of necessary knowledgeĽ
acquired experience need to be readjusted, reworked; (D) task with one possible
solution could also be solved in a creative way. R. D. Gehlbach (1987, 1991)
differentiated between openness (divergence) and closeness (convergence) of a task
during a process or in output: a product. According to this author, there are these
types of tasks:
 CP - CP (closed process – closed product): e.g. algebraic task based on
concrete mathematical rule; calculation of taxes based on a manual;
development of a film based on specified procedure etc.
 OP - CP (open process - closed product): e.g. finding concrete solution, but
you can choose your own procedure.
 CP - OP (closed process – open product): finding multiple solutions by exactly
defined procedure - algorithm e.g. usage of certain technique (water-color,
lino-cut, ...), but the final image will be unique.
 OP - OP (open process – open product): choosing a procedure to solve
required task, e.g. preparing interesting and effective TV commercial for given
product.
M. Zelina (1993) completed this model with another factor - a problem, therefore
the range of possibilities became wider. All these types of task can be classified also
based on the level or extent of creativity: CP-CP tasks require the least creativity and
OP-OP the highest level of creativity.
6.3. Creativity techniques in practice

Basic complex procedures are brainstorming, synectics, bisociation technique,
heuristic methods (Nadler, 1967; Zelina, 1995a, 1995b, 1997, 2000), lateral thinking
(De Bono, 201015), mind maps (Buzan, Buzan, 1996). In following lines we will
briefly characterize the two most known techniques.
15
The issue of lateral thinking was elaborated by E. De Bono already in the 7Ń´sĽ cited publication from
2010 is only one of many editions of this work.
63
The author of brainstorming is Alex F. Osborn (1957) who published this
technique in 195316 (book: „Applied Imagination“). Originally, he called it in his book
„thinking up“. Its name „brainstorming” refers to the „rainfall of ideas“ or
„market/bourse of ideas“. The basic principle of this method is a separation of
production stage from the evaluation stage (evaluation of idea quality). According to
the author, it makes use of synergy effect in groups. It is necessary to abide four rules:
1. any kind of criticism is forbidden (internal as well),
2. mutual inspiration and modification of ideas is encouraged,
3. quantity is more important than quality, unusual ideas are welcomed,
4. all group members are equal.
There are certain recommendations regarding group structure: according to
A. F. Osborn (ibid) optimal number is 12 members, acceptable are groups ranging
from 6 (Andriopoulos, Dawson 2009) to 15 members. Another important aspect is the
group structure. According to P. Žák ĚŇŃŃ4ě it is advisable to have a group composed
of: 20% laics, circa 20% experts from related domains, 50% experts from respective
domain. Contraindicated participants, not suitable for a membership in brainstorming
group, are so called eternal grumblers; critics without a sense of humor; people with
tensed relations; people with high rigidity in thinking and mental fixation; people
unable to relax and get rid of stereotypes; passive, skeptical and disputative
individuals. Using this technique is especially suitable for: gathering information,
opening many opportunities, naming various aspects of a solution, direction towards an
idea Ěsolution ≠ ideaĄě, enhancing the production of ideas. It is being used in various
spheres, for example: marketing communication, technology, economics, management,
social sphere and many others. It has multiple variants: Rowlinson brainstorming,
Individual brainstormingś Negative brainstorming Ěwhat will happen in case we won´t
be solving the problem, what are the negatives of a solution), imaginary brainstorming,
electronic brainstorming, brainwriting etc.
Another method is synectics considered as a newer and more advanced version of
brainstroming (see R. E. Ripple, 1999). Its author William J. J. Gordon (1992;
Gordon, Poze, ŇŃŃ4ě created it in ńř6Ń´s17 together with his colleague George M.
16
P. Žák ĚŇŃŃ4ě stated in his publication the year ńř4ń. We haven´t succeed in the verification of the date
but according to R. K. Sawyer (2012, p. 439) and A. D. Spiegel - H. H. Hymana (1998, p. 166), A. F.
Osborn designed this method (and lead a first meeting using this method) as early as in 1939. E.
Dundon (2002, p. 61) and C. Andriopoulos - P. Dawson (2009, p. 151) even mention the year 1938. It
was in New York advertising agency BBDO (advertising firm Batten, Barton, Durstine and
Osborn) where he noticed (as stated by C. Andriopoulos and P. Dawson, 2009) that exerted classical
team meetings inhibited the generation of new ideas, mainly in young employees. This finding made
him look for new ways of supporting people in groups to make them able to freely communicate their
ideas and to advance the ability of team members to look for solutions. According to R. K. Sawyer
(2012) or Ch. Williams (2008, p. 114), this method was published by A. F. Osborn in „Your Creative
Power“ only in 1948Ľ Ěand not in ńř5ň in „Applied Imagination“).
17
In 1961, W. J. J. Gordon´s book called “Synectics“ was published, where he described this technique.
In 1958 he founded a company together with George M. Price dedicated to synectics. (King, Anderson,
2002, p. 32)
64
Price, with whom he worked in consultation firm „ůrthur D. Little Inc.“ that focused
on consultations for companies developing new products. During office meetings and
consultations they noticed that developers are much more closed during meetings. As a
result of this closeness that obstruct the creative production, they identified improper
conditions involving pressure from the top, learnt and inflexible procedures and feeling
of necessity to reach expected result. Contrariwise, as authors found out, out of
meeting, these employees were usually relaxed, they let their fantasy free, looked at the
problem from different angles and majority of the time they came with the ideas that in
the end governed them to creative solution (King, Anderson, 2002; ProctorĽ ŇŃŃřś ŽákĽ
2004). These experiences and many further observations and explorations lead
W. J. J. Gordon, T. Poze (2004) and G. M. Price (in: Proctor, 2009) towards the
construction of a method called synectics. This method elicits required relaxation
needed for creativity. Term synectics is of a Greek origin (synektatzo/synecticos = syn–
connect and ectos- to differentiate, diversity, variety), it means sudden notice of a
connection of diverse, seemingly irrelevant elements. This technique is about
"connecting different and obviously irrelevant elements" (Gordon, 1992; Gordon,
Poze, ŇŃŃ4ě. L. Holá ĚŇŃńńĽ p. ń4Řě mentions that synectics means a conscious usage
of abstract psychological mechanisms existing in creative mental processes, for
example entering the problem at the same time as separating from the problem,
delaying hasty solution, free flow of thoughts, feeling of autonomy, experience of
correctness before finding the actual solution. In order to get a new solution, it is
important to reduce and even directly change present view on a problem. The principle
of this method lies in the induction of a state in which it is easier to get to intuitive
solutions by the means of distant associations development and analogical thinking.
Method is relying mainly on synergy group effect, unconscious mental mechanisms
and change of thinking. It works mainly with analogies (types of analogies: direct,
personal, symbolic, abstract, fantastical) and metaphors. Group using this method
usually consists of 6-8 members and a leader (Proctor, 2ŃŃřě. ůccording to P. Beneš
and M. Valášek ĚŇŃŃŘě group like this should be ordained for the time of at least one
year, while it is possible to change individual members in relation to the nature of a
problem. W. J. J. Gordon (Gordon, Poze, 2004) presents three basic rules of synectics:
 Team members have to realize psychological processes guiding and controlling
their behavior, only than it is possible to reach a creative result.
 Emotional component of creative behavior is far more important than
intellectual component.
 Emotional and irrational components have to be understood and applied as
full-value tools of creative process.
Before the technique, it is good to incorporate relaxing exercises or tasks. Synectic
method is based upon the cooperation of working group members, while at the same
time it tries to release at the most individual abilities in certain team by continually
65
making each participant formulate ideas, feelings and emotions during the creativity
process. The aim is to disrupt common, settled and stereotypical view on the problem
and to get unusual and original solutions. During the realization of this method, group
leader supervises so that immediate solution wouldn´t be approved. He guides the
discussion towards finding new points of view rather than solutions. During problem
solving, it is beneficial to switch from the focus on problem details to retraction from
the problem (when we look at the problem as a part of a whole). As already
mentioned, group leader induce using of metaphors. Method is used in the phase of
idea generation as well as in phases of searching for a solution, its alternatives are used
in decision process, partially it is applicable in the phase of defining a problem and
classifying a problem. From the point of its contentĽ P. Beneš and M. Valášek ĚŇŃŃŘě
consider this method to be suitable for a specific range of difficult and demanding
problems, it requires high creative tension and ingeniousness. Authors claim its high
effectiveness - according to them it raises the effectiveness of production by three
times.
Table 5: List of selected techniques in relation to the phase

of creative problem solving
Source: own elaboration - according to information from SUNTINGEROVÁĽ udmilaŚ Kreativita
v manažmente [Creativity in management]. BratislavaŚ EkonómĽ ŇŃŃ4. ńńŃ p. ISBN ŘŃ-225-1796-8.
Problem definition Data collection Solution finding Techniques for

techniques techniques techniques planning and
realization
5 W and 1H Notebook HIT Card story board
Contradiction analysis Delphi Laddering Implementation
Force-Field analysis Collective Step by step techniques
GAP analysis notebook Lists
CATWOE analysis
SWOT analysis
Besides methods already described, there is a plentiful of other methods,

nevertheless, their description exceed the possibilities of this textbook. Those
interested further in the topic can find more information in recommended readings. In
table 5 we offer an overview of these techniques and methods based on their
application in different phases of creative problem solving.
66
Control question:
What do you understand under the term group creativity and what
important factors influence it?
How creative process realization should be planned with regards to information

about inhibitory and synergy effects mentioned in this chapter?
Text-related tasks:
Based on studied text, design three tasks (OP-CP; open process, closed
product) for a creative team from the domain of marketing communication.
Questions:
1. In which cases we need to count with an inhibitory group effect on creativity

and when we can expect synergy effect?
2. What is synergy effect in groups and under what conditions it occurs?
3. What is the basic classification of creativity development methods?
4. Describe at least four creativity techniques used in practice.
1. GORDON, William J. J.; POZE, Tony: SES Synectics and gifted education
today. In: By Treffinger Donald J.: Creativity and giftedness. London, NAGC,
2004. pp. 1-10. ISBN 1-4129-0435-8.
2. LAMM, Helmut; TROMMSOORFF, Gisela: Group versus individual
performance on tasks requiring ideational proficiency (brainstorming). In: A
review European Journal of Social Psychology. Vol. 3, 1973, No. 4, pp. 361-
388. ISSN 1099-0992.
67
3. KOLůJOVÁĽ LenkaŚ Týmová spolupráce: jak efektivně vést tým pro dosažení
nejlepších výsledků [Team cooperation: how to lead a team effectivelly for best
results]. Praha: Grada, 2009. 112 p. ISBN 80-247-1764-6.
4. PAULUS, Paul B.: Groups, Teams, and Creativity: The Creative Potential of
Idea-generating Groups. In: Applied Psychology An International Review.
Wiley – Blackwell, Vol. 49, 2000. No. 2, April, pp. 237-262. ISSN 0269-
994X.
5. SUNTINGEROVÁĽ udmilaŚ Kreativita v manažmente [Creativity in
management]. Bratislava: Ekonóm, 2004. 110 p. ISBN 80-225-1796-8.
68
7. Creativity models and types of creativity. Creative
abilities, creative personality and possibilities of creative
personality identification.
Key words:
Creative abilities, divergent thinking, fluency, flexibility, originality, elaboration,

Guilford´s model, types of creativity, creative personality characteristics,
Biopsychosocial model of creativity sources, paradoxical traits of creative personality,
creativity and creative personality identification methods.
 Basic understanding and description of creative abilities that take part in creative
working performance.
 Knowledge of terms convergent and divergent thinking and their significance in
creative process.
 Understanding the relation of creative abilities and creative personality
characteristics.
 Overview of basic creative personality identification methods.

There is an increased demand for creative employees in marketing-communication
agencies and creative industry. Identification of creative personality is a demanding
task for a manager of team leader. Usually he use a help of a personnel professional or
expert - psychologist who can by using psychodiagnostic techniques find those
individuals among applicants, who show higher creative performances or signs of
creative personality. In following lines, we offer students at least basic orientation in
terms that would help them understand characteristics and abilities of creative
personality. Classic in psychology of creativity, J. P. Guilford (1992) designed a
Cubical model of intellect structure in which it is possible to identify abilities related
to creativity.
69
Scheme 5: Cubical model of intellect according J. P. Guilford (1992).
Source: GUILLFORD, Joe Paul: Creativity. In: PARNES, Sidney J.: Source Book for Creative Problem
Solving. London, Creative Education Foundation Press, 1992. pp. 69-74. ISBN 0 930 222 922.
Image: H. Fichna, 2008
In this model, mainly divergent production has an affinity to creativity.

J. P. Guilford (1992) listed these divergent thinking abilities: (A) fluency that
represents the ability to fluently produce multitude of ideas, (B) flexibility that
represents the ability to create diversified solutions, (C) originality as the most
important factor of creativity that represents the ability to produce new, unusual ideas,
(D) elaboration as an ability to elaborate, complete ideas. He also described two
abilities related to creativity out of the frame of divergent production: (E) sensibility
referring to the sensitivity to problems and (F) redefinition as an ability to find new,
unusual usage of objects.
Types of creativity also originate in the model of J. P. Guilford (1975, 1992). He
differentiates between:
1. figural creativity divided into two sub-types: visual-figural creativity that
manifests as a creation of visual products (painting, drawing, graphics) and
spatial products such as modeling, architectural structures, design (furniture,
daily use objects, signs, ...); auditory-figural creativity (radio play, singing).
Types of creativity can merge or intersect, e.g. audiovisual products (film18,
video, audiovisual advertising …ě.
2. symbolic creativity that shows in music, dancing, ballet, but also mathematics;
18
This area is covered by B. Skowronek ĚŇŃńňěĽ Ł. WojciechowskiĽ P. MikulášĽ E. Štrbová ĚŇŃńňě and
others;
70
3. semantic creativity - its products are: written art (theatre plays, newspaper
articles, written forms of marketing communication, ...)19;
4. social (behavioral) creativity is demonstrated in teaching, education,
psychology, interpersonal relations, relations with clients, relations with
customer, PR20.
E. P. Torrance (1975) distinguishes only two types of creativity - figural and verbal
creativity (verbal creativity could be corresponding to Guilford´s semantic creativity).
This approach is commonly used in psychological community. In our area, M. Ďuriček
and M. Ďuričeková ĚńřŘ6ě explored also motoric creativity that could be identified
with Guilford´s symbolic creativity. More complex approach in our country is offered
by V. Čavojová a K. Danišková ĚŇŃŃŘě who are paying close attention to all
aforementioned types of creativity in a typology in which they are combining more
partially overlapping approaches in order to capture creativity in all its diverse and
various forms: verbal creativity, artistic creativity, musical creativity, dramatic
creativity, scientific creativity.
J. S. Dacey, K. H. Lennon (2000) related to aforementioned model in order to
present a new Biopsychosocial model of creativity sources. This model emphasizes
its context, application and interplay of layers (see scheme 6).
Scheme 6: Biopsychosocial model of creativity sources - J. S. Dacey,

K. H. Lennon (2000).
Source: DACEY, John S.; LENNON, Kathleen H.: Kreativita [Creativity]. Praha: Grada, 2000. 250 p.
ISBN 80-7169-903-9, p. 194.
19
Regarding this topic we consider a publication of A. Ogonowska (2011) focusing on creative metaphors
to be inspirational. I. Lomnický ĚŇŃńŇě Ěamong othersě writes about verbal creativity and its broader
cultural aspects.
20
New trends in PR are a subject of K. Gajdka´s ĚŇŃŃřě workĽ specific PR applications are a domain of M.
Szyszka (2012).
71
The main premise of this new model is (as written by authors) that it uncovers five-
layer system of causations in which each layer is co-operating with four other layers
and all layers are influencing each other in both directions. Sixth variable - time - is
operating throughout the whole scheme, that means that every state of an interaction at
certain moment can change easily. Layers are described from the middle of the model
and they continue towards the edges as follows: „Ěńě Biological (neurons, Creb
proteins, ACTH, genes modifying IQ, ontogenesis, lateral dominance, hemisphere
coordination), (2) cognitive (distant associations, gestalts), (3) personality (tolerance
to ambiguity, flexibility, ..., (4) micro-social (family dynamics, close friendships,
housing, ...), (5) macro-social (working environment, education, religious, ethnical,
legal, economic and political environment: „creativogenic society“)“ (Dacey, Lennon,
2000, p. 194).
In the history of creative personality research there were many attempts to describe
features or characteristics of creative personality21. In following table, we list some
typical features or characteristics most often acknowledged in research. This meta-
research indicates that we can predict in creative individuals signs of: independence,
rebellion, dominance, sensitivity, intelligence, autonomy, self-confidence, curiosity and
thirst for knowledge.
Table 6: Frequency of creative personality features based on summary

comparison of 23 studies
Source: SZOBIOVÁĽ EvaĽ FICHNOVÁĽ Katarína: Self-rating Scale of Pro-creatively Oriented Personality
(SRSCP-KG). In: Studia Psychologica.Vol. 45, 2003, No. 4. pp. 307 – 321. ISSN 0039-332022.
Percentage of
Characteristic of creative personality occurrance in
monitored studies
independence 56
rebellion 48
dominance, sensitivity, intelligence, autonomy, self- 35
confidence
nonconformity 30
curiosity and thirst for knowledge 26
ingeniousness, intuitiveness, humor and playfulness 22
adventurousness, wide range of interest, extremism 17
21
K. Walotek- cia ska ĚŇŃŃ6ě pays attention to the personality of creator.
22
Following studies were used in metaanalysis (in alphabetical order): D. P. Ausubel (in: L. Arbet, 1980);
F. Barron (in: I. A. Taylor, 1975b); R. B. Cattell (in: J. Hlavsa,1970); M. DočkalĽ M. Musil et al.
(1987); J. E. Drevdahl a R. B.Cattell (in: L. Arbet, 1980); J. E. Drevdahl a R. B. Cattell (in: J. Hlavsa,
1970); D. Y. Ford, J. J. Harris (1992); F. Galton (in: Taylor, 1975b); E. F. Hammer (in: J. Hlavsa,
ńř7Ńěś J. Hlavsa Ěńř7Ńěś J. Hlavsa a M. Jurčová Ěńř7Řěś J. Khatena a E. P. Torrance ĚinŚ Torrance,
1975); Lacay and C. G. Erikson (in: L. Arbet, 1980); N. A. Luk (1981); D. W. MacKinnon (in: Taylor,
1975a); D. W. MacKinnon a F. Barron (in: J. Hlavsa 1970); Mc Clelland (in: J. Hlavsa, 1970); Z.
Pietrasi ski Ěńř7Ňěś M. Popperová Ěńř6řěś M. I. Stein (in: J. Hlavsa, 1970); R. E. Tafel a Fejn (in: L.
Arbet, 1980); C. W.Taylor (in: L. Arbet, 1980); C. W. Taylor (in: J. Hlavsa, 1970).
72
Despite the diversity of all abovementioned opinions, we can find one common
element: they think about the presence, respectively absence of certain features.
Different perspective is stated by W. E. McMullan (1976), M. Csikszentmihalyi (1996)
who suggest that for creative individuals, paradoxicality of parallel presence and
absence of certain feature or two different poles of one feature, is possible (as
presented in table 7).
Table 7: Paradoxical features of creative personality according to M.

Csikszentmihalyi (1996).
Source: CSIKSZENTMIHALYI, Mihaly: Creativity: Flow and the Psychology of Discovery and
Invention. New York: Harper Collins Publishers, 1996. 456 p. ISBN 0-06-092820-4.
Paradoxical Description
features
1 Creative people Creative people work long hours highly concentrated, they cast an aura of
have a lot of vividness and enthusiasm. They have superior physiological background
energy, but they and genetic advantages. It is surprising how often they are fertile, full of
are often weak, energy and health when they are 70-80 years old, even though they
quiet, calm, remember being often ill during their childhood. It is important that their
secluded. energy is internally generated, it is more a result of mind, will, motivation,
consciousness than superiority of genes. That doesn´t mean creative
people are always hyperactive. As a matter of fact, they often sleep and
relax (battery charging). For the success of their work, shifting between
activity and inactivity (laziness) or reflection (thinking, feeling,
meditation) is very important.
2 They are clever, It is probable that creative people have a higher “g“ factor of intelligence
capable, - based on which specific abilities are formed (“s“ factor). Earlier
intelligent and longitudinal studies (Lewis Terman 1921) show superior mental abilities
at the same time, of creative people. Later, studies suggested that for a significant creative
naive. performance, IQ at least 120 is needed. However, IQ above 120 doesn´t
automatically mean high creativity. Howard Gardner: creative geniuses
certainly weren´t well-developed both emotionally and mentally - for
example Mozart. Creative people are sometimes like children - not only by
feeling, but also behavior. They do not care much about social politeness,
they often ask naive questions ...
3 They combine It is not typical for creative people to enjoy playing games or doing sports.
responsibility For them their game is playing with alternatives, words, thoughts,
with antitheses, endurance. They persevere stubbornly in this game, we can
irresponsibility, sometimes call it an obsession. Playing with impulses, inceptions,
playfulness with imagination is an incipience of statues, novels, poems, movies - it is a very
discipline. important work. Only in second step, hard work on the finishing of that
respective piece of art follows - sometimes it is a drill regarding
overwriting the work, corrections, finishing touches. During the first
phase of playfulness and obsession, author is often irresponsible, he
jumps from one task to another, doesn´t meet deadlines, doesn´t go
properly to work, breaks social rules. On the other side, mainly during the
realization of the idea, these people are working late at night, during their
free time, they are sacrificing themselves and their significant others
because they are impatient to see the result of their playfulness, thinking
and reflexivity.
4 Creative people alter between imagination, fantasy and fixation in meaningful reality.
While creating, they often dream, fantasize, imagine, escape from reality.
Afterwards they return to reality in order to create a new reality.
73
5 Creative people Psychological research says that intraversion and extraversion are
tend to relatively stable personality characteristics. Despite this opinion, creative
extraversion and people tend to be both intro– (solitude) and extro– (hustle, crowd)
intaversion. oriented. As a result of this balancing, they can experience troubles, but
usually they have it under control: they systematically manage whether
they want to be with other people or just on their own. They have enough
courage to deny company of others, therefore they are highly authentic
and assertive.
6 Creative people are humble, shy and at the same time proud.
They are aware of what they do know, but they are also aware of what they do not know.
7 They try to escape from rigidity, sexual roles and stereotypes. They fight barriers in creativity.
Creative girls are more dominant.
Creative boys are more sensitive and less aggressive.
8 They are both rebels and conservatives.
Rebel – create new things that are acceptable, demolish, destroy old things
Conservative – stem from the knowledge of history, historical values, power of culture
9 They are passionate about their work, but still they can be extremely objective.
They are fond of difficult tasks, problems. Without passion they lose interest and their work is
not good.
Objectivity - what is the value of the product, the evaluation of criticism (criticism of own work
and the work of other authors)
10 They are open, sensitive, more often exposed up to the misery and pain and despite of that, or
just because of that, creative work brings them a lot of enjoyment and happiness.
M. Zelina (1997) mentions a shorter description of creative personality

characteristics: creative personality is a person characterized by complexity (entirety),
under which author includes maturity of personality, that means a personality that
exceed oneself in the complexity of sense and human mission and life in general. It is a
tendency to think and act more and better than others.
The identification of a creative personality is based on performance tests (e.g.
Torrance Test of Creative ThinkingĽ Urban´s test of creativityĽ KreatosĽ Creativity
shape test and others) that provide information about the level of creative performance.
It is beneficial to use also methods designed for the creative style identification (e.g.
KAI) and personality and biographic inventories (WKOPAY, ACL). Assessment
scales are often applied as well. These scales are filled in by bosses, peers or
colleagues of an investigated person. Dynamic approach to creative personality seems
significant. It regards the exploration of motivational factors (e.g. DMV). Some
authors advice to explore creativity by using projective tests (Rorschach, TAT. Hand
testĽ …ě typical by poorly structured stimulus situation of either verbal or figural
character that provides individuals with space to demonstrate one´s creative thinking.
Control question:
What is creative personality and what are its attributes?
74
How would you find out while hiring a new employee whether participant is
creative or not?
Text-related tasks:
Based on studied text, design three tasks (OP-CP; open process, closed
product) for a creative team from the domain of marketing communication.
Make estimation about who out of your team is the most creative personality
based on his/hers previous actions and creative results (use creative product
criteria from previous chapter) and try to describe which personality traits are
characteristic for this person. Compare your findings with creative personality
characteristics mentioned in recommended readings.
Questions:
1. What is the difference between creative abilities and traits of creative

personality?
2. Why is convergent and divergent thinking important for creative process?
3. What kind of procedures would you choose for the identification of creative
personality?
4. Which creative personality characteristics will enhance team work and which
will complicate it?
1. DACEY, John S.; LENNON, Kathleen H.: Kreativita [Creativity]. Praha:

Grada, 2000. 250 p. ISBN 80-7169-903-9.
75
88982-72-3
3. GOUGH, Harrison G.: A creative personality scale for the Adjective Check
List. In: Journal of Personality and Social Psychology. Vol. 37, 1979, No. 8,
pp. 1398-1405. ISSN 0022-3514.
76
Conclusion
In previous chapters we have briefly outlined basic terms, theories, problems and
practical implications of the psychology of creativity with the affinity to the area of
marketing and mass communication. Since the range of the publication allowed an
excursion only to the main areas and themes, many of them were only hinted. Because
of that, for a complete understanding of the topic, reader will need to study
complementary and recommended literature.
Control questions at the end of each chapter serve as an indicator of overall
understanding of proposed topic, by such autodiagnostics of knowledge, reader can
identify range and depth of his understanding. Part named "Questions" offers more
specific and more detailed testing of the topic. Questions are designed the way they
help identify whether the reader have understood the text, remembered it and
understood main points. On the other sideĽ questions are directed towards reader´s own
creative production, ability to apply presented findings into practical life. These
abilities are accentuated in „Tasks for reflection and discussion“ and „Correspondence
tasks“ at the end of each chapter. First aforementioned part has more of an
informational character, while second one demands individual preparation and activity
of a reader and can be also more time consuming.
Regarding the structure of this material and offered range of topics dedicated
mainly to the introduction to the problem (e.g. creative industry, creativity criteria,
creative product identification methods, creative environment, creative climate,
creative process, ...), it is necessary at this place to point out that the topic of creativity
includes as well the structure of creative process, cognitive components of creative
process, relation to cognitive styles, emotions and motivation and many other aspects
that had to be omitted due to the limited range of this publication.
Results of our previous research ĚFichnováĽ ŇŃŃŘě suggest the need for stronger
erudition of marketing communication experts in terms of various aspects of creativity
in order to prevent overly simplified insights on its nature and popularized myths about
creativity. Meantime, better insight into the creativity would support more successful
and active usage of possibilities and creative potential of individuals and agencies,
quality ideas would be adequately identified, creative process would be optimized and
as a result, economical growth would be ensured (as mentioned in Florida et. al.,
2004). This publication should help us to come closer to this state.
Our research findings further suggested a need for an education of experts from the
domain of marketing communication, not only in the sphere of creativity theory, but
also regarding directed and systematic stimulation of creativity (for example in form of
a training) that would develop and enhance creativity of individuals and teams and that
would have its own place in undergraduate, graduate and post-graduate life-long
education of marketing communication experts.
77
78
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104
Pictures, schemes and tables sources
Picture 1: BATTERIES
Sources:
<http://adsoftheworld.com/media/print/eveready_penguins>[retrieved 08.08.2008]
TENTO.slovakia<http://www.tento.sk/engine.php?page=novinky&main=ospolocnosti
&jazyk=sk>[retrieved 08.08.2008]
Picture 2: Example of (un) original book covers.

Sources:
<http://www.grada.cz/katalog/kniha/nekonvencni-mysleni/>[retrieved 08.08.2008]
<http://www.grada.cz/katalog/seznam/odlis-se-nebo-zemri/> [retrieved 08.08.2008]
Picture 3: Example of three original executions of marketing concepts.

Sources:
http://swartzonmedia.wordpress.com/2007/08/24/bic-billboard-gardner-required/
[retrieved 10.08.2009]; httpŚ//adland.tv/ooh/mcdonalds-pouring-coffee-sign-ambient-
usa [retrieved ńŃ.ŃŘ.ŇŃŃř]Ľ httpŚ//www.smallbusinessbranding.com/5ńŇ/advertising-
worth-admiring/ [retrieved 10.08.2009]
Scheme 1: Shared areas of Psychology of Creativity and creative advertising

according to M. Falat (2004)
Source: FALAT, Marek: Psychology Of Creative Advertising And Its Authors. In:
Studia Psychologica. 46, 2004, 4, pp. 305-310. ISSN 0039-3320.
Scheme 2: Composition of the creative cluster according to T. M. Heng; A. Choo;

T. Ho (2003)
Source: HENG, Toh Mun; CHOO, Adrian; HO, Terence. 2003. Economic
Contributions of Singapore´s Creative Industries. InŚ Economic Survey Of Singapore.
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<http://portal.unesco.org/culture/es/files/29669/11370847883MICA_-_Economic_
Contribution_Singapore_2003.pdf/MICA%2B-
%ŇBEconomic%ŇBContribution%ŇBSingapore% ŇBŇŃŃň.pdf [cit.Ń6.Ń4.ŇŃńň]
Scheme 3: The United Nations Conference on Trade and Development

(UNCTAD, 2008, p. 14) - classification of creative industries
SourceŚ scheme acquired fromŚ BÉRůUDĽ Philippeś du CůSTELĽ Vivianeś
CORMERAIS, Franck Cormerais: Open Innovation, Economy Of Contribution And
The Territorial Dynamics Of Creative Industries. In: Journal of Innovation Economics.
ŇŃńŇĽ ŇĽ n°ńŃ. Ň4Ň pagesĽ pp. Řń-105. ISSN 2032-5355.
˂httpŚ//www.cairn.info/article.php?ID_ůRTICLE=JIE_ŃńŃ_ŃŃŘń [cit. Ń6.Ń4.ŇŃńň]
Graph 1: The relationship between novelty (originality) and usability (value).

Source: GARRETT, Roger M. 1987. Issues in Science Education: Problem Solving,
Creativity and Originality. In: International Journal Science Education. 1987, 2, p.
105
125-137. ISSN 0950-0693, Online ISSN 1464-5289.
Table 1: Four domains of creativity according to E. Nęcka (2003)
SourceŚ N CKůĽ Edward.Ś Psychologia twórczości [Psychology of creativity]. Sopot:
Gda ske Wydawnictwo PsychologiczneĽ ŇŃŃň. p. ń5. ISBN Řň Ř7ř57 5Ń X. Ěalteredě.
Graph 2: The representation of relations between individual creativity criteria

and their extent according to M. Kilgour (2006).
Source: KILGOUR, Mark. Big C versus little c Creative Findings. 1-26 pp. Available
online: <www.cream.oulu.fi/tutkimus/documents/Kilgour_kkjouluk.pdf> [cited
30.07.2007].
Graph 3: Borders of Creativity according to T. Amabile (1983) and C. M. Forda

(1996).
Source: FORD, Cameron M. 1996. A Theory of Individual Creative Action in Multiple
Social Domains. In: Academy of Management Review. Vol. 21, 1996. No. 4, pp. 1112-
1142, ISSN 0363-7425.
Picture: H. Fichna, 2008.
Table 2: The comparison of reliability in two types of methods: method of creative

abilities identification and method of creative product identification.
Source: own elaboration according to sources stated in the table.
Table 3: The comparison of atmosphere enhancing creativity versus athmosphere

inhibiting creativity according to M. Zelina and E. Jaššová (1984, pp. 170-171).
SourceŚ ZELINůĽ Mironś JůŠŠOVÁĽ Eva. Tvorivosť - piata dimenzia [Creativity -
fifth dimension].Bratislava: Smena, 1984. 206 p. no ISBN.
Scheme 4: G. Ekvall´s (Ekvall, 1999) scheme of climate and intervening variables

in organization.
SourceŚ EKVůLLĽ Göran. ńřřř. InŚ Mark ů. RuncoĽ Steven R. Pritzker. Encyclopedia
of Creativity. vol. 1. San Diego: Elsevier, Academic Press, 1999. 810 p. ISBN
9780122270758. pp. 403 – 412.
Graph 4: Experimental research of creative process, author C. Patrick (in: Kulka,

2008).
SourceŚ according toŚ PIETRůSI SKI, Zbigniew: Tvorivé myslenie [Creative
thinking]. BratislavaŚ ObzorĽ ńř7Ň. Ň44 p.Ľ p. ňŇ. and KULKůĽ Ji íŚ Psychologie umění
[Psychology of art]. Prague: Grada, 2008, 440 p. ISBN 978-80- 247-2329-7, p. 384.
Table 5: List of selected techniques in relation to the phase of creative problem

solving
Source: own elaboration - according to information from SUNTINGEROVÁĽ udmilaŚ
Kreativita v manažmente [Creativity in management]. BratislavaŚ EkonómĽ ŇŃŃ4. ńńŃ
p. ISBN 80-225-1796-8.
106
Scheme 5: Cubical model of intellect according J. P. Guilford (1992).
Source: GUILLFORD, Joe Paul: Creativity. In: PARNES, Sidney J.: Source Book for
Creative Problem Solving. London, Creative Education Foundation Press, 1992. pp.
69-74. ISBN 0 930 222 922.
Image: H. Fichna, 2008
Scheme 6: Biopsychosocial model of creativity sources - J. S. Dacey, K. H. Lennon

(2000).
Source: DACEY, John S.; LENNON, Kathleen H.: Kreativita [Creativity]. Praha:
Grada, 2000. 250 p. ISBN 80-7169-903-9, p. 194.
Table 6: Frequency of creative personality features based on summary

comparison of 23 studies
SourceŚ SZOBIOVÁĽ EvaĽ FICHNOVÁĽ KatarínaŚ Self-rating Scale of Pro-creatively
Oriented Personality (SRSCP-KG). In: Studia Psychologica.Vol. 45, 2003, No. 4. pp.
307 – 321. ISSN 0039-332022
Table 7: Paradoxical features of creative personality according to M.

Csikszentmihalyi (1996).
Source: CSIKSZENTMIHALYI, Mihaly: Creativity: Flow and the Psychology of
Discovery and Invention. New York: Harper Collins Publishers, 1996. 456 p. ISBN 0-
06-092820-4.
107
Author index
ADAMS, Karlyn 43 COLEMAN, Alisa White 35
ADORNO, T. W. 43 CORKO, Irena 33
AKIMJAK, Amantius 33 CORMERAIS, Franck 15
ALENCAR, E. M. 46 CRAIN, R. 17
ALISIO, Jorge 37 CROPLEY, Arthur J. 35
AMABILE, Teresa M. 26, 32, 38, 43, 45, CSIKSZENTMIHALYI, Mihaly 19, 27,
47, 49, 55 36, 73
ANDERSON, Neil 64, 65 ČůVOJOVÁĽ Vladimíra 71
ANDRIOPOULOS, Constantine 64 DACEY, John S. 41-43, 50, 55, 71, 72,
ARBET, Ladislav 72 75
ARENS, William F. 10 DACIN, Peter A. 36
ARIETI, Silvano 42 DAHLEN, Micael 36
AUSUBEL, D. P. 72 DůNIŠKOVÁĽ Klaudia 71
BAER, John 33, 35 DAUGHERTY,Terry 47
BůKůLÁ Ľ Eduard 43 DAWSON, Patrick 64
BARRON, Frank 72 De BONO, Edward 63
BEDNÁRIKĽ Rastislav 42 DERVIS, Kemal. 12-14
BENEŠĽ Pavel 65, 66 DOČKůLĽ Vladimír 41, 72
BÉRůUDĽ Philippe 15 DOMINO, George 32
BERELSON, Bernard 36 DREVDAHL, J. E. 72
BERNBACH, B. 17 Du CASTEL, Viviane 15
BERRY, Paul C. 60 Du PLESSIS, Erik 47
BESůNÇON, Maud. 33 DUDÁŠOVÁĽ Petra 47
BESEMER, Susan P. 26, 28, 33-35 DUNDON, Elaine 64
BLESSE, W. 43 DUNNETTE, Marvin D. 61
BLOCK, Clifford H. 60 ĎURIČĽ Ladislav 42
BODEN, Margaret A. 24 ĎURIČEKĽ Milan 71
BONNARDEL, Nathalie 33 ĎURIČEKOVÁĽ Magdaléna 71
BOROVSKÁĽ So a 10 EKVůLLĽ Göran 46, 47
BROWN, Vincent R. 62 ERůZÍMĽ Pavel 43
BRUNO-FARIA, M. F. 46, 53 FALAT, Marek 6, 10, 11, 17, 19, 27
B ICHÁČEKĽ Václav 36 FELDHUSEN, John F. 42
BUZAN, Barry 63 FICHNA, Henrich 26, 70
BUZAN, Tony 63 FICHNOVÁĽ Katarína 27, 29, 31, 37, 38,
CAMPBELL, John 61 49, 50, 62, 72, 77
CAROFF, Xavier 33 FIŠERůĽ Ivo 15, 16, 43
CATTELL, Raymond Bernard 72 FLORIDA, Richard 5, 7, 10, 42, 77
CLAES, Rita 26, 34 FORD, Cameron M. 26
COLE, Jason C. 33 FORD, Donna Y. 72
108
GAJDKA, Krzysztof 31, 71 JANSOVÁĽ D. 42
GALTON, Francis 72 JůŠŠOVÁĽ Eva 29, 44
GARDNER, Howard 27, 73 JELLEN, Hans G. 35
GARRETT, Roger M. 21, 22 JOHÁNEKĽ Tomáš 17
GEHLBACH, Roger D. 63 JOHNSON – LAIRD, Philip N. 33
GEROĽ Štefan 22 JOHNSON, Craig 60
GOLDBERG, Stephen M. 10 JONES, L. 48
GORDON, William, J. J. 64, 65, 67 JURČOVÁĽ Marta 16, 32, 35,42, 43, 46,
GOUGH, Harrison, G. 76 48, 49, 63, 72
GUILFORD, Joe Paul 9, 10, 69-71 KůČÁNIOVÁĽ Magdaléna 47
GULÁŠĽ Štefan 43 KůPUSTůĽ Györgyi 28, 31, 42
GUNN, Donald 17, 18 KAUFMAN, James C. 33, 35
HABERLAND, Gabriele S. 36 KHATENA, Joe 72
HůLůŠOVÁĽ Marta 59 KILGOUR, Mark 25
HAMMER, E. F. 72 KING, Nigel 64, 65
HARRIS, John J. 72 KLOUDOVÁĽ Jitka 7, 29, 57
HAUSMAN, Carl R. 21 KOESTLER, Arthur 22
HELMHOLTZ, Herman Ludwig KOLůJOVÁĽ Lenka 43, 60, 68
Ferdinand 54 KOMÁROVÁĽ ůlžb ta 43
HENDER, Jillian M. 60 KORDůČOVÁĽ Jana 43
HENG, Toh Mun 12 KORŠ ÁKOVÁĽ Paulína 42
HENNESSEY, Beth A. 47 KOŠKOVÁĽ Mária 31
HLAVSA, Jaroslav 32, 43, 49, 51, 72 KOŠŠĽ M. 29
HO, Terence 12 KOVÁČĽ Tomáš 35, 41, 42
HOCEVAR, Dennis 33 KOVÁČOVÁĽ Eva 42, 46
HOLÁĽ Lenka 65 KOVER, Arthur J. 10
HOPKINS Claude C. 17 KULKůĽ Ji í 55
HOWE, Randy P. 35 KUSÁĽ Daniela 29, 46
HOWKINS, John Anthony 7, 11, 12 LAMM, Helmut 60, 67
HRůBOVSKÁĽ ůnna 36 LENNON, Kathleen H. 41-43, 50, 55,
HRůBOVSKÝĽ Marián 36 71, 72, 75
HRůDISKÁĽ Elena 10 LOGAN, Kelty 47
HRůŠNOVÁĽ Mária 43 LOKŠůĽ Jozef 32, 33
HUANG, Szu-Chi 47 LOKŠOVÁĽ Irena 32, 33
HYMAN, Herbert H. 64 LOMNICKÝĽ Igor 42, 71
CHOO, Adrian 12 LUK, Alexander Naumovič 72
CHU, Shu-Chuan 47 MacDOUGALL, M. D. 17
IBA, Takashi 10 MACEJKA, Peter 16, 17
ISAKSEN, Scott G. 10, 45 MacKINNON, D. W. 72
JAASTAD, Kay 61 MADAUS, George F. 42
JAMES, William L. 10 MAGYARI-BECKĽ István 10
109
MAGO, Zdenko 31 PRICE, George, M. 64, 65
MALINA, Jaroslav 53, 54 PRITZKER, Steven R. 7, 9, 47
MůRMÈCHEĽ Evelyne 33 PROCTOR, Tony 65
MůRŠÁLOVÁĽ Libuše 36 PRUŽINECĽ Tomáš 27, 42
MůTEJÍKĽ Miroslav 42 PTASZEK, Grzegorz 31
McMULLAN, W. Ed. 73 REID, Leonard, N. 33
McPHERSON, J. H. 32 REIS, Sally M. 32
MIKŠÍKĽ Old ich 36 RENZULLI, Joseph S. 32
MIKULÁŠĽ Peter ňńĽ ň6, 42, 43, 70 RHODES, Mel 37
MIKULÁŠTÍKĽ Milan 7, 43 RIPPLE, Richard E. 24, 64
MÖLLEĽ Matthias 53 RIVKIN, Steve 10, 17, 21
MORIARTY, Sandra E. 7 ROGERS, Carl Ransom 26, 45
MULLEN, Brian 60 RORSCHACH, Hermann 74
MUSIL, Miroslav 72 ROSENGREN, Sara 36
NADLER, Gerald 63 ROTHENBERG, Albert 21
N CKůĽ Edward 24, 25, 42, 60-62 RUNCO, Mark, A. 7, 9, 42, 45, 47
NEIJENS, Peter C. 47 RUSNÁKĽ Juraj 11
O´QUINĽ Karen 26, 28, 34 SALAS, Eduardo 60
O’NEILLĽ Eamonn 57 SůTKOVÁĽ Janka 42, 43
OGILVY, David 52, 53, 57 SAWYER, R. Keith 64
OGONOWSKA, Agnieszka 31, 71 SELYE, Hans Hugo Bruno 53
ORTEGA, Anita H. 62 SEXTON, Janel D. 33
OSBORN, Alex Faickney 10, 55, 59, 62, SCHORIN, Gerald, A. 33
64 SCHULLERĽ Ivan Sarmány 29
PAGANO, Alicia L. 46 SKOWRONEKĽ Bogusław 70
PANITCHPAKDI, Supachai 12-14 SK IVÁNKOVÁĽ Jana. 57
PARNES, Sidney J. 56, 70 SMÉKůLĽ Vladimír 36
PATRICKOVÁĽ C. 55 SMIT, Edith G. 47
PAULUS, Paul B. 61, 62, 68 SMITH, Bruce L. 34
PůVL Ľ Dušan 10 SMITH, Robert E 10
PEZZULLO, Thomas R. 42 SPÁLOVÁĽ Lucia 36, 42
PIETRůSI SKI, Zbigniew 54, 55, 72 SPIEGEL, Allen D. 64
PIŠÚTĽ Ján 42 SPOELDERS, Sara 26, 34
PLUCKER, Jonathan A. 42, 45 STEIN, Morris I. 26, 36, 72
POINCůRÉĽ Jules Henri 54 STERNBERG, Robert J. 7
POLůKEVIČOVÁĽ Ivana ńŃ SUNTINGEROVÁĽ udmila 62, 66, 68
POLÁKOVÁĽ Eva 36 SV TLÍKĽ Jaroslav 7, 16, 29, 57, 97
PÓLYůĽ George ĚGyörgyě 55 SZOBIOVÁĽ Eva 7, 16, 19, 29, 39, 41,
POPPER, Karl Raimund 55 42, 50, 51, 56, 62, 72, 76
POPPEROVÁĽ Marta ĚJurčováě 72 SZYSZKůĽ Michał 43, 71
POZE, Tony 64, 65, 67 ŠELIGOVÁĽ Katarína 18
110
ŠRůMOVÁĽ Blandína 36 VINCÍKOVÁĽ So a 59
ŠTRBOVÁĽ Edita 31, 70 VOORVELD, Hilde A. M. 47
TAYLOR, Calvin W. 25, 28, 60 VRANIC, Andrea 33
TAYLOR, Donald W. 60 WALLAS, Graham 51-53, 55
TAYLOR, Irving A. 32, 72 WALOTEK- CIů SKůĽ Katarzyna 72
TELLIS, Gerard J. 54 WARR, Andy 57
THORMůNNOVÁĽ Ch. 43 W SI SKI, Arkadiusz 31, 42
THORSEN, Eric E. 42 WHITE, Alisa 34
TINAGLI, Irene 5, 7, 10, 42 WILLIAMS, Chuck 64
WOJCIECHOWSKIĽ ŁukaszĽ P. 31, 42,
TOMCZYKĽ Łukasz 42 70
TÖRNĽ Frederik 36 WOOLFOLK, Anita E. 43
TORRANCE, Ellis Paul 16, 35, 42, 45, YANG, Xiaojing 10
71, 72, 74 YOUNG, Web James 52
TREFFINGER, Donald J. 28, 33, 34, 67 ZELINA, Miron 16, 21, 32, 43, 44, 45,
TROMMSOORFF, Gisela 60, 67 48, 49, 62, 63, 74
TROUTH, Jack 10, 17, 21 ZELINSKÝĽ Miroslav 22
URBAN, Klaus 35, 74 ŽÁKĽ Petr 19, 39, 50, 64, 65, 68
VůLÁŠEKĽ Michael 65, 66
VANDEN BERGH, Bruce G. 33
VůVRINČÍKĽ Pavel 59
VIGIU 55
111
Subject index
5 W and 1H 66 age 10
abilities creative 13, 17, 33-35, 43, 45, brief see also brief creative
61, 62, 65, 70, 73 climate see also climate ccreative
aha effect 51 industry see also industry creative
analysis personality see also personality creative
CATWOE 66 potential 9, 12, 13, 15, 16, 18, 26, 27,
Contradiction 66 32, 43, 44, 48, 49
Force-Field 66 process see also process creative
GAP 66 subjects 5, 16
SWOT 66 tasks 53, 60, 61, 63, 67, 74, 77
arousal 60 creativity
atmosphere 41, 44, 62 criteria 17-19, 21, 22, 25-28, 31-38,
authenticity 41 56, 75, 77
barriers of creativity 41, 48-50, 74 and environment 9, 16, 31, 37, 41-43,
Big „C“ 26 45-51, 54, 62, 72, 77
Brainstorming 10, 59-64, 67 development methods see also methods
brief creative 53, 57, 112-116 creativity development
CATWOE analysis 66 creativity facilitation and stimulation
Card story board 66 methods 5, 6, 59, 62
CCQ 46 group 6, 43, 59-62, 64, 67
climate creative 41, 44-49 individual 6, 25, 43-45, 47-49, 59-65,
cognitive 67, 72-74, 77
interference see also interference creativogenic society see also society
cognitive creativogenic
uniformity 61 CRS Scale SPAF 26
collective notebook 66 cultivation methods see also methods
concentration 51-52 cultivation
condition methods see also methods culture industry see also industry culture
condition DCMS 12-13
consensual techniques see also techniques Delphi 66
consensual divergent thinking 32, 45, 53, 69-70, 75
Contradiction analysis 66 EEG 51, 53
convergent thinking 53, 69-70, 75 effect
CPAM 26, 31, 34 facilitation 59
CPSS 31, 34 synergy 59-60, 64, 65, 67
Creative Product Inventory 32 effectiveness 6, 9, 10, 16, 17, 19, 26, 38,
creative 60, 61, 66
abilities see also abilities creative elaboration 32-35, 38, 69-70
112
empathy 41, 44, 45, 48 facilitation 5, 6, 59, 62
facilitation methods see also methods interaction 63
facilitation product creativity identification 6, 31,
facilitation effect see also effect facilitation 37
flexibility 16, 60, 62, 69, 70, 72 micro-social level see also level-micro-
fluency 60, 62, 69, 70 social
Force-Field analysis 66 Model of intellect structure 59-60
GAP analysis 66 motivation 5, 16, 41, 43, 45-49, 73, 74,
genetic limits 41 77
group creativity see also creativity group nominal group 59-62
HIT 66 notebook collective 66
H-Novel 24 nekromarketing 31
idea 7, 10, 11, 13, 16, 21, 22, 24, 26, 27, originality 17, 21, 22, 25, 26, 31-34, 45,
31, 34, 36, 43, 46-49, 53, 55, 55, 56, 53, 60, 62, 69, 70
59-62, 64-66, 68, 70, 73, 77 paradoxicality of creative personality
illumination 51, 52, 54-56 features 73
Implementation lists 66 personality creative 5, 6, 9, 18, 24, 27,
Incubation 51-55 34, 35, 37, 42-45, 47, 48, 51-53, 62,
individual creativity see also creativity 63, 69, 72, 73, 75, 76
individual P-Novel 24
industry potential
creative 5, 6, 9-15, 19, 24, 25, 27, 38, of an agency 15
43, 59, 62, 69, 77 creative 5, 9, 12, 13, 15, 16, 18, 26,
culture 12-14, 29, 42, 74 27, 32, 43, 48, 49, 62, 68, 77
interaction methods see also methods production 5, 15
interaction preparation 10, 46, 51- 53, 55, 57, 77
interference cognitive 61 pressure 43, 45, 61, 65
Laddering 66 process creative 6, 11, 51-56, 59, 62, 66,
leadership style 41, 43, 44, 49, 62 75, 77
level product creativity identification methods
macro-social 41, 42, 72 6, 31, 37
micro-social 41-43, 72 productivity 60
little „c“ 26 real group 59, 60, 62
macro-social level see also level macro- redefinition 70
social resultativeness 31
methods sensitivity 70, 72
creativity development 46, 62, 67 society creativogenic 6, 41, 42, 50, 72
creativity facilitation and stimulation Step by step 66
5, 6, 59, 62 subjects creative 5, 16
condition 44, 62, 63, 67 syndrome of group „dumbness“ 61
cultivation 5, 62 Synectics 63-65, 67
113
synergy effect see also effect synergy
Synthesis 31, 32, 34, 37, 38
SWOT analysis 66
Tangram 32
tasks see also creative tasks
techniques consensual 31-33, 35, 38
Theory of Creative Transactualization
21, 25
theory of genetic limits 41
thinking
convergent 53, 69, 75
divergent 32, 45, 53, 69-70, 75
UNCTAD 11, 13, 15
Verification 51, 52, 54, 55, 64
114
Annexes
Annex A: Example of Media Space, s. r. o media brief
Source: Mediálny brief [Media brief]. Bratislava: Media Space, s.r.o., 3 p.
<http://www.mediaspace.sk/files/pg0ln1/Medialny%20brief.doc [cited 09.09.2010]
Media brief
The primary task of a media agency during a strategic proposal of communication
campaigns is to understand thoroughly needs, demands and visions of a client. Because
of that, every project should begin with a creative brief.
Date:
_______________________________________________________________
Client:
 Name:

______________________________________________________________
Contact person:

___________________________________________________________
Contact (phone, e-mail):
_______________________________________________________________
Goal:
 Marketing goal of a campaign:
Example: let 1500 new customers taste our yoghurt ...
______________________________________________________________
 Communication goal of a campaign:

Example: to present our offer to 30% of potential customers, to increase spontaneous brand familiarity by
15%, inform 45% of customers about an important change/success, bring our brand back to mind of 90% of
customers, address new customers with a new offer
______________________________________________________________
 Media goal:
Example: reach the most possible amount of customers (Reach 1+ ), sufficient reach in press (frequency 3+ ),
sufficient reach in radio (frequency 12+ ), same or more reach than competition
______________________________________________________________
Target group:
 How would you describe your target group (customers you intend to address)?
______________________________________________________________
 How is the target group Ěcustomersě different from competitors´ customers?
_______________________________________________________________
115
Campaign timing:
 When should the campaign begin and end?
_______________________________________________________________
 How long will the campaign take?

_______________________________________________________________
 In which months or on what dates do your customers buy your products/

services the most?
Example: autumn, Christmas, Easter
_______________________________________________________________
Distribution:
 Where is the product being sold (regionally)?
Example: Whole country or just some region(s)? Large cities or rural areas? Is there any emphasis on
certain place(s)?
_______________________________________________________________
 Who and where (type of store) does sell the product?
Factory store, sales representatives, web, ...
_______________________________________________________________
Product:
 How does it work?
_______________________________________________________________
 How does it look?
_______________________________________________________________
 What are its advantages in comparison to competitors? What is specific about
it?
Example: the cheapest, the fastest, the strongest, the biggest, with the best endurance the
smallest, the most universal, with the best quality,...
_____________________________________________________________
 Why the product is being sold? What is interesting/important about the product
that makes customers choose it/try it ...?
_______________________________________________________________
 On what occasions do customers buy your product?
Example: they are thirsty, they furnish their apartment, they need to shave, ...
_______________________________________________________________
Media
 Have you already chosen any media? If yes, which ones? Have you divided
your budget among them?
_______________________________________________________________
116
 If you haven´t chosen media yet, would you like us to recommend the most
suitable ones?
_______________________________________________________________
 Do you have any well-tried media that work well for your product/service??
e.g: advertising in public transportation, TV advertising, certain magazine, ...
_______________________________________________________________
Competition:
 Who are your biggest competitors?
_______________________________________________________________
 For what reasons do you consider these companies to be your biggest
competitors?
e.g.: they try to gain the same clients, they have same kind of products, they focus on the same segment ...
_______________________________________________________________
Budget:
 What is an estimated budget for planned campaign?
_______________________________________________________________
 What items are included in the budget?
e.g. media, creative executive, production, sales promotion, ..?
_______________________________________________________________
Agency:
 What a media agency should do:
e.g.: Media plan, Target group analysisĽ Media conceptĽ Media strategyĽ ůnalysis of competitors´ media
expenses
_______________________________________________________________
 What is the deadline for a presentation of proposed solutions?
_______________________________________________________________
 Who and when should an agency contact in case we would need some more
information?
_______________________________________________________________
117
Annex B: Example of a creative brief
Source: PRINGLE, Hamish; HERD, Chris; et. al. 2003. The Client Brief. A best
practice guide to briefing communications agencies. London: CAF, IPA, ISBA,
MCCA, PRCA, 2003, 131 p. no ISBN.
118
119
Title:
Psychology of creativity for marketing
communication
This books is published as a part of V4 VF grant - 60900018: „Creativity for masmedial studies -
marketing communication in the V4 countries conditions (3 semesters): 1.) Creativity Psychology
2.) Creativity Training 3.) Creativity Practice for Creatives“.
Publication was supported by grant 60900018 and Constantine the Philosopher University in
Nitra, Slovak Republic
Publisher: Amitié Franco-Slovaque

©
Author: Doc. Mgr. Katarína Fichnová, PhD.
Reviewers: Prof. PhDr. Štefan GeroĽ CSc. / Constantine the Philosopher University in Nitra, Slovak Republic
Prof. nadzw. Dr. hab. Agnieszka Ogonowska, PhD. / Pedagogical University of Cracow, Poland
Doc. PhDr. Eva SzobiováĽ CSc. / Paneuropean University, Bratislava, Bratislava, Slovak Republic
Translation to English
and language revisal: Mgr. Magdaléna Kačániová
Art and technical editor: Mgr. Zdenko Mago
Cover design: Mgr. Łukasz P. WojciechowskiĽ PhD.
Cover photo: Mgr. Łukasz P. WojciechowskiĽ PhD.
Cover font design: Capsuula by Mgr. Henrich Fichna
Icons used: Reflection Icon Set by Webdesigner Depot / www.webdesignerdepot.com
Date of publication: 2013

Place of publication: Noailles
Impression: 150 pcs

Pages: 120
ůuthor´s sheets: 6,48 AH (129,65 NS)
ISBN: 978-2-9536153-6-4
EAN: 9782953615364
© Éditeur ůůFS
7 place Hotel de Ville
60430 Noailles
France
D. L.: decembre 2013

ISBN 978-2-9536153-6-4
Les erreurs ou omissions involontaires qui auraient pu subsister dans cet ouvrage malgré les soins
et les contrôles de l’équipre de rédaction ne sauraient engager la responsabilité de l’éditeur.
Droits de traduction et de reproduction réservé pour tous les pays. Toute reproductionĽ même
partielle, de cet ouvrage est interdite (loi du 11 mars 1957).
120

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Psychology of creativity

for marketing communication

After the course you will be able to:

Core areas of study

Creativity, creatology, creative industry, basic components of creativity, creative

Study objectives for this chapter:

 Presenting the evolution of creativity research in psychology, presenting parallels

Summary of study material

1.1. Psychology of creativity - formation and basic concepts

1.2. Creative industry

Scheme 2: Composition of the creative cluster

1.2.1. Creative industry classification system models

E.) Model UNCTAD is trying to offer a more complex classification by dividing

1.3. Creative potential of an agency

1.4. Creativity in Marketing Communication

Based on studied literature, compare the nature of creativity according to

Task for reflection and discussion:

How would you develop creative potential in communication agency? Suggest

Analyze carefully criteria of creativity and their description in individual

1. What are the roles of creativity within marketing communication?

1. CSIKSZENTMIHALYI, Mihaly: Creativity: Flow and the Psychology of

Criteria of creativity, originality, value, relevance, subjective criteria, objective

Study objectives for this chapter:

Summary of study material

Some problems with defining creativity criteria in advertising creativity

Picture 2: Example of (un)original book covers.

Margaret A. Boden (2004)6 distinguishes two categories of novelty: P-Novel -

domain of values cognitive aesthetic pragmatic ethic

Based on this classification, it is possible to infer that creative industry is able to

Graph 2: The representation of relations between individual creativity criteria

high level bizzare products creative products

relatively common existing products

Graph 3: Borders of Creativity according to T. Amabile (1983) and C. M.

Get thoroughly familiar with recommended readings concerning criteria of

1. Which are the basic criteria of creativity and creative product?

Methods, creativity identification, invention, consensual techniques, central

Study objectives for this chapter:

 Knowledge of basic methods of creative product identification.

Summary of study material

In previous chapters we have brought criteria that are helpful in determination of

Reliability Consisitency Test-retest Inter-rater

Aforesaid disadvantageous starting point, defined within the products of marketing

After the acknowledgement with study materials and recommended readings,

Task for reflection and discussion:

You familiarized yourselves with particular creative product identification methods.

Get well informed about the criteria of creative product identification

1. What is the key characteristic of the effectiveness criterion? Find an example

1. AMABILE, Teresa M.: The Social Psychology of Creativity: A Consensual

Genetic limits, heredity, environment, exogenous factors, macro-social level,

Study objectives for this chapter:

 Knowledge of environment characteristics supporting and inhibiting creativity.

Summary of study material

Regarding the common division of psychological determinants into environment

Table 3: The comparison of atmosphere enhancing creativity versus athmosphere

 openness of mind,  strong emphasis on logical-analytical

 openness to new experiences,

 openness to new thoughts, new attitudes

 elimination of the fear of unconventional

 need for self-development  not supporting, or prohibiting different

 orientation more towards the process children´s interests such as modeling,

 understanding oneself, self-support, self-

acceptance, openness towards oneself,

 ability to express feelings and emotions