Creative Processes and Techniques
Code: 103142Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Advertising and Public Relations | OB | 3 |
Contact lecturer
- Name :
- Patricia Luján Bellon
- Email :
- patricia.lujan@uab.cat
Teaching staff
- David Roca Correa
- Maria Leonor Balbuena Palacios
Group languages
You can consult this information at the end of the document.
Prerequisites
None
Objectives
- Provide a brief theoretical basis on what creativity is, its processes and techniques, the importance of nourishing oneself through references and knowledge of people and creative projects from a broad and multifaceted perspective.
- Know and study the creative processes and techniques of ideation, in general, and advertising, in particular.
- Practice various creative techniques in order to provide tools for the creation of great ideas and creative developments from an advertising point of view.
- Learn to think in a disruptive way, to feed on references and referents through daily activities, experiment and share ideas.
- Work as a team putting into practice the theoretical and practical knowledge of the subject.
- Carry out a final project with a powerful idea capable of becoming a Revolution to which thousands of people join.
- Apply the gender perspective in project research, in the search for creative and bibliographic references, as well as make use of an inclusive and non-sexist language.
- Have fun and discover that we are all creative.
Learning outcomes
- CM15 (Devising creative and persuasive messages that respond to the communication needs of advertising agencies without violating the democratic values or the fundamental rights of the public.) Devising creative and persuasive messages that respond to the communication needs of advertising agencies without violating the democratic values or the fundamental rights of the public.
- KM20 (List the stages and strategies of the creative process involved in the development of an advertising campaign, from conceptualisation and creative briefing to execution.) List the stages and strategies of the creative process involved in the development of an advertising campaign, from conceptualisation and creative briefing to execution.
- SM14 (Apply techniques that enhance the originality and flexibility of thought to generate creative ideas that respond to communication problems.) Apply techniques that enhance the originality and flexibility of thought to generate creative ideas that respond to communication problems.
Contents
- What is Creativity.
- The Creative Process.
- References.
- Inclusive language.
- Creative Techniques: 635, Lateral thinking / Six Hats, Sensanation, Fantasy Grammar, SCAMPER, Hall of Fame...
- And sessions on topics/books/authors that are not exactly creative techniques but help you think \"out of the box\".
Note: The course content will be sensitive to issues related to gender perspective and the use of inclusive language.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Theory sessions | 15 | 0.6 | KM20, SM14 |
| Seminars and practices | 37.5 | 1.5 | CM15, KM20, SM14 |
| Tutorials | 8 | 0.32 | CM15, KM20, SM14 |
| Exercises, practice, reading texts, watching campaigns and self-study. | 84.5 | 3.38 | CM15, SM14 |
A detailed schedule outlining the content of each session will be presented on the first day of the course and will be available on the course’s Virtual Campus, where students will find the various teaching materials deemed appropriate by the instructors and
necessary information for effective course monitoring.
Should the teaching modality change for reasons of force majeure according to the competent authorities, the teaching staff will inform students of any modifications to the course schedule and teaching methodologies.
Methodology
To the theoretical part on creative processes and techniques will be added:
- Practical exercises in group or individual.
- Viewing of campaigns, projects, products, content, talks, articles...
- Continuous search for surprising and interesting references that can inspire thegroup. IG Profile @inspirationalmagazine
- Individual work "My Creative Notebook".
- Final group work. Revolution Makers. We will create and "brand" a Revolution capable of being followed by thousands of people.
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Individual practical work "My Creative Notebook" | 35% | 1.5 | 0.06 | CM15, SM14 |
| Work and Final Presentation: Revolution Makers | 40% | 2 | 0.08 | CM15, KM20, SM14 |
| Self appraisal | 5% | 0.5 | 0.02 | CM15, KM20, SM14 |
| Classroom Practice | 20% | 1 | 0.04 | CM15, SM14 |
This subject follows continuous assessment and also provides for a single assessment option.
Continuous assessment activities
1. Self-assessment -> 5%
Self-criticism is key when working with ideas.
No one knows better than you what you have done during the course.
Honestly evaluate your effort, your desire to work, the originality of your ideas, the tireless search for new references, the books you have read, your evolution... Everything that has made your creative muscle grow and stimulate your desire to find new creative paths throughout the year.
A 10, if not real, is not an option.
2. Realization of practices in class -> 20%
Practices in class and out of class are compulsory.
3. Individual practical work \"My Creative Notebook\" -> 35%
The idea books will be delivered on the appointed day and will be returned after 6 months of custody.
It will be valued:
- Constancy and daily work.
- The solutions to the practical exercises proposed in class.
- Own creative ideas.
- Creative thoughts and references.
- The use of the creative techniques learned.
- The visual expression of the content through images, mind maps, drawings, photographic clippings.
- And, in general, any original idea that contributes to the creative work being done on a daily basis. We hope that you have been fed with creativity every day and that you have searched for great ideas throughout the course.
4. Work and Final Presentation: Revolution Makers -> 40%
It will be valued:
- Originality, simplicity, organization and formal development.
- The oral presentation, in an understandable, entertaining, simple and clear and structured way of the work.
- The presentation of all the members of the group.
- The formal and final delivery of the campaign to launch a revolution likely to be followed by thousands of people.
The final grade will be the weighted sum of the four items, with a passing grade of 5.
Recovery
Students will have the right to recover the subject if they have been evaluated on the set of activities, the weight of which is a minimum of 2/3 of the total grade for the subject.
The recoverable evaluation activities are: the work final and practices.
The practices will be recovered with a theoretical-practical test.
In the case of the work, it must be submitted corrected and improved.
The activity \"My Creative Notebook\" is excluded from the recovery process because it is a project to be carried out daily throughout the course.
Single assessment system
The single evaluation system for the subject is based on the following percentages:
A) 25% Theoretical-practical test. It must be approved (5 or more) to pass the subject (essential condition).
B) 40% Delivery of a final project: Revolution Makers
C) 35% Creative notebook
A (25%) + B (40%) + C (35%) = 100% FINAL GRADE FOR THE SUBJECT
Single assessment recovery
Students will have the right to recover the subject if they have been evaluated on the set of activities, the weight of which is a minimum of 2/3 of the total grade for the subject.
The single assessment activities that can be recovered are: the work and the theoretical-practical test.
The activity \"My Creative Notebook\" is excluded from the recovery process because it is a project to be carried out daily throughout the course.
Assessment for students on their second or subsequent attempt (comprehensive exam)
Starting with the second enrollment, the course assessment may consist of a synthesis exam that allows for the evaluation of the learning outcomes specified in the guide. In this case, the course grade will correspond to the grade on the synthesis exam. Details of the exam will be communicated in a timely manner to students who choose this assessment option.
Non-assessable
Students who have not provided sufficient assessment evidence will be graded as non-assessable.
The criterion for assigning a non-assessable grade is having completed less than 33% of the assessable activities.
Plagiarism
In the event that the student performs any irregularity that may lead to a significant variation of an evaluation act, this evaluation actwill be graded with 0, regardless of the disciplinary process that could be instructed. In the event, that several irregularities occur in the evaluation acts of the same subject, the final grade for this subject will be 0.
IA
In this course, the use of Artificial Intelligence (AI) technologiesis permitted as an integral part of assignment development, provided that the final outcome demonstrates a significant contribution from the student in terms of analysis and personal reflection.
Students must clearly identify any content generated using AI, specify the tools employed, and include a critical reflection on how these technologies have influenced both the process and the final result of the assignment.
Failure to disclose the use of AI in this assessed activity will be considered a breach of academic integrity and may result in a partial or total penalty to the assignment grade, or more serious sanctions in severe cases.
Irregularities
The performance of any irregularity in an evaluation act (academic fraud, plagiarism or improper use of AI, unless this use is expressly authorized by the teaching guide),
which may lead to a significant variation in the grade, assumes that this act will be graded with a 0. In the event that the teaching guide foresees that in order to pass the subject it is an essential requirement to have obtained a minimum grade in this evaluation act or that there are several irregularities in the evaluation acts of the same subject, the final grade of this subject is 0. Apart from this, a disciplinary process may be instructed to the student that incurs any of these irregularities.
Any student suspected of submitting assignments that have been generated by AI, written by others or copied; include unattributed AI-generated content, or fall outside the permitted scope, may be asked to provide the preliminary work or other materials that can demonstrate it is original work and the result of their own authorship. They may also be asked to separately explain or justify their work. Teachers may also use AI detection systems or carry out any verification tasks they deem appropriate. If, after review, the instructor detects irregularities, the assignment may be graded zero, and the student may be subject to further disciplinary action.
Bibliography
Mandatory readings
Martín Barranco, Maria. (2021). Ni por favor ni por favora. Cómo hablar con lenguaje inclusivo sin que se note (demasiado). Catarata
Santana, Eva. (2025). Tapas de publicidad: Introducción y fundamentos. Hoaki Books
Complementary readings
Aced, Cristina. (2013). Relaciones públicas 2.0: Cómo gestionar la comunicación corporativa en el entorno digital. Barcelona: Editorial UOC
Adair, John E. (2009). The Art of Creative Thinking: How to Be Innovative and Develop Great Ideas. Kogan Page
Álvarez Ruiz, Antón. (2017). La magia del planning. Cómo utilizar la planificación estratégica para potenciar la eficacia de la comunicación. Madrid: ESIC editorial
Andrews, Marc. (2016). Persuasión. 33 técnicas publicitarias de influencia psicológica. Barcelona: Gustavo Gili
Andrews, R. J. (2019). Info We Trust: How to Inspire the World With Data. New Jersey: John Wiley & Sons
Anthony, Jay. (2015). BeCreative. A Quick Guide to Developing Brilliant Ideas & Unlocking Your Creative Potential. Jay Anthony Writing
Arden, Paul. (2005). Usted puede ser lo bueno que quiera ser. London: Phaidon
Arden, Paul. (2008). Pienses lo que pienses piensa lo contrario. London: Maeva
Banet-Weiser, Sarah. (2012). AuthenticTM: The Politics of Ambivalence in a Brand Culture. New York: New York University Press
Bernard, Andreas. (2020). Theory of the Hashtag. Cambridge: Polity Press
Blackmore, Susan. (2000). La máquina de los memes. Barcelona: Paidós
Bogusky, Alex y Winsor, John. (2009). Baked In. Creating products and bussinesses that market themselves. Chicago: Agate
Brown, Tim. (2019). Change by Design. How Design Thinking Transforms Organizations and Inspires Innovation. New York: HarperBusiness
Buzan, Tony. (2004). Cómo Crear Mapas Mentales. Barcelona: Urano
Catmull, Ed. (2014). Creatividad, S.A.: Cómo llevar la inspiración hasta el infinito y más allá. Barcelona: Conecta
D&AD. (2011). The Copy Book. How some of the best advertising writers in the world write their advertising. London: Taschen
D&AD. The Art Direction Book.
De Bono, Edward. (1998). El pensamiento lateral: Manual de creatividad. Barcelona: Paidós
De Bono, Edward. (2008). Seis sombreros para pensar. Barcelona: Paidós
De Bono, Edward. (2015). Serious Creativity: How to Be Creative Under Pressure and Turn Ideas Into Action. London: Vermillion
Fallon, Pat y Senn, Fred. (2007). Exprime la idea. Madrid: LID
Farran Teixidó, Eduard. (2016). Desde la trinchera: Manual de supervivencia en creatividad publicitaria. Barcelona: Editorial UOC
Fill, Chris, Hughes, Graham y de Francesco, Scott. (2013). Advertising: Strategy, Creativity and Media. Pearson Education Limited
Goldberg, Elkhonon. (2019). Creatividad: El cerebro humano en la era de la innovación. Barcelona: Crítica
grupo autónomo a.f.r.i.k.a., Brunzels, Sonja y Blisset, Luther. (2006). Cómo acabar con el mal: Manual de guerrilla de la comunicación. Virus
Harrison, Guy P. (2013). Think: Why You Should Question Everything.New York: Prometheus
Herrera, Eduardo y Iñurritegui, Leire F. (2018). Historias que marcan Origen y significado de 50 marcas gráficas.Barcelona: Gustavo Gili
Holiday, Ryan. (2019). El Ego es el enemigo. Ciudad de México: Paidós
Jardí, Enric. (2012). Pensar con imágenes. Barcelona: Gustavo Gili
Jenkins, Henry y Ford, Sam. (2015). Cultura transmedia. La creación de contenido y valor en una cultura en red. Barcelona: Gedisa
Joannis, Henri. (1986). El Proceso de creación publicitaria. Planteamiento, concepción y realización de los mensajes. Bilbao: Deusto.
Johnson, Steven. (2011). Where Good Ideas Come From. The Natural History of Innovation. Penguin
Kaufman, J. C. (2016). Creativity 101. New York: Springer Publishing Company
Kelley, Tom y Kelley, David. (2013). Creative Confidence: Unleashing the Creative Potential Within Us All. New York: Crown
Kelley, Tom y Littman, Jonathan. (2010). Las diez caras de la innovación. Estrategias para una creatividad excelente. Madrid: Paidós
Kelso, Tony. (2018). The Social Impact of Advertising: Confessions of an (Ex-)Advertising Man. Lanham: Rowman & Littlefield Publishers
Kessels, Erik. (2016). ¡Qué desastre! Cómo convertir errores épicos en éxitos creativos. London: Phaidon Press
Kleon, Austin. (2017). Roba como un artista. Un cuaderno para cleptómanos creativos. Barcelona: Gustavo Gili
Kleon, Austin. (2019). Keep Going: 10 Ways to Stay Creative in Good Times and Bad. New York: Workman Publishing
Krause, Jim. (2012). The Logo Brainstorm Book: A Comprehensive Guide for Exploring Design Directions. Cincinnati, Ohio: HOW Books
Lamarre, Guillaume. (2018). La vía del creativo: Guía para reinventar nuestra práctica y nuestra mirada. Barcelona: Gustavo Gil
Landa, Robin. (2016). Advertising by Design: Generating and Designing Creative Ideas Across Media. Hoboken: John Wiley & Sons
Lanier, Jaron. (2011). Contra el rebaño digital : un manifiesto. Barcelona: Debate
Lupi, Giorgia. (2016). Dear Data. London: Particular Books
MacLeod, Hugh. (2009). Ignore Everybody: And 39 Other Keys to Creativity. New York: Portfolio
Mahon, Nik. (2012). Ideación. Cómo generar grandes ideas publicitarias. Barcelona: Gustavo Gili
Martín Barranco, María. (2020). Mujer tenías que ser: La contrucción de lo femenino a través del lenguaje: Catarata
Nielsen, Dorte y Thurber, Sarah. (2018). Conexiones creativas. Barcelona: Gustavo Gili
Obradors, Matilde. (2007). Creatividad y generación de ideas. Universitat de Valencia. Servei de publicacions
Padilla, Margarita. (2012). El kit de la lucha en Internet. Madrid: Traficantes de Sueños
Peirano, Marta. (2019). El enemigo conoce el sistema: Manipulación de ideas, personas e influencias después de la economía de la atención. Barcelona: Debate
Pérez Latre, Francisco J. (2017). Marcas humanas. Fundamentos de la publicidad en el siglo XXI. Barcelona: Editorial UOC
Pinar Selva, María Luisa. (2010). Creatividad Publicitaria y nuevas formas de comunicación. Documentación. Universidad Complutense de Madrid. Área de Ciencias Sociales, Madrid, España https://eprints.ucm.es/11256/
Pressman, Andrew. (2019). Design Thinking: A Guide to Creative Problem Solving for Everyone. New York: Routledge
Pricken, Mario. (2009). Publicidad creativa. Ideas y técnicas de las mejores campañas internacionales. Barcelona: Gustavo Gili
Rodari, Gianni. (1977). Gramática de la fantasía: introducción al arte de inventar historias. Barcelona: Avance
Salmon, Christian. (2008). Storytelling. La máquina de fabricar historias yformatear las mentes. Barcelona: Península
Schwartz, David. (1995). The Magic of Thinking Big. London: Pocket Books
Segarra, Toni. (2009). Desde el otro lado del escaparate. Madrid: Espasa Calpe
Solana, Daniel. (2010). Postpublicidad: Reflexiones sobre una nueva cultura publicitaria. Barcelona: Double You
Springer, Paul. (2007). Ads to Icons. How Advertising Succeeds in a Multimedia Age. Philadelphia: Kogan Page
Urmeneta, Mikel. (2013). La creatividad supera la fricción: Una semana en el cerebro de Kukuxumusu. Planeta
Von Oech, Roger A. (1986). Kick in the Seat of the Pants: Using Your Explorer, Artist, Judge, & Warrior to Be More Creative. New York: Perennial Library
Von Oech, Roger A. (1992). Whack on the Side of the Head: How You Can Be More Creative. Grand Central Publishing.
Wagner, Meta. (2017). What's Your Creative Type?: Harness the Power of Your Artistic Personality. Berkeley: Seal Press
Weisberg, Robert W. (2006). Creativity: Understanding Innovation in Problem Solving, Science, Invention, and the Arts. New Jersey: John Wiley & Sons
Whalen, John. (2019). Design for How People Think: Using Brain Science to Build Better Products. Beijing: O’Reilly Media, Inc.
Wilson, Edward O. (2018). Los orígenes de la creatividad humana. Barcelona: Crítica
Wrigley, Cara y Straker, Karla. (2018). Affected: Emotionally Engaging Customers in the Digital Age. Milton, Qld: Wiley.
Yentzen, Eduardo.(2003). Teoría General de la Creatividad. Polis: Revista Latinoamericana, ISSN 0717-6554, ISSN-e 0718-6568, Nº. 6, 2003 https://dialnet.unirioja.es/servlet/articulo?codigo=2798658
Zafra, Remedios. (2017). El entusiasmo. Precariedad y trabajo creativo en la era digital. Barcelona: Anagrama
Software
No software required.
Course groups and languages
The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE
| Type of teaching | Group | Language | Semester | Shift |
|---|---|---|---|---|
| (TE) Theory | 5 | Spanish | first semester | afternoon |
| (PLAB) Practical laboratories | 51 | Spanish | first semester | afternoon |
| (PLAB) Practical laboratories | 52 | Catalan/Spanish | first semester | afternoon |
| (PLAB) Practical laboratories | 53 | Catalan | first semester | afternoon |