Views on Advertising Curricula from Experienced ‘Creatives’

Abstract

The creative function is typically most visible--and often regarded as most important--aspect of advertising profession. However, lack of research exploring issues pertaining to advertising creativity does not reflect its real-world importance. Indeed, Zinkhan (1993) has recently argued that academics should devote more attention to understanding the creative spark which drives much of advertising [and] creative process which underlies business decision-making.(1)Two groups that would no doubt benefit greatly from this type of research are educators responsible for courses pertaining to advertising creativity, and students enrolled in these courses. Expanding our understanding of advertising creativity would enable academics to be more effective in classroom, and would enable students to receive more up-to-date, relevant instruction. Furthermore, opportunity exists for researchers to supplement advice of educators and creative recruiters who have discussed issues such as advertising creativity,(2) copywriting,(3) and design,(4) by exploring perspectives of practicing copy writers and art directors with regard to these issues.Two recent studies enlisted aid of creatives (those employed less than two years) to help educators provide students with real-world perspectives of advertising creativity. The first identified experiential and personality characteristics shared by these creatives, such as restlessness, confidence, and persistence.(5) The second study explored types of skills these creatives felt were important for students to acquire in classroom, as well as what types of backgrounds could help aspiring creatives secure agency positions.(6) The authors noted examining these issues with a sample of more experienced copywriters and art directors would prove worthwhile.This paper acts upon above suggestion, by comparing perspectives of more experienced art directors and copywriters to those of creatives. By so doing, we can gain an understanding of what educational experiences remain salient as creatives progress in their careers. Thus, same research questions explored in earlier study are examined here. These are: (a) What do experienced creatives believe is necessary from advertising creative courses in particular? (b) Which courses, besides advertising courses, do experienced creatives believe are beneficial to aspiring creatives? To capitalize on our informants' wider range of experiences, we broadened third question addressed in original study, which explored techniques creatives used to supplement their undergraduate educations. Thus, we ask: (c) What specific advice do experienced creatives have for students wishing to create portfolios and secure jobs in advertising agencies?MethodDuring August and September of 1993, second author completed a series of in-depth interviews with art directors and copywriters employed in midwest headquarters of an advertising agency with global billings of approximately $4.5 billion.(7) A qualitative approach was employed in order to understand what educational experiences these creatives believed were most valuable to them in their careers. It has been observed that qualitative methods are underutilized by advertising researchers,(8) although they are enjoying a resurgence in advertising and related disciplines.(9)The sample for this study included six copywriters and five art directors, employed in advertising for an average of 6.1 years. Eight were male and three were female; all but one were college graduates. Ten of eleven informants held degrees in visual or communications disciplines (Figure 1). Moreover, they had held an average of 3.7 advertising-related j obs, compared to 1.7 jobs for new creatives.(10)The basic interviewing procedure employed is outlined in McCracken.(11) The researcher followed an interview schedule, but also encouraged informants to discuss emerging topics relating to advertising creativity and/or advertising education. …