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PREFACE
Risks and uncertainties are part of life's great adventureaccidents, illness, theft, Natural disasters- they are all built into working of the universe waiting to happen. So far that there is a solution - insurance and to provide with the knowledge of this insurance benefits to the customers, the inancial !onsultant plays an important role in this field. "o overcome these risks and uncertainties this pro#ect describes about various $nsurance companies. %ow these companies provide benefits to policy holders is well e&plained by the inancial !onsultant. Now days a lot is being done to create awareness among the insuring 'ublic about the need and importance of insurance in the field of human being. $n this direction $R() has planned to create awareness through electronic and print media. Recruitment of inancial !onsultants is done to ensure the smooth serving of insurance sector. "he pro#ect deals with the procedure of recruitment of inancial !onsultant.

AKNOWLEDGEMENT

$ would like to start by praying the almighty, which has been always help me and will be the driving force of this mankind to give all of us the strength to achieve our set goals and target. "he compilation of a report not only re-uires time, effort and energy but also valuable guidelines from various people. $ have great pleasure and privilege in e&pressing my deep sense of gratitude to .niversity School of /usiness Studies for their supervision, constant encouragement, constructive criticism and valuable counsel. inally we also wish to thank )sia-'acific institute of 0anagement for making this e&perience of summer training in an esteemed organi1ation like DLF Pramerica life Insurance possible. "he learning from this e&perience has been immense and would be cherished throughout life.

EXECUTIVE SUMMARY
THE CAT IS ON THE MAT, is not the story. THE CAT IS ON THE DOG S MAT, no! th"t s the story.
Advetising is both art and science. The science of advertising is the analyititcal part that we have been looking at up yo this point: setting goals, deciding strategy, choosing among different creativity styles. Some people call this step convergent thinking because the process is to distill lots of information into the core advertising strategy. What is it that adds sparkle and life to a well-planned and implemented advertising campaign !t"s th #ah" factor: that brilliantly simple,but inspired creative edge. !n Advertising the world is flat. Agencies are structured on a linear basis. $ampaigns are created in linear formats. There are all kinds of rails and fences and obstacles to keep creative thinking linear. Advertising is a big business and ranks among the top industries in the world. The growth of the top advertising industry in any country is in direct relation, its creative senses and talents if the advertising professionals. The word advertising is derived from the %atin word #"$%erto , that means To t&rn to!"r$s. Advertising leads to attention towards something i.e.

the advertising message, which is the purpose of advertising and the ob&ective of the advertising $reative Advertising starts with proper
creative planning. This includes the conceptuali'ing of basic ideas to

their final implementation. The ideas are visuali'ed considering basic human motives. Advertising is nothing but selling ideas. $reative thinking is the sound ground where one can reap a rich harvest of ideas. The creative part of advertising is what comes before the potential customers and it is here that the fate of the campaign and conse(uently of the product being sold could be decided.

O'(e)ti%e o* the +ro(e)t,

Cre"ti%ity is something you cannot think of as #-et s sto. "n$ 'e )re"ti%e . )ou need to think of *$reativity+ as a discipline, &ust like #,rgani'ation", #commitments to results", or #responsibility". This pro&ect tells us the importance of $reativity in Advertising as creativity demands abundance. The foundation of creativity is in individual, and so the techni(ues and methods discussed in this pro&ect are &ust mere tools to enhance and liberate one"s creative skills. So dont confuse the menu with meal !t is observed that *-ar too many people are leading their lives lie they"re driving their cars with brakes on+ this pro&ects will enable you to know how your foot is taken off that brake pedal.

Rese"r)h Metho$o/o0y,
The information is gathered from various sources like books, periodicals and &ournals and sites.

-i1it"tions,
$reativity is a gift most of us desire, but only a few seem to have. .ro&ect report debunks some of the myths surrounding creativity and then carefully takes through the five !"s of the creative process. !t also gives the insight of future creativity and the tools that can be helped to help

advertising professionals to enhance and enliven their work.The sub&ect of creativity in advertising is something of an enigma. .ro&ect shows how creative director in an ad agency goes #under the skin of creative" to use it to greater effect in their work and in wider aspects of their lives.

2HAT IS CREATIVITY
There are many definitions of creativity. A number of them suggest that creativity is the generation of imaginative new ideas /0ewell and Shaw 12345, involving a radical newness innovation or solution to a problem, and a radical reformulation of problems. ,ther definitions propose that a creative solution can simply integrate e6isting knowledge in a different way.

De*initions o* Cre"ti%ity
There are many definitions of creativity7 dictionaries give the following meanings:

Herit"0e I//&str"te$ Di)tion"ry,

)re"te: To cause to e6ist, 8ring into being, ,riginate, To give rise to, 8ring about, .roduce, To be first to portray and give character to a role or part /appropriate to creating fictional characters and writing stories5 creation: An original product of human invention or imagination. Cre"ti%e: characteri'ed by originality and e6pressiveness, imaginative

M")3&"rie Di)tion"ry 4"n A&str"/i"n $i)tion"ry5

Cre"te: to evolve from one9s one thought or imagination to make by investing with new character or functions.

Cre"te: author, bring into being, compose, conceive, parent, form, give rise to, and throw together Cre"ti%e: generative, ground-breaking, innovative, originate, handmade A))or$in0 to 6o$en 478895, there are three main types of creativity, involving different ways of generating the novel ideas: The *combinational+ creativity that involves new combinations of familiar ideas. The *e6ploratory+ creativity that involves the generation of new ideas by the :6ploration of structured concepts. The *transformational+ creativity that involves the transformation of some dimension of the structure, so that new structures can be generated Other re/"te$ !or$s re, )re"ti%ity, $reativity creativeness, formativeness, innovation, inventiveness,

originality, productivity, craftsmanship, authorship, creatorship ;8eing creative is seeing the same thing as everybody else but thinking of something different; There are many aspects to creativity, but one definition would include the ability to take e6isting ob&ects and combine them in different ways for new purposes. -or e6ample, <utenberg took the wine press and the die=punch and produced a printing press. Thus, a simple definition of creativity is the action of combining previously uncombined elements. -rom art, music and invention to household chores, this is part of the nature of being creative.

Another way of looking at creativity is as playing with the way things are interrelated. $reativity is the ability to generate novel and useful ideas and solutions to everyday problems and challenges. $reativity involves the translation of our uni(ue gifts, talents and vision into an e6ternal reality that is new and useful. We must keep in mind that creativity takes place unavoidably inside our own personal, social, and cultural boundaries. The more we define our creativity by identifying with specific sets of values, meanings, beliefs and symbols, the more our creativity will be focused and limited7 the more we define our creativity by focusing on how values, meanings, beliefs and symbols are formed, the greater the chance that our creativity will become less restricted. !n the creative process there are always two different /but interrelated5 dimensions or levels of dynamics with which one can create:

The system which may be a particular medium /e.g. oil painting or a

particular musical form5, or a particular process /like a problem solving agenda, or an approach to creativity like Synectics5. The creative person manipulates that means to a creative end. The second dimension is described by the conceptual ;content; which the medium describes. Again, the creative person depicts changes, manipulates, and e6presses somehow the idea of that content. There is no one definition of creativity that everyone can agree with.

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$reativity researchers, mostly from the field of psychology, usually claim at being creative means being novel and appropriate. Subsumed under the appropriateness criterion are (ualities of fit, utility, and value. At least three aspects of creativity have drawn much attention. The creative process, receiving the most attention, focuses on the mechanisms and phases involved as one partakes in a creative act.

A second aspect of creativity is the creative person. >ere, personality

traits of creative people are central. The environmental atmosphere and influence are concerns of a third aspect, the creative situation.

%astly, the criteria or characteristics of creative products have been

sought. This area is of particular importance because it is the basis of any performance assessment of real world creativity and may provide a window on the other aspects of creativity. 8riefly stated, creativity is often thought to e6ist on at least five levels: 1. A higher level versus a lower level 4. <rand versus modest ?. 8ig ;$; versus little c @. .aradigm-shifting versus garden-variety A. :minent versus everyday Some researchers claim other categories of creativity as well: 1. :6pressive versus .roductive 4. :6pressive versus !nventive

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?. :6pressive versus !nnovative @. !nvention versus Biscovery A. Theory versus !nvention versus Biscovery C. Accommodative versus Assimilative 3. .ersonal versus .ublic. There are three general ways of achieving a creative solution:

Serendipity Similarity and meditation

Also, the mode of activity one is in when being creative differs. -or e6ample, there is a distinction between real-time creativity and multistage creativity. Deal-time creativity is spur-of-the-moment, improvisational, and demands output in a short interval of time7 whereas in multistage creativity, sufficient time is allowed for the generation and selection of ideas. $reative thought can be divided into divergent and convergent reasoning.

Divergent thinking is the intellectual ability to think of many original, diverse, and elaborate ideas. Convergent thinking: the intellectual ability to logically evaluate criti(ue and choose the best idea from a selection of ideas.

8oth abilities are re(uired for creative output. Bivergent thinking is essential to the novelty of creative products whereas convergent thinking is fundamental to the appropriateness. To combine this variety of definitions, we can say that creativity involves the generation of new ideas

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or the recombination of known elements into something new, providing valuable solutions to a problem. !t also involves motivation and emotion.

Cre"ti%ity is " *&n$"1ent"/ *e"t&re o* h&1"n inte//i0en)e in 0ener"/. !t is grounded in everyday capacities such as the association of
ideas, reminding, perception, analogical thinking, searching a structured problem-space, and reflecting self-criticism. !t involves not only a cognitive dimension /the generation of new ideas5 but also motivation and emotion, and is closely linked to cultural conte6t and personality factors.+ /8oden 122E5. Thus, any general definition of creativity must account for the process of recognition or discovery of novel ideas and solutions and hence most of the definition fall into one or more of these categories like as an individual talent, as a process, as a product and last but not the least as a recognition by others.

O6:ECTIVES O; CREATIVITY
Fain ob&ectives of a creative thinking process is to think beyond e6isting boundaries, to awake curiosity, to break away from rational, conventional ideas and formali'ed procedures, to rely on the imagination, the divergent, the random and to consider multiple solutions and alternatives /$andy 1223, Schlange and Guttner 12235. The result of the creative thinking process is especially important for businesses. Fanagers and managerial decisions and actions, confronted with fast-changing and ambiguous environments in business, need to develop creative solutions and creative action-based strategies to solve problems, as they allow to increase understanding of problematic situations, to find multiple problems, to produce new combinations, to

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generate multiple solutions that are different from the past, to consider possible alternatives in various situations that could occur in the future and *to e6pand the opportunity hori'on and competence base of firms+ /dt ogilvie 122E5.

DESCRI+TION < STRUCTURE O; THE METHODO-OGY < A-TERNATIVE SO-UTIONS

$reativity is not an innate (uality of only a few selected people. $reativity is present in everyone. !t can be learned, practiced and developed by the use of proven techni(ues which, enhancing and stimulating the creative abilities, ideas and creative results, help people to move out of their normal problemsolving mode, to enable them to consider a wide range of alternatives and to improve productivity and (uality of work. *$reativity is thus constructed as a learned ability that enables us to define new relationships between concepts or events, which seemed apparently unconnected before, and which results in a new entity of knowledge+ /:uropean $ommission 122E5. Hnowledge and information are the basis for creativity. There are numerous creative techni(ues, which are also classified in many ways />iggins 122@5. !n general, a certain type of (uestion or a certain area of application /such as marketing, product or service development, strategic and decision planning, design, (uality management, etc.5 often calls for a certain type or a certain group of creativity techni(ues. -undamental concepts for all creative techni(ues are:

The suspension of premature &udgement and the lack of filtering of

ideas.

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Ise the intermediate impossible. $reate analogies and metaphors,

through symbols, etc., by finding similarities between the situation, which we wish to understand and another situation, which we already understand.

8uild imaginative and ideal situations /invent the ideal vision5. -ind ways to make the ideal vision happen. Delate things or ideas which were previously unrelated. <enerate multiple solutions to a problem.

Fain points to increase or encourage creativity in a company are: J To be happy, to have fun J Heep channels of communication open J Trust, failure accepted J $ontacts with e6ternal sources of information J !ndependence, initiatives taken J Support participatory decision-making and employees" contribution J :6periment with new ideas.

EX+ECTED RESU-TS < 6ENE;ITS

$reativity, through the generation of ideas with value, is needed in order to solve concrete problems, ease the adaptation to change, optimi'e the performance of the organi'ation and best practice manufacturing, and changes the attitude of the staff of the organi'ation. $reative thought processes are also important at all stages in the DKB process. Some e6pected results of the creativity process are:

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ideas

!nnovation through new product and process

$ontinuous improvement of products or service

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.roductivity increase :fficiency Dapidity -le6ibility Luality of products or services >igh performance

CHARACTERISTICS O; +ROVIDERS
The implementation of creative techni(ues within work groups, re(uires the assistance and advise of e6ternal consultants. ,ne or two consultants, e6perts in creative techni(ues, is normally enough to undertake the implementation process in a company. >is=hers &ob normally consists of presenting the different techni(ues and their application method, defining the problem to be studied for the participants, initiating and clarifying the rules of the techni(ue, gathering the necessary data and information to approach the problem, stimulating the generation of ideas of participants, and evaluating the ideas before proceeding to put them in practice. Training of management staff by e6perts may also be very useful. Fanagement staff must be trained to stimulate creativity in employees, to provide motivation, to facilitate a creative climate and to encourage the use of creative techni(ues. Fanagers can also be trained to implement creative techni(ues by themselves.

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A++-ICATION
$reativity processes are used regularly by many private and public sector organisations of all sorts in manufacturing, services, banking, or construction companies. 8ig firms such as Mero6, ATKT, -rito-%ay, as well as car manufacturing firms, software development firms, railroad pharmaceutical firms etc., use creativity techni(ues to increase efficiency and (uality, especially in their research, strategic planning and marketing departments. $reativity techni(ues may be applied in almost any functional area of the company: strategic planning, corporate business strategy, product development, improvement of services, functional strategy, finance, human resources, marketing, management of collection of information, product design, software design, (uality management, etc.

TY+ES O; ;IRMS < ORGANISATIONS CONCERNED

$reativity techni(ues can be implemented by all firms and public organi'ations that confront with problem solving and focus on innovation in processes, products or services. !n case where the implementation of creative techni(ues is focused on the support of personal creativity, such as to support individual designers work for new product development, or to support individual scientists work in the laboratory, very small firms or a person can implement creative techni(ues for individuals.

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!n case where the company focus is to increase group creativity and to create environments where a collaborating team works creatively together, the firm must have at least 4N employees, including ? members as management staff.

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2HAT CREATIVITY MEANS IN ADVERTISING

! once read a (uote somewhere that said, ;We do not separate advertising from life.;
$reativity is a very sub&ective term. Who can really say what is creative, for we all have different opinions on what we individually think is creative. Some people believe creativity is an engrained concept that you are born with it. ,ther people believe it is a talent that can be learned and taught. ! personally believe it is a little of both. The essential elements of creativity are really imagination and inventiveness disciplined by routine skills. )our imagination is something you are born with, it can be large and wild or it can be small and constrained. !nventiveness is something that can be disciplined, it can be taught and learned with practice and skill. .ut those two concepts together and anything is possible. !n advertising, agencies live and die by creative communications. $reativity is one of the reasons clients &ustify advertising and their choice of agencies So what e6actly is creative in advertising Some creative commercials are effective, some effective ads are creative, and other ads are neither creative nor effective. $reativity and effectiveness ultimately &oin in the consumer"s minds rather than remain separate. We must then ask, what is efficiency Well, efficiency of an ad is determined by the correct combination of its impact and retention. !mpact being the ability of an ad to attract attention and retention being the ability of an ad to stay on viewers" minds. We can thus say with certainty that an advertisement needs to be creative to succeed. !ts creativity needs to be

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effective in both its impact and retention. ! found the (uote at the beginning of the page and thought it was &ust great. Although creativity in advertising is an important factor, one must remember to not be creative &ust for creative sake. The creativity must also be effective. Successful creative strategies result from pinpointing an idea, a nuance, an insight, or a nugget of information gleaned from research or sometime from an intuitive understanding or (uickness of human nature. The true role of the strategy is to make that intuitive leap which defines the relationship between the brand and its user.

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HO2 CREATIVITY IS DI;;ERENT ;ROM INNOVATION

Cre"ti%ity %ers&s Inno%"tion
As this is an advertising study on the sub&ect of *$reativity+ it is only right there should be some advertising efforts to create greater understanding on behalf of the sub&ect *$reativity+ itself. -or many the word #creativity" has what may be called a touchy Ofeely nature to it, not really suitable for the hard world of business. )et, mention the word #innovation" and suddenly the act of creating new ideas takes on a more credible resonance in certain (uarters, such as the business media and various government-backed development agencies. .rofessor Simon Fa&aro of $ranfield School of Fanagement defines innovation in this manner in his book Fanaging !deas for .rofit /Fa&aro, 12245: #$reativity is the thinking process that helps us generate ideas. !nnovation is the practical application of such ideas towards meeting the organi'ation"s ob&ectives in a more effective way." 8ut this means all ideas are creative. !n reality, many ideas will be re&ected. Ising the working definition of creativity, it would recogni'e that, to be #creative", the idea must offer some form of added value. !nnovation can instead be defined as the #adoption, adaptation, or implementation by a third party of someone"s creativity /ie an added value product5". When appraising a painting, one does not say: #artist is being innovative." Should another artist adopt some element of this work , such as its style, sub&ect matter, materials or techni(ues used, then the original

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work can be said to be innovative7 it has inspired the application of some creative element of the original work by a third party. Thus, creative thinking in a disciplined manner can play a real role in innovation. *$reativity and innovation are normally complementary activities, since creativity generates the basis of innovation, which, in its development, raises difficulties that must be solved once again7 with creativityP!t is not possible to conceive innovation without creative ideas, as these are the starting point.+ /:uropean $ommission 122E5.!nnovation results when creativity occurs within the right organi'ational culture. The right organi'ational culture is one that provides through creativity processes /creative techni(ues5 the possibilities for the development of personal and group creativity skills. We can define creativity !FT as the establishment of skills by implementing creativity generation techni(ues.

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6ASICS O; CREATIVITY
Cre"ti%e Thin=in0 S=i//s C"n 6e -e"rne$>>

2h"t )"n I $o to In)re"se 1y )re"ti%ity??

The first task in becoming more creative is giving you .er1ission to do things creatively. The second is overcoming your .erson"/ '/o)=s to creativity. -or some people, being creative involves trying not to be embarrassed by their own ideas7 for others, it is a matter of being aware that things can be done in many different ways. Some people are selfaware or confident enough to have fewer inhibitions and can &ust let their creative natures work. Surround yourself with people who love and support you and you will be even more creative. Spend time meditating on your own worthiness, reading about other creative people and creative solutions, concentrating on the positive power of your own creative forces - these activities, combined with a belief in your own intuition and creative abilities, will help improve your confidence. A)tion Ste.s >ere are a few additional things you can do to improve your creativity:

Study books on creative thinking techni(ues and put them into practice

Attend courses on creative thinking and put the ideas into practice.

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Heep a daily journal and record your thoughts, ideas, sketches, etc. as soon as you get them. Deview your &ournal regularly and see what ideas can be developed.

!ndulge in relaxation activities and sports to give the mind a rest and time for the subconscious to digest information.

Bevelop an interest in a variety of different things , preferably well away from your normal sphere of work. -or e6ample, read comic books or maga'ines you wouldn9t normally get. This keeps the brain busy with new things. !t is a common trait of creative people that they are interested in a wide variety of sub&ects.

Don't work too hard -you need time away from a problem to be creative after periods of intense focus. !t really helps to think of creativity as a skill or set of skills. 8y practicing, one can get better at using them. So whenever you have a chance try and do mundane things in novel ways - it will make them more entertaining and you will get more used to e6pressing your abilities.

.racticing at overcoming irrational inhibitions will also help to improve your creativity. When you9re at a standstill, and you witness somebody with a vital and flowing creative force, it can be intimidating. The thing that9s easy to miss when you9re caught up in the magic of somebody doing something effortlessly that seems impossible is that it doesn9t happen all at once. Anything can be achieved by breaking it down into its component parts. $reativity re(uires patience and a willingness to work for a creative outcome rather than simply wait for enlightenment. Still, it is important to creativity to happen. This can be encouraged by setting up an

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environment that encourages creative output, a comfortable space within which you feel non-threatened and able to create. A program to improve your personal creativity might include the following steps. 1. -irst set a 1e"s&r"'/e 0o"/. Some goals might be: to generate 1NQ more solutions within C months to come up with

an original solution for problem ;M; within 4 weeks to practice generating ideas bybrainstorming /for e6ample, ;find at least 1NN ideas for a new pen;5 to find a new and effective way to relate to my children that results in them wanting to spend more time with me. *. Second, set &. )riteri" to indicate whether or not you have or are reaching your goal. Typical criteria are: a5 the ideas are novel /in that particular conte6t5 b5 the ideas are useful, they solve the problem or meet the challenge c5 the ideas can be implemented within an appropriate time and budget ?. Third, re"$ "n$ /e"rn about creativity techni(ues which are one of the sections of the $reativity Web. This information can be

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gathered from books, conferences, other people, software products and the !nternet. Spend time with people who you believe are

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creative and ask them how they did it. There are many paths to creativity. @. -ourth, s&rro&n$ yo&rse/* !ith .eo./e !ho /o%e "n$ res.e)t yo&7 people who encourage you to take risks. 3. -ifth, )e/e'r"te yo&r .ro0ress in reaching your creativity goals. C. -inally, 'e0in thin=in0 o* yo&rse/* "s " )re"ti%e .erson. Surround that identity with beliefs about your creative abilities. %earn the skills of creativity, act creatively every opportunity you get and find environments that support creative behavior. $reativity is increased by acknowledging that it e6ists and by nurturing it. $reate a sensory stimulating environment, increase awareness of that environment and provide sufficient (uiet time to allow that ensory stimulation to be translated into e6ternal reality ... a poem, a bridge, a meal, a song, a (uilt, a business report, a game, a dance, a garden. Flood yourself with information in your chosen area of creativity then deliberately e6pose yourself to information outside your area. Despect and care for your creativity as you would a child. Attend to your needs, listen to your creative inner voice, and spend time with yourself. Fanage stress in your life as much as possible. .ractice meditation or some kind of peaceful, rela6ing activity such as handwork or (uiet e6ercise. Avoid becoming too entrenched in your routines. Bon9t allow your beliefs to distort your perceptions. A useful techni(ue is to deliberately and consciously attempt to integrate opposites

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at every opportunity within your own mind. Bevelop the attitude that your creative work is important even if others do not share your belief7 allow

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such &udgmental attitudes to be their problem, not yours. .ractice using affirmations and reframing /seeing things from another angle or in another conte6t5 to de-program your self critical habits. $reativity is not a gift of some sort, it is a state of being /;un etat d9ame;, as they say in -rench5. %earning a creativity- increasing techni(ue of some sort will give you some tools and help you, but will not automatically change your point of view about yourself and your creativity7 your belief and value systems about creativity and creativity myths must change as well.

Cre"ti%ity "n$ -e"$ershi.

@E%eryone h"s )re"ti%e .otenti"/, '&t )re"ti%e .eo./e thin= they "re )re"ti%e.@ Self-esteem is one of the most important elements of creativity. .eople must believe in their ability to develop original ideas and they must continue to believe in themselves after repeated failures. $reativity flourishes in an environment that rewards attempts, as well as successes, and is conducive to failure. .eople must feel comfortable failing before they will repeatedly take risks or attempt creative approaches. Ro0er %on Oe)h labels four stages of the creative process:

EA./orer. -inding new ideas and resources from which an idea may be built.

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Artist. Transforming ideas /gathered by the e6plorer5 into something new. :&$0e. !deas developed by the artist are evaluated and their merits are weighed7 suggestions are offered on how they can be improved or further developed.

2"rrior. !mplementation of the ideas approved by the &udge re(uiring persistence and determination.

Se)rets to Cre"ti%e +ro'/e1 So/%in0 8e an optimist Take your time <et enough information 8rainstorm by yourself Dedefine the problem .lan for results 8reak the routine Fake a minus a plus Bon9t give up. Allow yourself to daydream Ask (uestions >ave a sense of humor Tolerate ambiguity

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CREATIVE ;ORCES
;or)eB;ie/$ An"/ysis -orce-field analysis characteri'es the conflicting forces in a situation. The recommended approach to this method is to outline the points involved in

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problematic situations at the problem e6ploration stage, followed by recogni'ing factors likely to help or hinder at the action planning and implementation stages. 1. Fembers of the group identify and list the driving and restraining forces /perhaps using a suitable brainstorming or brain writing techni(ue5 openly discussing their understanding of them. 4. The group leader is representative of the current position as a hori'ontal line across the middle of the page. The leader will draw all the driving forces as arrows that either pull or push the line upwards, and all the restraining forces as arrows that pull or push the line downwards /see below5. Where driving and restraining are paired use arrow thickness to signify strength of impact of a force and arrow length to show how complicated it would be to adapt. !t is normally best for the team to reach agreement on these details.

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?. The diagram should then be used to find as many possible combinations of moving the centre line in the desired direction. Try to: -ind ways to strengthen or add positive forces a. -ind ways to weaken or remove negative forces b. Decogni'e that the negative forces are too strong and abandon the idea.

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REATIVE

ECHNICUE

How do you come with a creative idea when faced with a blank sheet of paper? Easy. ont have a blank sheet of paper.
:very working day, creative directors are faced with emands to come up with creative solutions to the problems. Some outstanding creative heads may display what is called unconscious competence in appearing to be able to come up with ideas inuitively. There is no magic wand for coming up with ideas, but there are some echni(ues and process to help being creative. These tecni(ues, coupled with a knowledge and understanding of the creative process -- with its five stages !nformation !ncubation !llumination !ntegration, !llustration -- will help considerably to improve one"s creative abilities. CREATIVE RANGE, Whenever faced with a well-defined task, such as coming up eith an idea for a launch product or phottocall, establish a #$reative Dange". .ose what is called #the Safe 8et" (uestin: #What is the very least, the safest, most

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conservative idea that can be used " Then check # what is the most outrageous idea that could solve the problem " so as to create the :6treme ,ption. 8y these two (uestion , intial limiting parameters are created. The above can be visualised as below,

Safe Bet Option

Extreme Option

THE CREATIVE RANGE

After creating the $reative Dange of the situation see, #What further ideas can you come up and then &ot downall the ideas that come to mind. Thus, by establishing the #$reative Dange, you have already taken the pressure off yourself and at the very least you have a safe option to fall back on, and more importantly you ar harnessing the incremental nature of the creative process. This also helps to suspend &udgements because you are not automatically screening every idea but merely filing in the #$reative Dange".

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SNADES AND -ADDERS,

Snakes and %adders is good techni(ue that helps use of the incremental nature of creativity to (uickly establish an overview of a situation,identifying strengths and weakness, and to establish tactics to improve the positives and reduce the negatives of a task at hand. Braw a grid on a sheet of paper to represent the s(uares of a snakes and ladders board. !magine the ob&ective of the task is at the top left-hand corner on the winning s(uare. )ou are the start, at the bottom left-hand corner. Braw five short ladders and five long snakes. The ob&ective can be anything from: # >ow can ! improve my creativity" and so onP This is an e6cellent way of getting a handle on everything you need to consider. !t also facilitates incremental toRhought as you come up with deas. .

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8elow is give one e6ample of how to launch a product creatively

Personality of MD

Lack of Brand Credibility Lack of Brand Awareness

Media Apath y Forthcoming vents! "hibition Limited B#dget

Interesting

Photograp hy

Competitor Activity

$ews val#e of %tory

&iming of lanch

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Gro&. Te)hni3&es to Gener"te Cre"ti%ity

6r"instor1in0 - <roups generate as many ideas as possible, listing ideas on a chart so that group members may modify them or combine them to create additional ideas. $riticism is not allowed during brainstorming, nor is evaluation of ideas. Story'o"r$in0 - An adaptation of brainstorming, but it is primarily nonverbal so articulate group members are not able to dominate the

;inish

St"rt
process. Storyboarding uses a process similar to parliamentary procedure to gain support of an idea before it can remain part of the discussion. Storyboarding allows group members to produce data and solutions to problems generating ideas off of previous suggestions. No1in"/ Gro&. Te)hni3&e - -ocuses attention on individual members9 ideas by having members write down their ideas=solutions on their own before sharing them with the group. !deas are all recorded, everyone votes to prioriti'e ideas, and then discussion is held on only the top ones

28

before another vote is taken. This techni(ue allows everyone to participate and contribute ideas before the group reaches its decision.

Ro"$'/o)=s to Cre"ti%ity
Thin=in0 there is one ri0ht "ns!er - Fany of us have the tendency to stop looking for alternative right answers after the first answer has been found. ,ften it is the third, fifth or tenth right answer that is what we need to solve a problem in an innovative way. @Th"tEs not /o0i)"/@ - %ogic is an important creative thinking tool when you are searching for ideas, however, e6cessive logical thinking can short circuit your creative process.

21

;o//o!in0 the r&/es - )ou often have to break out of pattern to discover another. 6ein0 .r")ti)"/ - .ractical people know how to get into an open frame of mind, listen to their imagination and build on the ideas they find there. A%oi$in0 "1'i0&ity - Too much specificity can stifle your imaginationS 6ein0 "*r"i$ o* 1"=in0 " 1ist"=e - :rrors are a sign that you are diverging from the norm. !f you are not failing every now and then it is a sign you are not being very innovative.

REAM

EAM, A ;RAME 2ORD ;OR

GREAT CREATIVE +ER;ORMANCE

Bream Team is a list of rules of creative teamwork that form the foundation of all the methods. Whichever techni(ue you"re using, Bream Team rules is like a framework whenever you"re working as a team. They provide creative space to let imagination fly and launch all the team members on their way to original ideas. Bream team Tools in the company would keep the playful atmosphere, in order to refine their tem-working skills and build up creativity. They are both rules for the top-(uality creative performance and strategies that can be used as highly effective methods of communication in meetings.

2*

DREAM TEAM RU-ES,

S!it)h On A// ;i%e Senses
The best ideas take time. The more one thinks about the product, analyses it, e6amines it from every angle - plays with it, in other words the more freely great ideas will flow. <et the information you can get hold of which can be used as triggers. -eel the product to activate all your senses. The key factor is that physically coming face to face with the product itself will stimulate all five senses and have positive and inspiring effect on the process of generating ideas.

!reative without strate"y is called #rt. !reative with strate"y is called #dvertisin". Set !lear $oals
The goal and solution are like (uestion and answer. ,nly a good (uestion can give a satisfactory answer. %hat oes # $oal #chieve? The goal is in clear view and acts a focal point, leading to a clearly defined ob&ective. !t helps to prevent chaos and time-wasting discussions. ;ine B T&nin0 the Go"/ S"%es Ti1e "n$ Ner%o&s Ener0y ,f course it isn"t possible to achieve a clear goal and straightforward definition of the goal at the first attempt. ,ften it is only while you are formulating the goal that you reali'e that brief does not describe the product fully, that the target group is not defined precisely enough or that there is no clear strategic positioning.

2+

 #lways Separate &he 'deas (hase )rom &he Evaluation (hase*

!deas need imagination more than knowledge, so it"s important to keep the stage when ideas are being generated strictly separate from the stage when they"re being evaluated. !n this stage people should set their imaginations to roam free, and no limits to be set on creative gameplaying.

#void 'dea +illers

>ow would you like your ideas to be received O Sabotaged, Sniggered at or simply !gnored !dea killers have one thing in common: they always workSS :verything from verbal stun-gun to the wry twitch at the corner of somebody"s mouth is capable of trampling down the first little shoot of an idea. I$e" Di//ers in Yo&r O!n He"$ ,ften the killer phases of others do less damage than the little voice inside our own heads, whispering, *Forget it it doesn!t work"# ,ur own ideas killers are particularly are deadly because we often are not conscious of them. They are the product e6aggerated e6pectations we have of ourselves, or of the belief that we have to come up with ideas that are brilliant from the word they goTa strategy almost certainly doomed to failure.

22

The 7F 6est Res.onses to I$e"BDi//er +hr"ses Nothin0 !i// )o1e o&t o* th"t. ,ot if you -ust dismiss the idea -et s (&st !"it "n$ see !h"t h"..ens %hat. until everyone else has overtaken us? Th"t $oesn t !or=>> /ut its "reat idea 2e $o thin0s $i**erent/y>> So, no )h"n0e there This 1"i/ shot i$e" $oesn t !or=>> 6&t !h"t i*G? Th"t s ri$i)&/o&s>> So !h"t it is 2e // )o1e '")= to yo&r i$e". A// ri0ht. 2hen? The )/ient !i// ne%er "))e.t th"t>> Gi%e it " )h"n)e 2h"t s so ori0in"/ "'o&t th"t? The *")t th"t no one e/se h"s tho&0ht o* it Anyone )o&/$ )o1e &. !ith th"t. EA")t/y

0se

oodles &o 1isuali2e 3our 'deas

)our ideas must be visual if it"s really going to take root in others people"s heads. ,ften it only takes a (uick scribble, a few lines to bring the idea to life. Think about it: your ideas are mostly internal

23

images that only you can see. A doodle releases the idea from your head and so raises your chances of enthusing others. Three Ar0&1ents In ;"%or O* Doo$/es Boodles are an essential means of communication, enabling the others in the team to see, and therefore understand, the images in your head. Boodles reinforce the associations of internal images and so trigger new ideas new playful way. Boodles enables teams to develop raw ideas in gradual stages and so prevent good ideas from being killed off prematurely.

4ook )or &he (ositive 'n 5ther (eoples 'deas

!f you want to promote the flow of ideas, look for the positive aspects of other people"s ideas. :ven if you don"t get anywhere with an idea first, put forth the (uestion, #2h"t s in it th"t !e )"n &se? There will always be some aspect that can be build on7 replace your inner $D!T!$ with an inner $D:AT!U: and e6ploit all possibilities from this new perspective. Take the idea"s good point and improve it by developing and cultivating the seed of the idea. This strategy makes fle6ible and opens new perspective. ,ne can learn to think 2h"t i*G? And this will develop in time into an inner attitude, which will open doors to new ideas instead of closing them.

24

Thin=in0 2h"t I*G?

2h"t !o&/$ 'e the "$%"nt"0e o* /osin0 yo&r (o' to1orro!? Anything that looks like a catastrophe at first may reveal a whole, surprising series of positive aspects on a second look. Bevelop the play of ideas a little more and losing your &ob opens the door to new freedom, new opportunities, and a new future. Thinking *2h"t i*G? !s a conceptual switch, a change of perspective )ou look at the very same thing from a different perspective. And you can be sure that there are hundreds of other standpoints that you"ve never envisaged

6ake 6istakes #nd Have )un

oin" 't

To s!e"r o** 1"=in0 1ist"=es is %ery e"syH "// yo& h"%e to $o is s!e"r o** h"%in0 i$e"s Fistakes are basic learning principle, accompanying all great discoveries and often lending to brilliant ideas. <et rid of the compulsion to come up with nothing but good ideas that are ready to useS Say everything that occurs to you, no matter how silly it sounds O it could be the raw material for the brilliant idea. So Fake Fistakes K :n&oy itSS

# )ools )reedom
The greatest fear of many people is making mistakes and looking silly ! front of other people. %earn to live with this fear, by making a fool of you deliberately but staying in control. .ut yourself in a ridiculous

25

position by making an abstruse suggestion, and e6aggerate it to the point where you have to laugh at yourself. 8y doing so you can achieve a degree of inner freedom that allows you to leave familiar paths behind and let your imagination run free.

evelop 3our Sense 5f Humour

>umour is the healthy way of creating a #distance" between one"s self and the problem, a way of standing back and looking at a problem with perspectiveSS >umour reveals new aspects. >umour disarms, rela6es, and releases happiness hormones, it"s also infectious, and so it"s one of the most important creative tools for teams looking for great ways to communicate ideas. Bon"t &ust make &okes at other people"s e6pense, however. !nstead, look out for a really funny topic in meetings O yourself. %earn to laugh at yourself. Anyone who can see what"s absurd and laughable about him gains a new freedom and gives the team a creative boost.

Select 'deas !reatively

Sometimes the really interesting ideas are simply eliminated or talked out during the evaluation phase. Anything unusual, wild, uncomfortable, or harder to translate into action, gets dropped. At this stage, you need to make new ideas from old, in order to save potentially great initiatives. Three 2"ys to E%"/&"te "n$ Se/e)t I$e"s, !n the final analysis, there are three ways to reach a decision about which of the basic ideas should be worked up:

26

 De1o)r"ti)"//y, B The team leader invites every member of the meeting to give a score to the ideas they think are best and deserve to be worked up for the presentation. The idea with most points wins. Use the 6rie* "s " Y"r$sti)=, B The main criteria from the client"s brief are used as the yardstick for assessing which ideas have reached the ob&ectives. Cre"ti%e Dire)tor or Art Dire)tor, - Bepending on the agency culture, it is of course possible that the creative director or the art director will be the one to decree which of the starter ideas will developed for the presentation

&urnin" 'deas 'nto #ction

Art Birection brings an idea to life, determining whether it gives the campaign the boost that it needs or weakens it by going off on the wrong course. To De)i$e the 6est Co&rse o* A)tion What does the basic idea need, for the solution to hit the bull"s eye What change could give the idea an emotional kick What weak points does the idea have, what seems implausible >ow could it be improved !s the idea to the point What works better What substitute or alternate can be used to improve the idea Add new elements

27

 $hange a copy Bevelop new headlines What could be done to make idea so appealing that people will want to see it more than once 2h"t res&/ts C"n Yo& EA.e)t ;ro1 The Dre"1 Te"1 R&/es? They produce a bigger catch of valuable ideas. They give the team a creative boost. They build structured freedom and prevent sessions of They foster faith in the team and enhance motivation. They allow a brilliant #group brain" to develop. They promote all sorts of fun and increase individual

destructive chaos.

creative potential. They save time, money and nervous energy in the hunt for ideas.

ICDSTART
2h"t is Di)=st"rt C"t"/o0&e?

ATA-OGUE

Hickstart $atalogue offers strategies likely to promote great ideas for campaigns. There are no discussions within the catalogue itself about what is good or bad advertising, nor are the tips on how to improve layout or copy.

A Too/=it *or the 6r"in

38

Systematic analysis of the work produced by creative reveals certain patterns and strategies in their thinking. Some creative strength lies in analogy, while others always try to induce a change of perspective and others develop ideas by turning every day"s situating on their heads. ,ne thing is clearing every case even the best creative use only the part the spectrum of possible ways of thinking. !f your strengths lie, for e6ample in the filed of metaphor or comparative &u6taposition, then you probably don"t combine or reframe things very often. This catalogue is a tool bo6 containing an ine6haustible supply of new brain tools which one can use to e6pand their own strategies. This is incredibly useful when you are looking for new unusual campaign ideas for the press, TU and cinemas, events, promotions, packaging, web banners, brochures or direct mailing.

%ithout %ords
# picture is worth a thousand words The ob&ect of this little e6ercise is to display the central advertising statement about the product at a glance and without using the words. !t"s the best to start by working out a goal with single-minded proposition. -or :6ample: #>ow can you show without words that the new sports car accelerates faster than any other car " >ere, first look for pictorial way to represent *Acceleration+. The key (uestion is: #What are the key features of *acceleration+ and how can it be represented pictorially, without words " Think of the era of silent movies and how ingenious the actors had to be to convey comple6 situation and feelings without words. Gokes which don"t need words are another fruitful source of non-verbal stories to tell.

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 6i7in" 8 6atchin"
The goal of Hickstart (uestions is to represent the central advertising statement clearly and convincing by combining or associating different things. This method of developing visual advertising messages is one of the most fre(uently used today and offers infinite possibilities. Try it for yourself- there are no limits in your imagination. Co1'in"tion "s Cre"ti%e Str"te0y ,ne of the most important creative strategies is to combine two concepts or ob&ects that were previously unconnected, so as to produce something completely new. The result should be a simple, unambiguous advertising message. $ombine elements in such a way so as to make the benefit immediately apparent: the product, parts of the product, people from the target group, the product"s raw material, the original problem, the benefit, the conte6t, plants, packaging, or people who have nothing to do with. The less things you combine have to do with each other originally, the more e6citing and surprisingly the result will be.

!omparative 9u7taposition
$omparative Gu6taposition such as #before and after" are undoubtedly some of the classics of advertising. To tap into new sources of inspiration for comparisons, one can use the method to compose typical pairs of opposites, like #before and after", which can then be used to stimulate advertising ideas. %ist of .airs of ,pposites: ,ld--ashioned- -ashionable 8lindness- Uision

3*

Igly- Attractive Fass produced- :6clusive .ast- -uture, etc.

E7a""eration
:6aggeration in the depiction of features of the product, problem situations or solutions can grab the viewer"s attention and emphasi'es the benefit. Ise distortion and overstatement to develop great ideas7 with stating clear message and simple, to avoid any misunderstanding that would lead the target group to make any negative associations. Bon"t have any (ualms about e6aggerating things, but do it with a wink so that the credibility of your message doesn"t suffer.

(rovocation 8 Shock &actics

Attention is in short supply nowadays, so if you want people to notice your campaign, be provocativeS .rovoking means challenging, inciting, stimuling. 8ut be careful: being seen is not the same as being looked at. .rovocation takes you across a frontier, but it re(uires skill and will only lend you to your goal if you think about what you"re doing: for e6ample, drawing attention to social issues, or warning people of dangers.

# !han"e of (erspective
A change of perspective is first of all an e6cellent way to generate a creative impulse during the process of looking for

3+

ideas,and secondly it can be used in advertising to show the target group new or interesting perspectives on the product. There are two ways to use the $hange of .erspective as a creative tool. -irst, they can be used spatially, by showing ob&ects or situations from unusual viewpoints: bird"s eye view, e6treme close-up, e6treme distance, detached from space and time. -rom outer space, or simply from possible angle. The second way is to imagine yourself leaving your body and slipping inside other people, ob&ects or animals. Fany creative symbolically take on other identities to get a creative boost from the new view point of view. -or e6ample: Walt Bisney, used to *become+ the figure he was currently drawing, going so far as to speak, gesture and stand like the character in his imagination.

Symbols 8 Si"ns
A symbol is a visual image that stands for an ob&ect, a concept or a situation. The drawing of a styli'ed car ne6t to a spanner represents a car workshop, a cigarettes with a line across it means * No S1o=in0. The meaning of Some Signs derives from a casual connectionSmoke is a sign of fire. Another function of many symbols is to convey information that can"t be e6pressed in words.

#bsurd. Surreal. /i2arre

.lunging into the world of the absurd, the surreal and the bi'arre is fascinating in itself, and it also opens up a rich source of ideas. $ontradiction, e6aggeration, distortion, fantasi'ing and 'any ideas are the tools one need to create something absurd or surreal.

32

 !han"e the (roduct

Altering the product means changing its shape, cutting it into pieces, adding things, subtracting things, bending it, s(uee'ing it, bringing it to life, blowing it up, making it transparent, transplanting it to another body or letting it rot. There are endless possibilities of changing it physically or giving it a new meaning. Talk non-sense and really take off. )ou can"t &udge whether what you have is good or bad

#lternative 0ses
.layful approaches to the idea of finding new uses for the product. Where the product could be used, outside of its original conte6t What new situations could it be put to emphasi'e the benefit, highlight a feature through e6aggeration, or reveal a new perspective or an une6pected function

ouble 6eanin"s

This refers to visual and as well as non verbal double meanings. Fost visual ambiguity is based on optical illusions which are a playful way to attract the viewer"s attention. Fost verbal ambiguity, on the other hand, makes its point by wordplay or suggestions, leading the reader along a path that usually ends in an alternative meaning. 8oth types involve people playfully by inviting them to see both meanings in a conte6t that makes sense.

33

 (lay %ith %ords

.laying with words means making pictures with them. !ts an invitation to e6periment with type, so that the copy turns into pictures and the typography becomes the message. Try to break down the bounds of normal copy to make the content leap out. Then style your words like a clue in a crossword pu''le. This will help you to scrutini'e your Ad copy as a source of ideas about design /preferably fun ones5 and present the message even more clearly and effectively.

34

-ET S TADE A 6READG

A group of carpenters are at work$ %owever their attention is divided between their work$$$

$$$and a &' set where a man hanging over a chasm is clinging on to a woman for dear life$

()akde rehna ( the woman screams$ (Chodna nahin ( the man pleads$ &he workers watch$$$

$$$as the couple on screen keep up the ()akde rehna*chodna nahin( strain for an incredibly long period$

35

Fed up with the melodrama one of the carpenters gets up in disgust$ (Arre yeh bhi koi film hai#( he e7claims.

+anting to continue with his work he walks over to the &' and picks up a can of Fevicol placed on top of it$

,nstantly the man on screen plummets$ Surprised the carpenter peers at the can of Fevicol he has picked up$ Slowly he turns$$$

$$$and eyes another &' atop which a tub of Fevicol is perched$ &he man on screen is still dangling over the chasm$ (Chodna nahi$$$(

Headline* ;e%i)o/ D" :o$$ H"i Toote0" N"hinG #"ency* OIM 4N"tion"/ 2innin0 A!"r$5 !lient* +i$i/ite In$&stries

36

AntiB S1o=in0 C"1."i0n

37

6est So)i"/ Mess"0e A!"r$

48

on)/&sion,
The foundation for creativity is in individual, and so these methods and techni(ues are to be taken as tools and stimuli, to give you more freedom of choice and so enhance and liberate your creative skills. There is no one right way to be creative. $reativity is a living process with many possible strategies, and the creative outcomes to which they lead will depend on the conte6t and the individual. !f one person has learnt how to develop really creative ideas, $reativity demands abundance, which is why the ob&ective is Bon"t confuse the menu with the meal: theoretical knowledge it stands to reason that everyone else can. to increase the possible choices, and so improve fle6ibility. will do nothing to increase your creativity. Try the methods out, e6perience will nourish you and become a part of your strategies in future. !f something doesn"t work for you, stop using it and try >ave funS something else.

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ARTIC-ES

2h"t s The ;&t&re O* A$%ertisin0

After >ours $orrespondent B0A Tuesday, 0ovember NE, 4NNA !t cannot be denied that as one of the most rapidly growing professions in !ndia - advertising - is undergoing a lot of change. To tap these changes, to incorporate consumer and media perspectives, and to celebrate their CN-year e6istence in the industry, the Advertising Agencies Association of !ndia /AAA!5 is organising a three-day symposium discussing the future of advertising in !ndia. .rimarily focusing on traditional and contemporary methods in advertising, the symposium will include consumer reactions and influences with respect to the profession. *.redominantly, we are trying to identify the current challenges in advertising and the different ways to meet them. The industry per say is witnessing a lot more ways to reach out to their consumers like FFS, blogs, the internet, and ad guys need to catch up on these new techni(ues,+ says $olvyn >arris, $:,, GWT !ndia, who is also one of the keynote speakers during the event. Targeted towards the burgeoning and e6isting advertising, media and marketing professionals, the symposium will e6amine the future consumers, communication challenges and new media. *The industry today needs a thrust and much greater recognition in the international scenario. Though it has been advancing rapidly, there needs to be a lot more effort to speed up the growth,+ says ad man .iyush .andey, who will

4*

be addressing the event with respect to positioning of advertising beyond boundaries. The symposium will attract a gala6y of eminent speakers /including the minister of state for tourism Denuka $howdhury and ad guru .rahlad Hakkar5 who will share their uni(ue perspectives on the future world in the areas of connecting with audiences.

A0en)ies Nee$ To Thin= Cre"ti%e/y

.T! V-D!BA), 0,U:F8:D 11, 4NNA FIF8A!: Advertising agencies in !ndia should come out of their traditional styles and start thinking ;out of the bo6; in order to push the creative frontiers to new heights, .iyush .andey, a well-known advertising e6pert said on -riday. ;We have to struggle to see that the good ideas are accepted by the clients, and see the day of the light and eventually converted into a real creative Ad,; .andey, :6ecutive $hairman and 0ational $reative Birector ,gilvy said at a symposium, organised by Advertising Agencies Association of !ndia /AAA!5 here. ;!nstead of convincing the clients, we always make e6cuses that the client does not accept the new idea or say why tinkle around with the idea that is working, as sales figures are doing well,; he said. ;This very attitude has to be changed and the creative people should come out with ideas that touch the psyche of a common man and see to it that they convince their clients about the non-conventional ideas and give their gut feeling a chance;, .andey said. >e was of the opinion that the advertising community should develop a habit of not seeing beyond the obvious, and starts seeing beyond the ?N

4+

yard circle in cricket field, ;so that we could clear that and see the boundary lines;. ;We, as creative people, should always do constant soul searching to do things better and in a different manner and not think of any framework and boundaries to restrict our creativity;, he said and gave a recent e6ample of the >utch ad9s with the W$hhota Decharge9 offer.

+iy&sh +"n$ey A$$s Another ;e"ther To His C".

The !ndiantelevision.com Team /1? Becember 4NN4 14:?N pm5 FIF8A!: There9s no stopping ,gilvy K Father group president and national creative director .iyush .andey who is moving from strength to strength. .andey has bagged yet another international award. This time he has been &udged the 9$reative .erson of The )ear Asia .acific for 4NN4,9 by >ong Hong based Fedia Faga'ine. The award comes in recognition of his contribution to the advertising industry and efforts to raise the creative standards across the industry. *!t"s an achievement for us as well as /for5 !ndia. We are happy that !ndia has made its mark at yet another global forum. And we9re sure many more !ndians will walk this floor,; .andey was (uoted as saying in The Times of !ndia. ,gilvy K Father has bagged (uite a few awards this year: the most memorable one being the <old %ion in the press and poster category for its WSecond-hand smoke

42

kills9 anti-smoking campaign for the $ancer .atients Aid Association /$.AA57 and silver for the Woverloaded bus9 spot for -evicol, at the $annes %ions, !nternational Advertising -estival held in Gune this year. The antismoking ad also won a silver .encil at the ,ne Show 4NN4 and a bron'e at the $lio Awards 4NN4.Similarly, .idilite !ndustries %imited --- the makers of -evicol ---- has won several international advertising awards.

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I6-IOGRA+HY
Re*eren)e 6oo=s

$reative Advertising ,gilvy in Advertising

Se"r)h En0ines

Fario .ricken Bavid ,gilvy

!!!.0oo0/e.)o1 !!!."n0en)y*"3s.)o1

N"1e, Dh&sh'&.H.O(h" Co//e0e, Chet"n" s M"n"0e1ent Instit&te, 6"n$r"4e5 EB1"i/ I$, r=h&shiJ$"y1"Khot1"i/.)o1

44