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NEW METHODS
IN CREATIVITY RESEARCH:
NEW METHODS
IN CREATIVITY RESEARCH:
Interpretative Phenomenological Analysis (IPA)
         and Enduring Visual Products

  W. Glenn Griffin, Ph.D.                 Deborah K. Morrison, Ph.D.
  Assistant Professor of Advertising        Chambers Distinguished Professor
 SMU - Temerlin Advertising Institute   University of Oregon - School of Journalism
              Dallas, TX                    and Communication - Eugene, OR

          wgriffin @ smu.edu                        debmor @ uoregon.edu
SPECIAL GUESTS:
unbelievably

SPECIAL GUESTS:
unbelievably

SPECIAL GUESTS:
    DOUG PEDERSEN
   Associate Creative Director / Art Director
       Carmichael Lynch - Minneapolis
unbelievably

SPECIAL GUESTS:
    DOUG PEDERSEN
   Associate Creative Director / Art Director
       Carmichael Lynch - Minneapolis

      RANDY TATUM
   Vice President / Group Creative Director
        Martin | Williams - Minneapolis
How can we
 better understand
the creative process
   in advertising?
FRAMING THE SCHOLARSHIP
Sasser and Koslow (2008)
FRAMING THE SCHOLARSHIP
Sasser and Koslow (2008)

A “3Ps” research agenda is proposed to help the scholarship
in advertising creativity navigate its “evolutionary stage.”
FRAMING THE SCHOLARSHIP
Sasser and Koslow (2008)

A “3Ps” research agenda is proposed to help the scholarship
in advertising creativity navigate its “evolutionary stage.”


PERSON
FRAMING THE SCHOLARSHIP
Sasser and Koslow (2008)

A “3Ps” research agenda is proposed to help the scholarship
in advertising creativity navigate its “evolutionary stage.”


PERSON               PLACE
FRAMING THE SCHOLARSHIP
Sasser and Koslow (2008)

A “3Ps” research agenda is proposed to help the scholarship
in advertising creativity navigate its “evolutionary stage.”


PERSON               PLACE               PROCESS
FRAMING THE SCHOLARSHIP
Sasser and Koslow (2008)

A “3Ps” research agenda is proposed to help the scholarship
in advertising creativity navigate its “evolutionary stage.”


PERSON               PLACE               PROCESS
FRAMING THE SCHOLARSHIP
Sasser and Koslow (2008)

A “3Ps” research agenda is proposed to help the scholarship
in advertising creativity navigate its “evolutionary stage.”


PERSON               PLACE               PROCESS
the people who
create advertising
FRAMING THE SCHOLARSHIP
Sasser and Koslow (2008)

A “3Ps” research agenda is proposed to help the scholarship
in advertising creativity navigate its “evolutionary stage.”


PERSON               PLACE               PROCESS
the people who       the places or
create advertising   environments in
                     which they work
FRAMING THE SCHOLARSHIP
Sasser and Koslow (2008)

A “3Ps” research agenda is proposed to help the scholarship
in advertising creativity navigate its “evolutionary stage.”


PERSON               PLACE               PROCESS
the people who       the places or       the process they
create advertising   environments in     follow in developing
                     which they work     creative ideas
FRAMING THE SCHOLARSHIP
Sasser and Koslow (2008)

A “3Ps” research agenda is proposed to help the scholarship
in advertising creativity navigate its “evolutionary stage.”


PERSON                           PLACE             PROCESS
the people who                   the places or     the process they
create advertising               environments in   follow in developing
                                 which they work   creative ideas

“The most common advertising creativity research is comprised
of empirical studies of place based perspectives of production.”
Sasser and Koslow (2008), p. 9
FRAMING THE SCHOLARSHIP
PROCESS                Sasser and Koslow (2008)
FRAMING THE SCHOLARSHIP
PROCESS                                                                    Sasser and Koslow (2008)


use of psychographic research                  the persuasive function
Winter and Russell (1973)                      Dillon (1975)

the associative model                          a mathematical model
Reid and Rotfeld (1976)                        Gross (1972)

copywriters’ implicit theories                 paradox and serendipity
Kover (1995)                                   Bengstson (1982)

the templates method                           enhancing and encouraging
Goldenberg, Mazursky and Solomon (1999)        El-Murad and West (2004)

think aloud tasks and teams                    executional factors on recall,
Johar, Holbrook and Stern (2001)               comprehension and persuasion
                                               Stewart and Koslow (1989)
creative directors and research
Chong (2006)                                   consumers’ views on creative ads
                                               Ang, Lee and Leong (2007)
finding a creative voice
Stephens and Burke (1974)                      a consumer response approach
                                               Smith and Yang (2004)
FRAMING THE SCHOLARSHIP
PROCESS                                                                    Sasser and Koslow (2008)


use of psychographic research                  the persuasive function
Winter and Russell (1973)                      Dillon (1975)

the associative model                          a mathematical model
Reid and Rotfeld (1976)                        Gross (1972)

copywriters’ implicit theories                 paradox and serendipity
Kover (1995)                                   Bengstson (1982)

the templates method                           enhancing and encouraging
Goldenberg, Mazursky and Solomon (1999)        El-Murad and West (2004)

think aloud tasks and teams                    executional factors on recall,
Johar, Holbrook and Stern (2001)               comprehension and persuasion
                                               Stewart and Koslow (1989)
creative directors and research
Chong (2006)                                   consumers’ views on creative ads
                                               Ang, Lee and Leong (2007)
finding a creative voice
Stephens and Burke (1974)                      a consumer response approach
                                               Smith and Yang (2004)
copywriters’ implicit theories
Kover (1995)
copywriters’ implicit theories
Kover (1995)
“Copywriters’ Implicit Theories of
                                 Communication: An Exploration”




copywriters’ implicit theories
Kover (1995)
“Copywriters’ Implicit Theories of
                                 Communication: An Exploration”
                                 Journal of Consumer Research




copywriters’ implicit theories
Kover (1995)
“Copywriters’ Implicit Theories of
                                 Communication: An Exploration”
                                 Journal of Consumer Research

                                    in-depth interviews with 14
                                    professional advertising writers

copywriters’ implicit theories
Kover (1995)
“Copywriters’ Implicit Theories of
                                 Communication: An Exploration”
                                 Journal of Consumer Research

                                    in-depth interviews with 14
                                    professional advertising writers

copywriters’ implicit theories      asked each to discuss personal
Kover (1995)
                                    creative process
“Copywriters’ Implicit Theories of
                                 Communication: An Exploration”
                                 Journal of Consumer Research

                                    in-depth interviews with 14
                                    professional advertising writers

copywriters’ implicit theories      asked each to discuss personal
Kover (1995)
                                    creative process

                                    thoughtful, detailed, reflective
                                    responses about their work +
                                    revealed “implicit theories” about
                                    how their minds worked
“Copywriters’ Implicit Theories of
                                 Communication: An Exploration”
                                 Journal of Consumer Research

                                    in-depth interviews with 14
                                    professional advertising writers

copywriters’ implicit theories      asked each to discuss personal
Kover (1995)
                                    creative process

                                    thoughtful, detailed, reflective
                                    responses about their work +
                                    revealed “implicit theories” about
                                    how their minds worked

                                    rich data validated the observation
                                    and analyzation of thinking via first-
                                    person retrospective accounts
* INDIVIDUALS bring
unique cognitive approaches
to their work within specific
domains. Amabile (1996)
copywriters’ implicit theories
Kover (1995)




  in-depth interviews with 14
  professional advertising writers

  asked each to discuss personal
  creative process

  thoughtful, detailed, reflective
  responses about their work +
  revealed “implicit theories” about
  how their minds worked
developmental models of the
                                       creative process
                                       Griffin (2008)




copywriters’ implicit theories
Kover (1995)




  in-depth interviews with 14
  professional advertising writers

  asked each to discuss personal
  creative process

  thoughtful, detailed, reflective
  responses about their work +
  revealed “implicit theories” about
  how their minds worked
developmental models of the
                                        creative process
                                        Griffin (2008)



                                       “From Performance to Mastery:
copywriters’ implicit theories         Developmental Models of the
Kover (1995)                           Creative Process”


  in-depth interviews with 14
  professional advertising writers

  asked each to discuss personal
  creative process

  thoughtful, detailed, reflective
  responses about their work +
  revealed “implicit theories” about
  how their minds worked
developmental models of the
                                        creative process
                                        Griffin (2008)



                                       “From Performance to Mastery:
copywriters’ implicit theories         Developmental Models of the
Kover (1995)                           Creative Process”
                                       Journal of Advertising

  in-depth interviews with 14
  professional advertising writers

  asked each to discuss personal
  creative process

  thoughtful, detailed, reflective
  responses about their work +
  revealed “implicit theories” about
  how their minds worked
developmental models of the
                                        creative process
                                        Griffin (2008)



                                       “From Performance to Mastery:
copywriters’ implicit theories         Developmental Models of the
Kover (1995)                           Creative Process”
                                       Journal of Advertising

  in-depth interviews with 14             in-depth interviews with 44
  professional advertising writers        students in portfolio programs

  asked each to discuss personal
  creative process

  thoughtful, detailed, reflective
  responses about their work +
  revealed “implicit theories” about
  how their minds worked
developmental models of the
                                        creative process
                                        Griffin (2008)



                                       “From Performance to Mastery:
copywriters’ implicit theories         Developmental Models of the
Kover (1995)                           Creative Process”
                                       Journal of Advertising

  in-depth interviews with 14             in-depth interviews with 44
  professional advertising writers        students in portfolio programs

  asked each to discuss personal          asked each to discuss personal
  creative process                        creative process

  thoughtful, detailed, reflective
  responses about their work +
  revealed “implicit theories” about
  how their minds worked
developmental models of the
                                        creative process
                                        Griffin (2008)



                                       “From Performance to Mastery:
copywriters’ implicit theories         Developmental Models of the
Kover (1995)                           Creative Process”
                                       Journal of Advertising

  in-depth interviews with 14             in-depth interviews with 44
  professional advertising writers        students in portfolio programs

  asked each to discuss personal          asked each to discuss personal
  creative process                        creative process

  thoughtful, detailed, reflective         thoughtful, detailed, reflective
  responses about their work +            responses about their work +
  revealed “implicit theories” about      revealed “implicit theories” about
  how their minds worked                  how their minds worked
Each student created a
rough ad based on a
creative brief.

This assignment was
the basis for each
student’s personal
narratives about their
own creative process.
These ads were
analyzed and revealed
different approaches
to execution based
on level of expertise.
The Performance Model of Advertising Studentsʼ Creative Process   The Mastery Model of Advertising Studentsʼ Creative Process
The Performance Model of Advertising Studentsʼ Creative Process   The Mastery Model of Advertising Studentsʼ Creative Process




       The students’ narratives about process, combined with analysis of their
       rough ads, yielded evidence for building two new theoretical models.
Thinking about thinking.
METACOGNITION
METACOGNITION
  How we leverage our own
understanding of how we think;
how we mentally supervise the
achievement of a cognitive goal.
            Flavell (1979)
three categories of

METACOGNITION
three categories of

METACOGNITION
PERSON
three categories of

METACOGNITION
PERSON       TASK
three categories of

METACOGNITION
PERSON       TASK              STRATEGY
three categories of

METACOGNITION
PERSON       TASK              STRATEGY
three categories of

METACOGNITION
PERSON                       TASK              STRATEGY
    Everything you
believe about yourself
     as a thinker.
three categories of

METACOGNITION
PERSON                       TASK                  STRATEGY
    Everything you         Your assessment of
believe about yourself    the resources you will
     as a thinker.          need to complete
                                a project.
three categories of

METACOGNITION
PERSON                       TASK                  STRATEGY
    Everything you         Your assessment of        How you combine
believe about yourself    the resources you will    both person and task
     as a thinker.          need to complete        knowledge to achieve
                                a project.            an ultimate goal.
three categories of

METACOGNITION
PERSON                        TASK                  STRATEGY
    Everything you          Your assessment of        How you combine
believe about yourself     the resources you will    both person and task
     as a thinker.           need to complete        knowledge to achieve
                                 a project.            an ultimate goal.


  “As an art director,
   I am more skilled
  in visualization than
      articulation.”
three categories of

METACOGNITION
PERSON                        TASK                  STRATEGY
    Everything you          Your assessment of        How you combine
believe about yourself     the resources you will    both person and task
     as a thinker.           need to complete        knowledge to achieve
                                 a project.            an ultimate goal.


  “As an art director,      “When the creative
   I am more skilled       brief leaves me with
  in visualization than    more questions than
      articulation.”        answers, I do some
                           of my own research.”
three categories of

METACOGNITION
PERSON                        TASK                  STRATEGY
    Everything you          Your assessment of        How you combine
believe about yourself     the resources you will    both person and task
     as a thinker.           need to complete        knowledge to achieve
                                 a project.            an ultimate goal.


  “As an art director,      “When the creative           “I wanted to get
   I am more skilled       brief leaves me with      started on this project
  in visualization than    more questions than         as soon as possible,
      articulation.”        answers, I do some        since I was unfamiliar
                           of my own research.”      with the product and I
                                                      tend to procrastinate
                                                       in those situations.”
HYPOTHESIS:
HYPOTHESIS:
    Creative professionals in advertising do
    understand their own creative process
for developing ideas and they can articulate it.
HYPOTHESIS:
    Creative professionals in advertising do
    understand their own creative process
for developing ideas and they can articulate it.
    (i.e., they are metacognitively aware)
HYPOTHESIS:
    Creative professionals in advertising do
    understand their own creative process
for developing ideas and they can articulate it.
    (i.e., they are metacognitively aware)

              HUNCH:
HYPOTHESIS:
    Creative professionals in advertising do
    understand their own creative process
for developing ideas and they can articulate it.
    (i.e., they are metacognitively aware)

              HUNCH:
  They can visualize their creative process.
APPROACH:
APPROACH:

Analyze the cognitive phenomenon
(the creative process in advertising)
       at the intersection of...
APPROACH:

Analyze the cognitive phenomenon
(the creative process in advertising)
       at the intersection of...
 what creatives say
 about the process
APPROACH:

Analyze the cognitive phenomenon
(the creative process in advertising)
       at the intersection of...
 what creatives say
 about the process    +
APPROACH:

Analyze the cognitive phenomenon
(the creative process in advertising)
       at the intersection of...
 what creatives say
 about the process    +   what creatives show
                           about the process
methods from
qualitative research
 in psychology and
     art therapy
What DO creatives say
 about the process?
INTERPRETATIVE
PHENOMENOLOGICAL ANALYSIS
Smith (1994, 1996)
INTERPRETATIVE
PHENOMENOLOGICAL ANALYSIS
Smith (1994, 1996)


 IPA is concerned with the detailed
   examination of individual lived
experience and how individuals make
      sense of that experience.
                 Eatough and Smith (2008)
INTERPRETATIVE
PHENOMENOLOGICAL ANALYSIS
Smith (1994, 1996)


 IPA is concerned with the detailed
   examination of individual lived
experience and how individuals make
      sense of that experience.
                 Eatough and Smith (2008)

 theoretical roots: hermeneutics + phenomenology
IPA    Smith (1994, 1996)   GROUNDED
An approach to              THEORY
                                 Glaser & Strauss (1967)
research guided by a
particular world-view
and epistemology. It is
not simply a research
methodology.

- the privileged account
- focus on phenomena,
    lived experiences
IPA    Smith (1994, 1996)   GROUNDED
An approach to              THEORY            Glaser & Strauss (1967)
research guided by a
particular world-view       A systematic generation of
and epistemology. It is     theory from data that
not simply a research       contains both inductive and
methodology.                deductive thinking.
- the privileged account
- focus on phenomena,       - researcher holds privilege
    lived experiences       - broad application for various forms
                                of qualitative data
INTERPRETATIVE
PHENOMENOLOGICAL ANALYSIS
Smith (1994, 1996)
INTERPRETATIVE
PHENOMENOLOGICAL ANALYSIS
Smith (1994, 1996)

  LIVED EXPERIENCE encompasses the embodied, socio-culturally and
  historically situated person who inhabits an intentionally interpreted
  and meaningfully lived world. Eatough and Smith (2008)
INTERPRETATIVE
PHENOMENOLOGICAL ANALYSIS
Smith (1994, 1996)

  LIVED EXPERIENCE encompasses the embodied, socio-culturally and
  historically situated person who inhabits an intentionally interpreted
  and meaningfully lived world. Eatough and Smith (2008)

  based on in-depth interviews that examine specific phenomena with
  which individuals are intimately familiar; i.e. repeated/regular
  experiences for those individuals
INTERPRETATIVE
PHENOMENOLOGICAL ANALYSIS
Smith (1994, 1996)

  LIVED EXPERIENCE encompasses the embodied, socio-culturally and
  historically situated person who inhabits an intentionally interpreted
  and meaningfully lived world. Eatough and Smith (2008)

  based on in-depth interviews that examine specific phenomena with
  which individuals are intimately familiar; i.e. repeated/regular
  experiences for those individuals

  IPA is devoted to the micro analysis of convergence and divergence
  within a small set of accounts. We compare accounts to establish the
  common features.
CREATIVE PROFESSIONALS:
 the individual ideation (creative) process
IPA   Smith (1994, 1996)
IPA   Smith (1994, 1996)



            smaller sample sizes (typically less than 30)
IPA   Smith (1994, 1996)



            smaller sample sizes (typically less than 30)

            semi-structured interviews most common; also
            diaries and unstructured life histories
IPA   Smith (1994, 1996)



            smaller sample sizes (typically less than 30)

            semi-structured interviews most common; also
            diaries and unstructured life histories

            both participant’s and researcher’s
            sensemaking of the lived experience (the
            topic) are recorded / compared
IPA   Smith (1994, 1996)



            smaller sample sizes (typically less than 30)

            semi-structured interviews most common; also
            diaries and unstructured life histories

            both participant’s and researcher’s
            sensemaking of the lived experience (the
            topic) are recorded / compared

            generally, a flexible, non-prescriptive stance
            with respect to sample size or form of data
            collection
What CAN
creatives show about
    the process?
USING AND INTERPRETING
VISUAL IMAGES Reavey and Johnson (2008)
USING AND INTERPRETING
VISUAL IMAGES Reavey and Johnson (2008)
 “Qualitative psychology has always fought to be recognized as a
 credible approach to research within the methodological fetishism of
 the positivistic mainstream ... this might explain an initial reluctance
 to embrace visual methodologies.” p. 297
USING AND INTERPRETING
VISUAL IMAGES Reavey and Johnson (2008)
 “Qualitative psychology has always fought to be recognized as a
 credible approach to research within the methodological fetishism of
 the positivistic mainstream ... this might explain an initial reluctance
 to embrace visual methodologies.” p. 297

 Barthes (1973, 1995) - semiotic tradition: words are not the only way
 people engage with the world
USING AND INTERPRETING
VISUAL IMAGES Reavey and Johnson (2008)
 “Qualitative psychology has always fought to be recognized as a
 credible approach to research within the methodological fetishism of
 the positivistic mainstream ... this might explain an initial reluctance
 to embrace visual methodologies.” p. 297

 Barthes (1973, 1995) - semiotic tradition: words are not the only way
 people engage with the world

 “... the way in which we live feelings and experiences are not always
 available to verbal description.” - p. 299
USING AND INTERPRETING
VISUAL IMAGES Reavey and Johnson (2008)
 “Qualitative psychology has always fought to be recognized as a
 credible approach to research within the methodological fetishism of
 the positivistic mainstream ... this might explain an initial reluctance
 to embrace visual methodologies.” p. 297

 Barthes (1973, 1995) - semiotic tradition: words are not the only way
 people engage with the world

 “... the way in which we live feelings and experiences are not always
 available to verbal description.” - p. 299

 Collection of visual data can be less obtrusive because offers agency
 to study participants rather than limiting their responses to those
 elicited by a researcher’s questions.
Enduring Visual Products
Enduring Visual Products
    Visual data collected for the
   purpose of augmenting verbal
description of personal experiences.
         Temple and McVittie (2005)
How can we
 better understand
the creative process
   in advertising?
what creatives say
about the process    +   what creatives show
                          about the process
PARTICIPANTS
PARTICIPANTS
creative professionals (CDs, ADs, CWs) ranging from 3-40
years of experience; primarily drawn from major awards
annuals in recent years + some legends; 300+ contacted,
76 participated
PARTICIPANTS
creative professionals (CDs, ADs, CWs) ranging from 3-40
years of experience; primarily drawn from major awards
annuals in recent years + some legends; 300+ contacted,
76 participated


 STUDY                    PACKET
PARTICIPANTS
creative professionals (CDs, ADs, CWs) ranging from 3-40
years of experience; primarily drawn from major awards
annuals in recent years + some legends; 300+ contacted,
76 participated


 STUDY                     PACKET
cover letter with overview of the project
PARTICIPANTS
creative professionals (CDs, ADs, CWs) ranging from 3-40
years of experience; primarily drawn from major awards
annuals in recent years + some legends; 300+ contacted,
76 participated


 STUDY                     PACKET
cover letter with overview of the project

17” x 22” process canvas with consent form, instructions
and spaces for participant data and comments on back
PARTICIPANTS
creative professionals (CDs, ADs, CWs) ranging from 3-40
years of experience; primarily drawn from major awards
annuals in recent years + some legends; 300+ contacted,
76 participated


 STUDY                     PACKET
cover letter with overview of the project

17” x 22” process canvas with consent form, instructions
and spaces for participant data and comments on back

postage-paid return envelope
PARTICIPANTS
creative professionals (CDs, ADs, CWs) ranging from 3-40
years of experience; primarily drawn from major awards
annuals in recent years + some legends; 300+ contacted,
76 participated


 STUDY                     PACKET
cover letter with overview of the project

17” x 22” process canvas with consent form, instructions
and spaces for participant data and comments on back

postage-paid return envelope

black Sharpie marker
They call this “data collection.” Help us, please?

  You take that brain to work with you every day. You know better than anyone else
  how it works. As difficult as the journey can be, you’ve grown to understand more
  and more about how you’ll get to that elusive G R E A T I D E A . Your creative
  process is yours alone A N D I T M E A N S S O M E T H I N G . It has a life, a
  direction, a feel, a style.


  So, we’re wondering...

  WAH A T D O EYS U R U R C R E A T I V E P R O C E S S LL OOK L I K E ?
                       YO                                O
WW A T TD D O E S Y O U R CREATIVE RPROCESS K OL IK E I K E ?
 H
   H
          OES
                    O
                          CREATIVE P OCESS LOO
                                                               L
                                                              K ?

  How do you get to the idea? What if you were asked to I L L U S T R A T E the
  process? Could you capture it V I S U A L LY — at a level of detail that reveals
  your own experience to others?

  We study the creative process as it applies to advertising. We’ve taught hundreds
  of young art directors and writers, and we know each person thinks about and
  develops ideas differently. Those differences are staggering — and unbelievably
  interesting!


  We’re inviting some of the industry’s best and brightest, including yourself, to show
  us their brains.


  This is stuff we’d like to capture for posterity. For research and building theory. For
  informing the next generation. For a beautiful book that will showcase great minds
  and how they work.


  We’re providing you with the necessary tools. Use the Sharpie® and the Process
  Canvas (both enclosed) to share your unique journey. Please follow the instructions
  on the back of that poster-sized sheet before providing us your solution, and return
  it to us in the postage-paid envelope.

  Think about the thinking, then show it to us.




  W. G L E N N G R I F F I N          DEBORAH K. MORRISON
  ASSISTANT PROFESSOR                 PROFESSOR
  SOUTHERN METHODIST UNIVERSITY       UNIVERSITY OF OREGON
I N S T R U C T I O N S
1. Think about your own creative process. Think about the
route you take to find ideas.

2. Experiment with illustrating that process on a scratch piece
of paper. Can your visualization (with or without words) offer
someone else an understanding of the process as you
experience it?

3. When you are satisfied with your solution, use the Sharpie®
marker (provided) to transfer it to the Process Canvas on the
reverse of this sheet.

4. This is research, folks. You know how this works. We need
you to sign the Consent to Participate (in ink, not Sharpie®)
3. When you are satisfied with your solution, use the Sharpie®
marker (provided) to transfer it to the Process Canvas on the
reverse of this sheet.

4. This is research, folks. You know how this works. We need
you to sign the Consent to Participate (in ink, not Sharpie®)
to make this legal in all 50 states. We’d also like to get your
comments on this study and/or your thoughts on process. Just
fill in the box below.

5. Fold this sheet and mail it back to us in the postage-paid
return envelope we’ve provided to you. Please complete the
project and return it no later than:


                  Thanks for your participation!
FOLLOW-UP
FOLLOW-UP
study participants (those who returned a process canvas to
us) were contacted and narratives about their creative
process were collected
AVAILABLE IN
AUGUST 2010
@pureprocess
www.pureprocess.com
NEW METHODS
IN CREATIVITY RESEARCH:
Interpretative Phenomenological Analysis (IPA)
         and Enduring Visual Products

  W. Glenn Griffin, Ph.D.                 Deborah K. Morrison, Ph.D.
  Assistant Professor of Advertising        Chambers Distinguished Professor
 SMU - Temerlin Advertising Institute   University of Oregon - School of Journalism
              Dallas, TX                    and Communication - Eugene, OR

          wgriffin @ smu.edu                        debmor @ uoregon.edu

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New Methods in Creativity Research

  • 2. NEW METHODS IN CREATIVITY RESEARCH: Interpretative Phenomenological Analysis (IPA) and Enduring Visual Products W. Glenn Griffin, Ph.D. Deborah K. Morrison, Ph.D. Assistant Professor of Advertising Chambers Distinguished Professor SMU - Temerlin Advertising Institute University of Oregon - School of Journalism Dallas, TX and Communication - Eugene, OR wgriffin @ smu.edu debmor @ uoregon.edu
  • 3.
  • 6. unbelievably SPECIAL GUESTS: DOUG PEDERSEN Associate Creative Director / Art Director Carmichael Lynch - Minneapolis
  • 7. unbelievably SPECIAL GUESTS: DOUG PEDERSEN Associate Creative Director / Art Director Carmichael Lynch - Minneapolis RANDY TATUM Vice President / Group Creative Director Martin | Williams - Minneapolis
  • 8. How can we better understand the creative process in advertising?
  • 9. FRAMING THE SCHOLARSHIP Sasser and Koslow (2008)
  • 10. FRAMING THE SCHOLARSHIP Sasser and Koslow (2008) A “3Ps” research agenda is proposed to help the scholarship in advertising creativity navigate its “evolutionary stage.”
  • 11. FRAMING THE SCHOLARSHIP Sasser and Koslow (2008) A “3Ps” research agenda is proposed to help the scholarship in advertising creativity navigate its “evolutionary stage.” PERSON
  • 12. FRAMING THE SCHOLARSHIP Sasser and Koslow (2008) A “3Ps” research agenda is proposed to help the scholarship in advertising creativity navigate its “evolutionary stage.” PERSON PLACE
  • 13. FRAMING THE SCHOLARSHIP Sasser and Koslow (2008) A “3Ps” research agenda is proposed to help the scholarship in advertising creativity navigate its “evolutionary stage.” PERSON PLACE PROCESS
  • 14. FRAMING THE SCHOLARSHIP Sasser and Koslow (2008) A “3Ps” research agenda is proposed to help the scholarship in advertising creativity navigate its “evolutionary stage.” PERSON PLACE PROCESS
  • 15. FRAMING THE SCHOLARSHIP Sasser and Koslow (2008) A “3Ps” research agenda is proposed to help the scholarship in advertising creativity navigate its “evolutionary stage.” PERSON PLACE PROCESS the people who create advertising
  • 16. FRAMING THE SCHOLARSHIP Sasser and Koslow (2008) A “3Ps” research agenda is proposed to help the scholarship in advertising creativity navigate its “evolutionary stage.” PERSON PLACE PROCESS the people who the places or create advertising environments in which they work
  • 17. FRAMING THE SCHOLARSHIP Sasser and Koslow (2008) A “3Ps” research agenda is proposed to help the scholarship in advertising creativity navigate its “evolutionary stage.” PERSON PLACE PROCESS the people who the places or the process they create advertising environments in follow in developing which they work creative ideas
  • 18. FRAMING THE SCHOLARSHIP Sasser and Koslow (2008) A “3Ps” research agenda is proposed to help the scholarship in advertising creativity navigate its “evolutionary stage.” PERSON PLACE PROCESS the people who the places or the process they create advertising environments in follow in developing which they work creative ideas “The most common advertising creativity research is comprised of empirical studies of place based perspectives of production.” Sasser and Koslow (2008), p. 9
  • 19. FRAMING THE SCHOLARSHIP PROCESS Sasser and Koslow (2008)
  • 20. FRAMING THE SCHOLARSHIP PROCESS Sasser and Koslow (2008) use of psychographic research the persuasive function Winter and Russell (1973) Dillon (1975) the associative model a mathematical model Reid and Rotfeld (1976) Gross (1972) copywriters’ implicit theories paradox and serendipity Kover (1995) Bengstson (1982) the templates method enhancing and encouraging Goldenberg, Mazursky and Solomon (1999) El-Murad and West (2004) think aloud tasks and teams executional factors on recall, Johar, Holbrook and Stern (2001) comprehension and persuasion Stewart and Koslow (1989) creative directors and research Chong (2006) consumers’ views on creative ads Ang, Lee and Leong (2007) finding a creative voice Stephens and Burke (1974) a consumer response approach Smith and Yang (2004)
  • 21. FRAMING THE SCHOLARSHIP PROCESS Sasser and Koslow (2008) use of psychographic research the persuasive function Winter and Russell (1973) Dillon (1975) the associative model a mathematical model Reid and Rotfeld (1976) Gross (1972) copywriters’ implicit theories paradox and serendipity Kover (1995) Bengstson (1982) the templates method enhancing and encouraging Goldenberg, Mazursky and Solomon (1999) El-Murad and West (2004) think aloud tasks and teams executional factors on recall, Johar, Holbrook and Stern (2001) comprehension and persuasion Stewart and Koslow (1989) creative directors and research Chong (2006) consumers’ views on creative ads Ang, Lee and Leong (2007) finding a creative voice Stephens and Burke (1974) a consumer response approach Smith and Yang (2004)
  • 24. “Copywriters’ Implicit Theories of Communication: An Exploration” copywriters’ implicit theories Kover (1995)
  • 25. “Copywriters’ Implicit Theories of Communication: An Exploration” Journal of Consumer Research copywriters’ implicit theories Kover (1995)
  • 26. “Copywriters’ Implicit Theories of Communication: An Exploration” Journal of Consumer Research in-depth interviews with 14 professional advertising writers copywriters’ implicit theories Kover (1995)
  • 27. “Copywriters’ Implicit Theories of Communication: An Exploration” Journal of Consumer Research in-depth interviews with 14 professional advertising writers copywriters’ implicit theories asked each to discuss personal Kover (1995) creative process
  • 28. “Copywriters’ Implicit Theories of Communication: An Exploration” Journal of Consumer Research in-depth interviews with 14 professional advertising writers copywriters’ implicit theories asked each to discuss personal Kover (1995) creative process thoughtful, detailed, reflective responses about their work + revealed “implicit theories” about how their minds worked
  • 29. “Copywriters’ Implicit Theories of Communication: An Exploration” Journal of Consumer Research in-depth interviews with 14 professional advertising writers copywriters’ implicit theories asked each to discuss personal Kover (1995) creative process thoughtful, detailed, reflective responses about their work + revealed “implicit theories” about how their minds worked rich data validated the observation and analyzation of thinking via first- person retrospective accounts
  • 30.
  • 31. * INDIVIDUALS bring unique cognitive approaches to their work within specific domains. Amabile (1996)
  • 32. copywriters’ implicit theories Kover (1995) in-depth interviews with 14 professional advertising writers asked each to discuss personal creative process thoughtful, detailed, reflective responses about their work + revealed “implicit theories” about how their minds worked
  • 33. developmental models of the creative process Griffin (2008) copywriters’ implicit theories Kover (1995) in-depth interviews with 14 professional advertising writers asked each to discuss personal creative process thoughtful, detailed, reflective responses about their work + revealed “implicit theories” about how their minds worked
  • 34. developmental models of the creative process Griffin (2008) “From Performance to Mastery: copywriters’ implicit theories Developmental Models of the Kover (1995) Creative Process” in-depth interviews with 14 professional advertising writers asked each to discuss personal creative process thoughtful, detailed, reflective responses about their work + revealed “implicit theories” about how their minds worked
  • 35. developmental models of the creative process Griffin (2008) “From Performance to Mastery: copywriters’ implicit theories Developmental Models of the Kover (1995) Creative Process” Journal of Advertising in-depth interviews with 14 professional advertising writers asked each to discuss personal creative process thoughtful, detailed, reflective responses about their work + revealed “implicit theories” about how their minds worked
  • 36. developmental models of the creative process Griffin (2008) “From Performance to Mastery: copywriters’ implicit theories Developmental Models of the Kover (1995) Creative Process” Journal of Advertising in-depth interviews with 14 in-depth interviews with 44 professional advertising writers students in portfolio programs asked each to discuss personal creative process thoughtful, detailed, reflective responses about their work + revealed “implicit theories” about how their minds worked
  • 37. developmental models of the creative process Griffin (2008) “From Performance to Mastery: copywriters’ implicit theories Developmental Models of the Kover (1995) Creative Process” Journal of Advertising in-depth interviews with 14 in-depth interviews with 44 professional advertising writers students in portfolio programs asked each to discuss personal asked each to discuss personal creative process creative process thoughtful, detailed, reflective responses about their work + revealed “implicit theories” about how their minds worked
  • 38. developmental models of the creative process Griffin (2008) “From Performance to Mastery: copywriters’ implicit theories Developmental Models of the Kover (1995) Creative Process” Journal of Advertising in-depth interviews with 14 in-depth interviews with 44 professional advertising writers students in portfolio programs asked each to discuss personal asked each to discuss personal creative process creative process thoughtful, detailed, reflective thoughtful, detailed, reflective responses about their work + responses about their work + revealed “implicit theories” about revealed “implicit theories” about how their minds worked how their minds worked
  • 39.
  • 40.
  • 41. Each student created a rough ad based on a creative brief. This assignment was the basis for each student’s personal narratives about their own creative process.
  • 42. These ads were analyzed and revealed different approaches to execution based on level of expertise.
  • 43. The Performance Model of Advertising Studentsʼ Creative Process The Mastery Model of Advertising Studentsʼ Creative Process
  • 44. The Performance Model of Advertising Studentsʼ Creative Process The Mastery Model of Advertising Studentsʼ Creative Process The students’ narratives about process, combined with analysis of their rough ads, yielded evidence for building two new theoretical models.
  • 47. METACOGNITION How we leverage our own understanding of how we think; how we mentally supervise the achievement of a cognitive goal. Flavell (1979)
  • 53. three categories of METACOGNITION PERSON TASK STRATEGY Everything you believe about yourself as a thinker.
  • 54. three categories of METACOGNITION PERSON TASK STRATEGY Everything you Your assessment of believe about yourself the resources you will as a thinker. need to complete a project.
  • 55. three categories of METACOGNITION PERSON TASK STRATEGY Everything you Your assessment of How you combine believe about yourself the resources you will both person and task as a thinker. need to complete knowledge to achieve a project. an ultimate goal.
  • 56. three categories of METACOGNITION PERSON TASK STRATEGY Everything you Your assessment of How you combine believe about yourself the resources you will both person and task as a thinker. need to complete knowledge to achieve a project. an ultimate goal. “As an art director, I am more skilled in visualization than articulation.”
  • 57. three categories of METACOGNITION PERSON TASK STRATEGY Everything you Your assessment of How you combine believe about yourself the resources you will both person and task as a thinker. need to complete knowledge to achieve a project. an ultimate goal. “As an art director, “When the creative I am more skilled brief leaves me with in visualization than more questions than articulation.” answers, I do some of my own research.”
  • 58. three categories of METACOGNITION PERSON TASK STRATEGY Everything you Your assessment of How you combine believe about yourself the resources you will both person and task as a thinker. need to complete knowledge to achieve a project. an ultimate goal. “As an art director, “When the creative “I wanted to get I am more skilled brief leaves me with started on this project in visualization than more questions than as soon as possible, articulation.” answers, I do some since I was unfamiliar of my own research.” with the product and I tend to procrastinate in those situations.”
  • 60. HYPOTHESIS: Creative professionals in advertising do understand their own creative process for developing ideas and they can articulate it.
  • 61. HYPOTHESIS: Creative professionals in advertising do understand their own creative process for developing ideas and they can articulate it. (i.e., they are metacognitively aware)
  • 62. HYPOTHESIS: Creative professionals in advertising do understand their own creative process for developing ideas and they can articulate it. (i.e., they are metacognitively aware) HUNCH:
  • 63. HYPOTHESIS: Creative professionals in advertising do understand their own creative process for developing ideas and they can articulate it. (i.e., they are metacognitively aware) HUNCH: They can visualize their creative process.
  • 65. APPROACH: Analyze the cognitive phenomenon (the creative process in advertising) at the intersection of...
  • 66. APPROACH: Analyze the cognitive phenomenon (the creative process in advertising) at the intersection of... what creatives say about the process
  • 67. APPROACH: Analyze the cognitive phenomenon (the creative process in advertising) at the intersection of... what creatives say about the process +
  • 68. APPROACH: Analyze the cognitive phenomenon (the creative process in advertising) at the intersection of... what creatives say about the process + what creatives show about the process
  • 69. methods from qualitative research in psychology and art therapy
  • 70. What DO creatives say about the process?
  • 72. INTERPRETATIVE PHENOMENOLOGICAL ANALYSIS Smith (1994, 1996) IPA is concerned with the detailed examination of individual lived experience and how individuals make sense of that experience. Eatough and Smith (2008)
  • 73. INTERPRETATIVE PHENOMENOLOGICAL ANALYSIS Smith (1994, 1996) IPA is concerned with the detailed examination of individual lived experience and how individuals make sense of that experience. Eatough and Smith (2008) theoretical roots: hermeneutics + phenomenology
  • 74. IPA Smith (1994, 1996) GROUNDED An approach to THEORY Glaser & Strauss (1967) research guided by a particular world-view and epistemology. It is not simply a research methodology. - the privileged account - focus on phenomena, lived experiences
  • 75. IPA Smith (1994, 1996) GROUNDED An approach to THEORY Glaser & Strauss (1967) research guided by a particular world-view A systematic generation of and epistemology. It is theory from data that not simply a research contains both inductive and methodology. deductive thinking. - the privileged account - focus on phenomena, - researcher holds privilege lived experiences - broad application for various forms of qualitative data
  • 77. INTERPRETATIVE PHENOMENOLOGICAL ANALYSIS Smith (1994, 1996) LIVED EXPERIENCE encompasses the embodied, socio-culturally and historically situated person who inhabits an intentionally interpreted and meaningfully lived world. Eatough and Smith (2008)
  • 78. INTERPRETATIVE PHENOMENOLOGICAL ANALYSIS Smith (1994, 1996) LIVED EXPERIENCE encompasses the embodied, socio-culturally and historically situated person who inhabits an intentionally interpreted and meaningfully lived world. Eatough and Smith (2008) based on in-depth interviews that examine specific phenomena with which individuals are intimately familiar; i.e. repeated/regular experiences for those individuals
  • 79. INTERPRETATIVE PHENOMENOLOGICAL ANALYSIS Smith (1994, 1996) LIVED EXPERIENCE encompasses the embodied, socio-culturally and historically situated person who inhabits an intentionally interpreted and meaningfully lived world. Eatough and Smith (2008) based on in-depth interviews that examine specific phenomena with which individuals are intimately familiar; i.e. repeated/regular experiences for those individuals IPA is devoted to the micro analysis of convergence and divergence within a small set of accounts. We compare accounts to establish the common features.
  • 80. CREATIVE PROFESSIONALS: the individual ideation (creative) process
  • 81. IPA Smith (1994, 1996)
  • 82. IPA Smith (1994, 1996) smaller sample sizes (typically less than 30)
  • 83. IPA Smith (1994, 1996) smaller sample sizes (typically less than 30) semi-structured interviews most common; also diaries and unstructured life histories
  • 84. IPA Smith (1994, 1996) smaller sample sizes (typically less than 30) semi-structured interviews most common; also diaries and unstructured life histories both participant’s and researcher’s sensemaking of the lived experience (the topic) are recorded / compared
  • 85. IPA Smith (1994, 1996) smaller sample sizes (typically less than 30) semi-structured interviews most common; also diaries and unstructured life histories both participant’s and researcher’s sensemaking of the lived experience (the topic) are recorded / compared generally, a flexible, non-prescriptive stance with respect to sample size or form of data collection
  • 86. What CAN creatives show about the process?
  • 87. USING AND INTERPRETING VISUAL IMAGES Reavey and Johnson (2008)
  • 88. USING AND INTERPRETING VISUAL IMAGES Reavey and Johnson (2008) “Qualitative psychology has always fought to be recognized as a credible approach to research within the methodological fetishism of the positivistic mainstream ... this might explain an initial reluctance to embrace visual methodologies.” p. 297
  • 89. USING AND INTERPRETING VISUAL IMAGES Reavey and Johnson (2008) “Qualitative psychology has always fought to be recognized as a credible approach to research within the methodological fetishism of the positivistic mainstream ... this might explain an initial reluctance to embrace visual methodologies.” p. 297 Barthes (1973, 1995) - semiotic tradition: words are not the only way people engage with the world
  • 90. USING AND INTERPRETING VISUAL IMAGES Reavey and Johnson (2008) “Qualitative psychology has always fought to be recognized as a credible approach to research within the methodological fetishism of the positivistic mainstream ... this might explain an initial reluctance to embrace visual methodologies.” p. 297 Barthes (1973, 1995) - semiotic tradition: words are not the only way people engage with the world “... the way in which we live feelings and experiences are not always available to verbal description.” - p. 299
  • 91. USING AND INTERPRETING VISUAL IMAGES Reavey and Johnson (2008) “Qualitative psychology has always fought to be recognized as a credible approach to research within the methodological fetishism of the positivistic mainstream ... this might explain an initial reluctance to embrace visual methodologies.” p. 297 Barthes (1973, 1995) - semiotic tradition: words are not the only way people engage with the world “... the way in which we live feelings and experiences are not always available to verbal description.” - p. 299 Collection of visual data can be less obtrusive because offers agency to study participants rather than limiting their responses to those elicited by a researcher’s questions.
  • 93. Enduring Visual Products Visual data collected for the purpose of augmenting verbal description of personal experiences. Temple and McVittie (2005)
  • 94. How can we better understand the creative process in advertising?
  • 95.
  • 96. what creatives say about the process + what creatives show about the process
  • 97.
  • 99. PARTICIPANTS creative professionals (CDs, ADs, CWs) ranging from 3-40 years of experience; primarily drawn from major awards annuals in recent years + some legends; 300+ contacted, 76 participated
  • 100. PARTICIPANTS creative professionals (CDs, ADs, CWs) ranging from 3-40 years of experience; primarily drawn from major awards annuals in recent years + some legends; 300+ contacted, 76 participated STUDY PACKET
  • 101. PARTICIPANTS creative professionals (CDs, ADs, CWs) ranging from 3-40 years of experience; primarily drawn from major awards annuals in recent years + some legends; 300+ contacted, 76 participated STUDY PACKET cover letter with overview of the project
  • 102. PARTICIPANTS creative professionals (CDs, ADs, CWs) ranging from 3-40 years of experience; primarily drawn from major awards annuals in recent years + some legends; 300+ contacted, 76 participated STUDY PACKET cover letter with overview of the project 17” x 22” process canvas with consent form, instructions and spaces for participant data and comments on back
  • 103. PARTICIPANTS creative professionals (CDs, ADs, CWs) ranging from 3-40 years of experience; primarily drawn from major awards annuals in recent years + some legends; 300+ contacted, 76 participated STUDY PACKET cover letter with overview of the project 17” x 22” process canvas with consent form, instructions and spaces for participant data and comments on back postage-paid return envelope
  • 104. PARTICIPANTS creative professionals (CDs, ADs, CWs) ranging from 3-40 years of experience; primarily drawn from major awards annuals in recent years + some legends; 300+ contacted, 76 participated STUDY PACKET cover letter with overview of the project 17” x 22” process canvas with consent form, instructions and spaces for participant data and comments on back postage-paid return envelope black Sharpie marker
  • 105. They call this “data collection.” Help us, please? You take that brain to work with you every day. You know better than anyone else how it works. As difficult as the journey can be, you’ve grown to understand more and more about how you’ll get to that elusive G R E A T I D E A . Your creative process is yours alone A N D I T M E A N S S O M E T H I N G . It has a life, a direction, a feel, a style. So, we’re wondering... WAH A T D O EYS U R U R C R E A T I V E P R O C E S S LL OOK L I K E ? YO O WW A T TD D O E S Y O U R CREATIVE RPROCESS K OL IK E I K E ? H H OES O CREATIVE P OCESS LOO L K ? How do you get to the idea? What if you were asked to I L L U S T R A T E the process? Could you capture it V I S U A L LY — at a level of detail that reveals your own experience to others? We study the creative process as it applies to advertising. We’ve taught hundreds of young art directors and writers, and we know each person thinks about and develops ideas differently. Those differences are staggering — and unbelievably interesting! We’re inviting some of the industry’s best and brightest, including yourself, to show us their brains. This is stuff we’d like to capture for posterity. For research and building theory. For informing the next generation. For a beautiful book that will showcase great minds and how they work. We’re providing you with the necessary tools. Use the Sharpie® and the Process Canvas (both enclosed) to share your unique journey. Please follow the instructions on the back of that poster-sized sheet before providing us your solution, and return it to us in the postage-paid envelope. Think about the thinking, then show it to us. W. G L E N N G R I F F I N DEBORAH K. MORRISON ASSISTANT PROFESSOR PROFESSOR SOUTHERN METHODIST UNIVERSITY UNIVERSITY OF OREGON
  • 106. I N S T R U C T I O N S 1. Think about your own creative process. Think about the route you take to find ideas. 2. Experiment with illustrating that process on a scratch piece of paper. Can your visualization (with or without words) offer someone else an understanding of the process as you experience it? 3. When you are satisfied with your solution, use the Sharpie® marker (provided) to transfer it to the Process Canvas on the reverse of this sheet. 4. This is research, folks. You know how this works. We need you to sign the Consent to Participate (in ink, not Sharpie®)
  • 107. 3. When you are satisfied with your solution, use the Sharpie® marker (provided) to transfer it to the Process Canvas on the reverse of this sheet. 4. This is research, folks. You know how this works. We need you to sign the Consent to Participate (in ink, not Sharpie®) to make this legal in all 50 states. We’d also like to get your comments on this study and/or your thoughts on process. Just fill in the box below. 5. Fold this sheet and mail it back to us in the postage-paid return envelope we’ve provided to you. Please complete the project and return it no later than: Thanks for your participation!
  • 109. FOLLOW-UP study participants (those who returned a process canvas to us) were contacted and narratives about their creative process were collected
  • 113.
  • 114. NEW METHODS IN CREATIVITY RESEARCH: Interpretative Phenomenological Analysis (IPA) and Enduring Visual Products W. Glenn Griffin, Ph.D. Deborah K. Morrison, Ph.D. Assistant Professor of Advertising Chambers Distinguished Professor SMU - Temerlin Advertising Institute University of Oregon - School of Journalism Dallas, TX and Communication - Eugene, OR wgriffin @ smu.edu debmor @ uoregon.edu

Notas do Editor