Why the most valuable skill at work might be talking to strangers
Young charming woman talking to attractive stranger at the cafe. Adobe Stock
A new book reviewed by Michael Lee Stallard for SmartBrief argues that we could be missing valuable connections. Beyond career advancement, Sandstrom presents evidence for something even more profound: that speaking with people outside our immediate circle fundamentally changes how we think.
When we talk only with the people we already know — our team, our department, our usual lunch group — we tend to reinforce what we already believe. Our thinking becomes narrow and self-confirming. But when we engage with strangers, we encounter different experiences, different frames of reference and different ways of seeing the same problem. The result opens up the possibility of what researchers call convergent thinking, which is the ability to draw connections across seemingly unrelated domains and synthesize them into something new.
I think of this as “mosaic thinking.” Picture a mosaic, a piece of art composed of small fragments such as colored glass, stone or ceramic tiles. Mosaics dating back to ancient times can still be found in houses of worship in Italy, vibrant and whimsical mosaics created in the 20th century by the Spanish architect and designer Antoni Gaudí adorn buildings and park benches in Barcelona, and you’ll find mosaics on the walls of subway stations in Manhattan and the renovated LaGuardia Airport. Individually, the fragments seem unrelated, but when assembled, they form an image none of the individual pieces could have produced alone. This is precisely what happens in the mind of someone who is genuinely curious about the people they meet.
Every conversation with a stranger, therefore, has the potential to produce a “tile” — a small piece of new knowledge or perspective that, over time, accumulates into a richer, more creative, more innovative way of thinking. There may also be times when a seemingly innocuous comment someone else makes is the “aha moment” for you, and you recognize why a certain tile won’t fit, or you finally see how the tiles can come together.
In an era when organizations are desperate for creativity and innovation, this is not a soft benefit. It is a competitive advantage — and it starts with being willing to say hello.
A talking cat giving life advice to a confused adventurer Adobe Stock
Hopefully making a ruckus, one blog post at a time!
Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.
In a recent episode of Adspeak by ADWEEK, executive editor Alison Weissbrot leads a Brandweek panel featuring Nadja Bellan-White, group CEO at M&C Saatchi; Coltrane Curtis, founder and managing partner at Team Epiphany; and Kern Schireson, chairman and CEO at Known.
Together, they discuss the need to redefine agency-client partnerships. As budgets tighten and AI reshapes workflows, they explain why legacy and fee-based models are no longer viable.
Instead, success hinges on empathy, trust, and aligned incentives tied to outcomes. The panel shares practical strategies, from embedding test-and-learn budgets to understanding board-level pressures and deploying agile “tiger teams.”
What you’ll learn:
They emphasize deeper specialization, real human connection, and shared accountability as the foundation for resilient, high-performing partnerships in a rapidly evolving marketing landscape.
How to shift from legacy fee-based models to incentive-aligned partnerships
Why understanding your client’s board-level KPIs is non-negotiable
The “Three Ideas Framework” for managing risk and building trust
How to build genuine relationships through human connection and empathy
Why agency expertise depth matters more than breadth
How to balance internal restructuring and team protection with client excellence
Three agency leaders on why legacy and fee-based are no longer viable.
Nadja Bellan-White is the Group CEO at M&C Saatchi, and a “human-first” marketing leader known as a go-to fixer for complex brand transformations. With 25+ years in integrated marketing, she blends data, creativity, technology, and media to drive meaningful customer connections. She has led transformations for global brands including American Express, IKEA, and Coca-Cola, and partnered with African governments to spur growth. An AdColor Legend Award recipient, she brings a sharp focus on context, culture, and creativity to every engagement.
Coltrane Curtis is the Founder and Managing Partner of Team Epiphany, a New York-based influencer marketing and PR agency he launched in 2004. What began as a one-man shop has grown into a 70+ person, multidisciplinary agency with offices in New York and Portland. With roots at MTV and deep experience across brands like Nike, HBO, and Coca-Cola, Curtis blends cultural fluency with sharp strategic execution. Known for building powerful brand and celebrity partnerships, he has been recognized by Inc., Forbes, Adweek, and AdColor, and serves on the American Black Film Festival board.
Kern Schireson is the CEO of Known, a next-generation agency built on data-driven strategy and systemic innovation. With deep expertise in incentive alignment and AI-powered optimization, he is helping redefine the modern agency model. Kern champions using technology as a force multiplier for enhancing, not replacing, human creativity, while embedding rigorous test-and-learn frameworks into client partnerships. His approach focuses on aligning incentives and enabling continuous iteration, driving measurable, breakthrough results for brands navigating an increasingly complex marketing landscape.
Hopefully making a ruckus, one blog post at a time!
Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.
Creatives can lead in the AI era by reclaiming foundational skills such as editing, packing, lighting and overall execution. Adobe Stock
An opinion piece I found interesting and thought it best to share. Hope you find it worth the read.
The traditional creative process began with a client brief. From there, strategy was developed, and only then would the creative process start. Teams brainstormed, then collaborated with creative leads until a deck was prepared. Once the client approved the deck, there was a sense of relief: the idea was greenlit.
AI fundamentally altered this process. Now, once an idea is approved in a deck, AI sets creatives on a new journey—an extension of the original process.
What felt like the end is now just the beginning.
Greater need for clear vision
I won’t argue the well-worn territory that AI is just a tool and that people must lead creative processes. But having established the importance of humanity to lead, it’s important to determine where people fit in the new creative process for situations where AI will be used.
It’s been asked: Is our new role solely to be the very best prompt writers we can be, knowing that the output will be determined by precise inputs, phrased in a way the computers can metabolize?
I don’t think we simply become “creative prompters.” It’s not about being on a pedestal and giving direction; it’s about being where the work is actually shaped. This exciting shift makes us creatives more professional again, relying on technical knowledge rather than just intuition.
In the AI era, approval marks the start of a new creative process, where creatives need to become a kind of artisan again, despite using technology. Specifically, evolving creatives must know exactly what to ask for—providing references from art, cinema, fashion, architecture and advertising itself—to direct the AI.
Jarring? Perhaps. Beautiful? Indeed.
Precision and exploration
Traditional creatives are all about precision, while AI is about exploration. In the AI era, creatives must double down on precision while being open to exploration. That means rethinking the creative role altogether.
This shift requires creatives to adopt more than a sensibility; they need technical expertise and holistic vision. Here are the fundamentals you need to succeed:
1. Story fundamentals
Creatives must be articulate about what they feel and think in executing the approved concept: Clear story references, resources and vision that once belonged to directors or producers must now come directly from the creative’s mind.
To become true craftspeople again, creatives must be immersed in advertising history while studying modern techniques and resources. This forces you to rely on technical knowledge rather than just intuition, experience or criteria. Transcend the suggestion that creatives will become prompters. Go beyond that; it’s more than just giving well-referenced instructions.
In a way, this is where the terms “creative” and “creator” converge. With each iteration of instructions, the work is being shaped, changed, evolved and improved. It’s precisely about shaping the work as it’s being created.
2. Visual fundamentals
Creatives need strong visual literacy even more in an AI era. Studying other arts like photography, cinema, fashion, architecture and design is a foundation. Bring clear aesthetic references from the idea stage to define the original visual look. On a more technical level, understand and apply concepts like composition, lighting, tone, texture and more.
When creatives acquire these skills, they move beyond simply prompting visuals and begin shaping them. Each iteration becomes an opportunity to refine the idea. Again, creatives become both thinkers and makers, using AI not just to generate images but to actively build a distinct visual language as the work is being created.
3. Direction fundamentals
Finally, creatives need strong direction skills: the ability to translate an idea into vision, then vision into reality. It all comes down to what the audience sees. Creatives must speak the language of camera, editing, pacing, cinematography, lighting and overall execution details.
Refine this skill by thinking like directors earlier in the process. Move from proposing ideas to actively shaping how those ideas come to life. In this, AI becomes a collaborative execution partner; with each iteration, creatives can guide performance, refine tone and evolve the work in real time, ensuring the final result reflects a cohesive, intentional vision.
Amid the AI revolution, embrace your own renaissance. The traditional era’s end is your new beginning, too.
Because AI transformed creative approval, making the end the beginning, creatives must evolve from executors into true creative professionals. Reclaim foundational skills and you’ll lead in AI-driven execution. Clear references, resources and vision—what once belonged to directors or producers—now come directly from the creative’s mind.
David Castellanos is creative lead at Erich & Kallman.
Hopefully making a ruckus, one blog post at a time!
Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.
Svedka, the vodka brand, addresses both digital burnout and Y2K nostalgia with the Svedphone, a stripped-down flip phone designed to encourage real-world connection. With only call and text functions, the device playfully rejects smartphone overload in favor of being present during social moments.
Positioned as an extension of the brand’s “Fembot” platform, it turns anti-tech sentiment into a physical product tied to nightlife and festival culture. Released in limited drops, the campaign reframes “less technology” as a more social, and more fun, experience.
Svedka’s Fembot may be a robot, but she’d prefer you mostly interact with other humans.
Stripped-down flip phone designed to encourage real-world connection
Looks like “fembots” may be with us for a while. This is really going back to simplicity but how will it play in today’s smartphone environment? Will it be taken seriously by folks who want just a really simple phone or be viewed just as a promotional stunt by the vodka maker?
Who knows. The buying public can be very fickle at times.
Hopefully making a ruckus, one blog post at a time!
Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.
This is not my typical blog post but an expression of an idea I had based on an old Twilight Zone episode. I turned it into a short story, sort of reminiscent of a half hour TZ episode.
Mr. Collins was on a guided tour at Dachau. While touring one of the deserted barracks, Mr. Collins wanted to lie down on one of the bunks in the dilapidated and abandoned barracks and fell asleep. When he awakened he heard loud and nasty instructions to rise for exercises. The voice said it was a balmy 5 degrees below zero. Judging from the sight of the soldiers’ uniforms and the others around him, it was no longer present day. It was 1941 all over again. It was like he was experiencing a Twilight Zone moment.
View of the Dachau concentration camp, after liberation on April 29, 1945. It shows the electrified barbed wire fence, the moat, and a watchtower.
Mr. Collins was dazed at first, having just been suddenly awakened. Once he was able to stand by his bunk, he noticed his clothes had been transformed into the prison attire like everyone else’s. He thought he was dreaming at first; no, more like having a nightmare.
Before he could gather his thoughts, the group was ushered through the door and outside into the bitter cold. Once outside standing in the snow and ice, he thought how in the world could anyone survive in conditions like this, especially without any protective clothing. As he thought it, he had already answered his own question; they can’t. They really weren’t expected to survive.
Several of his “colleagues” did not. They passed out during this so-called exercise routine. Dropped dead.
While standing there, Mr. Collins had lost feeling in his feet and his fingers were turning blue. He didn’t know how much more of this torture he could stand.
View of barracks and the ammunition factory in one of the first photos of the Dachau concentration camp. Dachau, Germany, March or April 1933.
Dachau opened in Germany in March 1933. It was the first regular concentration camp of the Nazi regime. Prisoners were subjected to horrific conditions, forced labor, and medical experiments. Dachau became the model for all Nazi concentration camps. It was liberated by American forces on April 29, 1945.
At what seemed to be forever, the group was finally lead back into the barracks. No heat and no warm clothing. The prisoners just had to make do. Just then another Nazi official entered the barracks and announced that two of the group did not survive exercises. So, two of the bunks would be available. However, there were three additional prisoners expected any minute so an additional bunk would have to be made ready.
“Mr. Collins,” the official stated, peering directly into Collins’ eyes, “your bunk will do nicely.”
“But where will I sleep?,” asked Collins. “Oh, you’ll have a permanent resting place,” replied the Nazi as he pulled out his Walther P38 pistol. Everything then appeared to be in slow motion.
As he pointed the P38 at Mr. Collins, the trigger seemed to take forever to be pulled back. Just at the instant of the bullet exploding from the barrel, Mr. Collins let out a blood curdling scream.
Then, all fell silent.
“Mr. Collins! Mr. Collins!,” a young woman’s voice was heard directly over Mr. Collins’ face. “Wake up, sir,” she said. “You fell asleep during our tour. Please follow us and we’ll lead you to the exit and the awaiting tour bus,” she explained.
Collins, meanwhile, was shaking even though he realized his nightmare was just that, a nightmare. Before he began to walk out, he looked down and was relieved to see he was wearing his clothes in which he’d started the tour. His nightmare was over.
Little remained of what he had dreamt. Interestingly, however, no one seemed to notice the Walther P38 lying on the mattress where Collins had been. Smoke was still emanating from the barrel.
All over the world, Auschwitz has become a symbol of terror, genocide, and the Shoah. It was established by Germans in 1940, in the suburbs of Oswiecim, a Polish city that was annexed to the Third Reich by the Nazis. Its name was changed to Auschwitz, which also became the name of Konzentrationslager Auschwitz. The direct reason for the establishment of the camp was the fact that mass arrests of Poles were increasing beyond the capacity of existing “local” prisons. The first transport of Poles reached KL Auschwitz from Tarnów prison on June 14, 1940. Initially, Auschwitz was to be one more concentration camp of the type that the Nazis had been setting up since the early 1930s. It functioned in this role throughout its existence, even when, beginning in 1942, it also became the largest of the extermination centers where the “Endlösung der Judenfrage” (the final solution to the Jewish question – the Nazi plan to murder European Jews) was carried out.
At the end of the Twilight Zone episode, Deathshead Revisited, the doctor exclaims “why do they let it remain standing?”
In Serling’s epilogue narration, he says “There is an answer to the doctor’s question. All the Dachaus must remain standing. The Dachaus, the Belsens, the Buchenwalds, the Auschwitzes; all of them. They must remain standing because they are a monument to a moment in time when some men decided to turn the Earth into a graveyard. Into it they shoveled all of their reason, their logic, their knowledge, but worst of all, their conscience. And the moment we forget this, the moment we cease to be haunted by its remembrance, then we become the gravediggers. Something to dwell on and to remember, not only in the Twilight Zone but wherever men walk God’s Earth.”
I’ve had the privilege of listening to Dr. Firestien on several occasions when attending a webinar from the Center for Applied Imagination at Buffalo State in New York. He’s quite interesting and very personable.
What do a kingfisher, a hazard light and a waffle iron have in common? A creativity technique called Forced Connections, which leads to break through innovations. Brainstorming and coming up with new ideas is easy, we do it every day. Or so we think. The truth is we barely scratch the surface with our ”more of the same ideas”. We fall extremely short with quantity and quality of really good ideas. We miss the mark on really good innovations, because “More of the Same” does not break into big time innovation. Time to shift ideation gears with Dr. Roger Firestien and find out how to use a really simple ideation tool called ‘forced connections’. Not a new technique and certainly not a secret to those who work in the field of creativity, marketing or the business of creating ‘new and different’. However, new to most of us. Game changer. Creativity changer. Innovation changer.
Dr. Firestien is an associate professor and senior faculty member at the Center for Applied Imagination at SUNY Buffalo State and President of Innovation Resources, Inc. He is the author of six books, including Leading on the Creative Edge and Why didn’t I think of that? His expert views on creativity have been reported in Fast Company, Forbes, Investor’s Business Daily and The New York Times. When Roger is not traveling, he lives in Buffalo, New York, and regularly works cattle on the SK Hereford Ranch near Medina, New York This talk was given at a TEDx event using the TED conference format but independently organized by a local community.
Hopefully making a ruckus, one blog post at a time!
Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.
Late last year ADAge’s Tim Rudd penned an article about the alleged death of creativity. Well, some argue that its death may be premature. The campaign described below illustrates that point of view. As Tim reports . . .
Creativity may not be six feet under, but D&AD (Design & Art Direction) is still here to poke it with a stick.
The global creativity nonprofit is kicking off its 2026 award season with a global campaign from Uncommon Creative Studio that pushes the industry to stop hovering over the “think” button and start hitting “make.” Its centerpiece is a manifesto that challenges the too-common habit of watching ideas drift by rather than shaping them into something tangible. The work signals a shift toward more hands-on creative energy at a moment when the industry seems increasingly cautious.
The campaign leans on stark visuals and a single provocative question: Is creativity alive or dead? It stretches across D&AD’s awards, learning initiatives and talent effort, inviting practitioners to respond through action instead of commentary. The rollout also introduces a refreshed identity for the 2026 awards, turning the manifesto into a design brief for the entire program.
(D&AD) A massive Times Square billboard displays a bold message about misjudging bad ads as the death of creativity, illuminated above the city at night.
Alongside the identity comes the reveal of the 2026 jury presidents, a slate of creative leaders drawn from a mix of global brands and agencies such as Dentsu Tokyo, Airbnb, FCB Global, 72andSunny, Havas Health & You and others. Their remit is to steer the judging with the manifesto’s call for experimentation and decisiveness in mind. D&AD positions the jury presidents as creative figures who already operate with a bias toward making.
“Creativity doesn’t die, it drifts. It gets buried under deadlines, data and fear of taking risks,” said Lisa Smith, D&AD president and Uncommon’s global chief design officer. “This manifesto is a reminder to the industry that ideas are only as powerful as the people brave enough to make them real. As creative leaders, we have a responsibility to protect that spirit—to keep making, experimenting and proving that bold, human ideas still matter. D&AD exists to champion that pulse. To show that creativity isn’t just alive—it’s vital.”
(D&AD) A storefront covered in black-and-white posters displays bold gothic text declaring “Creativity is Dead” and “Creativity is Alive” alongside graphic logos.
(D&AD) A row of black-and-white street posters on a graffitied wall presents stark slogans about creativity and work beside the D&AD logo.
This year’s D&AD awards also introduce new categories meant to reflect the ways ideas move through culture. Brand Transformation spotlights work that blends strategic thinking with the craft of execution. Cultural Influence highlights projects that shape conversation or find a place in the wider cultural bloodstream. Sports Entertainment covers creative output tied to sport from campaigns to content to fan engagement.
“Creativity today is more decentralized than ever, coming from makers, creators, in-house teams and a new wave of independent studios. Our role is to ensure all these voices are equipped and inspired to keep pushing creative excellence forward,” said Donal Keenan, D&AD’s chief operating officer. “Yet in this abundance, creativity risks becoming diluted. Brands are finding it harder than ever to cut through and truly engage audiences, which is exactly why this provocation is needed.”
D&AD is also launching an editorial hub that digs into the same big question at the heart of the campaign. The platform collects commentary from designers and advertisers who are looking at how creativity has changed in a landscape of nonstop feeds and constant distraction.
(D&AD) A minimalist white typographic poster lays out a manifesto proclaiming “Creativity is Dead” before urging readers to revive it with intention.
As long as there are people who continue to push boundaries, creators who are never satisfied, folks who are always curious and a consuming public who always want refreshing and innovative ideas, creativity will never die. It will always be alive and thriving.
Hopefully making a ruckus, one blog post at a time!
Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.
I came across this article last month in one of the industry trade pubs and thought it quite relevant, not to mention interesting. The author, Wayne Best, chief creative officer of VML New York, cites one of the pioneers of creativity in advertising, one Bill Bernbach, as a major force during the sixties. The industry during that time is totally different than it is today. Mr. Best offers some viable suggestions as to how to resurrect, if you will, that creative zest so pronounced during Bernbach’s time.
I’m in total agreement with what Mr. Best suggests. I’ve been thinking the same for years and used to speak on these topics when on the AAF speakers’ junket. Today, with the advent of AI, they have been much more difficult to be realized and put into practice.
Mr. Best writes . . . I have no personal connection to DDB. I have never worked there and have very little knowledge of the culture at the time its name was “retired.” I do, however, have a great deal of respect for Bill Bernbach. I still use quotes he uttered from before I was alive. He ushered in the power of creativity in advertising.
That led me to wonder if his name disappearing (well, the B in DDB) was the end of the era of creativity. I have decided the answer is no.
Advertising executive, William Bernbach at press conference discussing his stance against cigarette advertising. Original caption: NO SMOKING—William Bernbach, newly named “The man who contributed most to advertising in 1963,” said Thursday that advertising cigarettes amounts to “just selling sickness.” He voiced several other strong opinions on advertising at a press conference here, but denied being a crusader. Photo: Jack Carrick, Los Angeles Times
I will admit that I miss the days when smart, insightful advertising was prolific and opening an awards book was like unwrapping a gift. That’s not to say great work isn’t still happening, but lately it feels like the priorities have been put on data, systems and efficiency. And learning how to best use AI.
These are good things. They are changing advertising for the better. Yes, some jobs will change as a result. For instance, it’s a hard time to be a storyboard artist. But the best storyboard artists have visual taste and can tell a good story. Those skills are still needed; it’s just that the tools that get you there have changed.
So, embrace change and adapt.
Resistance is futile.
That last line is not meant to be eerie. It’s just true. The sooner you acknowledge it, the further you’ll go. After all, the path to great work is to kill good work. Progress requires you to kill your darlings so you’re free to think in less expected ways.
Yes, media and production efficiencies can optimize our budgets. Customization and transcreation will continue to improve. But there is still an itch that all of that can’t scratch. And that is love.
Great brands have a place in our hearts, and that love still needs to be earned. It starts with a great product, but that’s just the beginning. Steve Jobs didn’t just produce great products; he also found a way to connect with people on a very human level. “1984” isn’t just an ad for a computer, it’s a celebration of individuality and a middle finger to corporations. “Here’s to the Crazy Ones” is about honoring the misfits who are daring enough to think they can change the world. The brand has a distinct point of view.
Data doesn’t do that. And AI aggregates the past rather than finding the unexpected. It doesn’t have the soft skills. It doesn’t have empathy.
That said, I don’t think our quest for data or AI are to blame for our current creative lull.
We’ve made it hard on ourselves to do breakthrough work.
We’ve added layers and layers of decision-makers. We’ve tried to be all things to all people. We’ve become afraid to make hard decisions and take chances, and that’s dangerous, because when you don’t make hard decisions, you sit in the middle. And the world ignores the middle, no matter the media budget.
I’m sure there are things I’m leaving out, but here are five things I know absolutely get in the way of building a great brand. None of them have to do with AI:
1. There are too many people involved in the decision-making. While it’s important to listen to opinions, a camel is a horse designed by a committee. Listening to people is fine, but somebody needs to be the decider, or you will build that camel.
2. If you try to please everybody, you will excite nobody. To be a great brand, you need to have a distinct POV. This means there are a lot of things you need to not say. Deciding what not to say is harder than deciding what to say, because different stakeholders care about different things.
3. Building a brand the right way takes time. We are always in a rush today, and the speed of AI and digital production has us moving faster than ever. Technology helps with the daily work, but to crack the bigger brand work, you need to be thoughtful and deliberate. Impatience is not a virtue.
4. Write shorter briefs. It’s hard. Writing long-winded briefs that everyone can read and find the “thing” they care about covered in the many pages is easy. Finding that sharp, pointed thing you can own in a sentence is hard. But until it gets sharp at the brief stage, you’ll be wasting expensive creative time. Make the hard decisions on what matters, and what doesn’t matter, at the brief stage. Or it will create endless swirl.
5. Never forget the problem you’re actually trying to solve. It’s easy for Walmart to promote deals on its website, but the bigger challenge is making consumers feel good when their neighbors see that Walmart box on their porch. It’s not an accident Walmart started using popular music and celebrities and buying high-profile media. When you keep the bigger goal in mind, it makes daily decisions easier.
I’m still sad when I see the greatest names in advertising dropped into a six-foot hole. But hey, those people were already dead. It’s what we learn from them that matters. If Bill Bernbach were alive today, he wouldn’t be moaning about the death of the print ad, he’d be figuring out how to build a real connection between a brand and the humans who need it given our current environment.
I am bullish on 2026.
As we learn to work with AI, it gets less scary and more helpful. The weirdness of the pandemic is wearing off. Mergers have become less of a shock and more of a way of working. And the best minds I know are anxious to be more creative again. They’re excited to do unexpected and wonderful things.
Let’s roll up our sleeves and get to work.
Hopefully making a ruckus, one blog post at a time!
Be sure to check out my other blog, Joe’s Journey, for selected short stories and personal insights on life and its detours.
I’m on the email list of Buffalo State University’s Center for Applied Imagination and so I receive notices from time to time about upcoming lectures and seminars and the like. The publication cited below is from one of their recent notices.
From the authors . . . The need for creativity has never been greater. In fact, we chose the title, “Creativity Rising: Creative Thinking and Creative Problem Solving in the 21st Century,” to reflect this belief. If we are to live healthy, productive lives in this century we must develop the mind-set and the skill set for effectively responding to and initiating change. Creativity Rising is both a why-to and how-to guide to help you create your own future. In this book we: • explore the nature of creativity • debunk common myths about creativity • describe the rapid rise of change in the 21st century • outline the time-tested Creative Problem Solving process, an approach to on-demand creativity.
Hopefully making a ruckus, one blog post at a time!
Be sure to check out my other blog,Joe’s Journey, for selected short stories and personal insights on life and its detours.
Canadian graphic designer Jean-Pierre Lacroix explains how creative agencies and brands can make better use of generative AI by using it to expand team creativity.
As in the past I came across this article on the Web and thought it both interesting and inspiring. Given our challenging times, I think you will too. Enjoy!
The concept of generative AI technology creating content from user prompts using advanced algorithms. Adobe Stock
Every brand and agency is trying to tap into the promise of generative AI. So far, the results don’t always meet expectations. Is that so surprising? AI is brand new technology that no one fully understands, including its creators. Right now, we’re in an era that calls for experimentation. Results will come, but maybe not how we imagine. In the meantime, we must adopt a human-centered approach to AI, enabling creative teams to use AI as a platform for thinking differently and learning.
So far, the best AI brand activations aren’t AI-generated ads or design. Successful examples of creatives using AI have a distinctly human perspective. For example, Heinz created an ad showing the audience what happens when they prompt AI to create images of ketchup: it reproduces hundreds of variations of the iconic Heinz bottle design. No matter how they try, according to the ad, they can’t get AI to drop the Heinz label because it’s synonymous with ketchup.
Although the ad shows AI-generated imagery, Heinz is cleverly using AI to make a point about their brand rather than to generate and execute a creative idea.
On the other hand, when companies try to generate creative using AI, even the best work requires enormous human effort and it doesn’t always come off well with consumers. That may change, but today, AI-generated material just doesn’t look and feel right. The fear that AI will take jobs away from humans causes concern in some scenarios, for example with the use of AI-generated models.
How should creative teams be using AI today? It’s about testing and learning to develop skills and confidence. No one can say for sure how AI models will evolve but being prepared means teams need to start experimenting now.
Key considerations for AI experimentation
Create a cross-functional team assigned to explore AI tools relevant to their roles. Tracking and testing new models, staying informed about potential legal concerns and gathering case studies will ensure you have a strong foundational knowledge to guide decision-making.
Establish guidelines for AI use at your company. You’ll need someone who’s on top of legal matters, keeping in mind that various legislation is pending in many regions. You also need to understand how your consumers or clients perceive AI. Although there are some who hate AI no matter the circumstances, for most people, context matters. Conduct research with your stakeholders to make sure your intended uses align with their preferences. Provide your team with an approved list of licensed tools to use and establish a process for testing new ones.
Try, fail, try again. At our company, we created an AI self-assessment platform that allows brands to evaluate their design against a competitor through the lens of our branding philosophy. This was a test-and-learn scenario that resulted in numerous unsatisfactory iterations, ultimately leading to a beta model that runs well, albeit with some caveats. (You can test it for yourself.) As we continue to improve the tool, our team continues to learn. Don’t expect perfection because you won’t get it. Building confidence, knowledge and skills should be the goal.
Be transparent. If you work with clients, gauge their comfort level with AI and give them the option to opt out if you intend to make it part of your workflow. Something as simple as AI notetaking may run counter to privacy policies, for example.
Protect your privacy and the privacy of clients. Before using any AI platform, ensure your IT team reviews their data policies. This brings us back to establishing guidelines. Ensure that everyone at your company is aware of which platforms they’re permitted to use, and that the appropriate people have licensed accounts where data will be kept confidential.
Better, faster creative? Not yet
The hype around AI may lead some to think creative work can be completed faster and at a lower cost. At this stage, efficiency-finding with AI is only possible if you significantly lower your standards. Most creative agencies and brands would likely agree that AI can be useful in ideation but isn’t as helpful in execution.
For example, we’ve found that even when given clear design guidelines, it’s very difficult for AI to create final art for packaging that works in real life. We’ve found it useful for editing images, brainstorming a hundred ways to depict a watermelon and general ideation. But so far, human creatives are still significantly better at everything else.
AI does a decent job writing emails and copy for social media, but that too is bumping up against some limitations. Consumers are starting to recognize the tone of AI-generated copy and they find it grating.
AI is best suited to help structure content, create headlines and keywords and clean up copy. Marketers shouldn’t let their writing skills decline! AI can decipher what makes a clickable headline, but it doesn’t have any fresh ideas – it’s a solid Beatles cover band, but it’s no Lennon or McCartney.
Where we’ve found it most useful is with coding, where it helps us do more in a shorter time frame. However, teams still need to be proficient enough to know how to prompt for the right code and how to correct mistakes.
The human connection gap
One of the most common consumer-facing uses of AI is chatbots. They give us insight into the human connection gap that can occur with AI. Although serviceable and polite, AI chatbots annoy people. We know they’re not human and this changes the way we treat them.
Consider the Taco Bell drive-through incidentwhere a customer derailed an AI chatbot by ordering thousands of glasses of water. In cities with fleets of self-driving cars, they often get stuck and cause traffic jams because drivers won’t let them in the way they would a human driver.
Then there are the many incidents of people assaulting robots, especially humanoids. As much as we love a fun tool to play with, creatives can’t ignore the dehumanizing potential of AI.
How do we deal with this? The answer isn’t ignoring AI but learning how to use it to support human ideas and interactions. If what the utopia tech companies are selling is achievable, it will be because users engage with it thoughtfully. Creative teams are in a great position to lead this kind of conscientious, intelligent use of AI.
Jean-Pierre Lacroix is president of Shikatani Lacroix Design, a global branding firm specializing in transforming customer experiences for consumer packaged goods companies, financial institutions and retailers. He is a member of the Registered Graphic Designers of Ontario, and has sat on the board of the Society of Environmental Graphic Designers, Packaging Association of Canada and the Association of Professional Futurists.
Hopefully making a ruckus, one blog post at a time!
Be sure to check out my other blog, Joe’s Journey, for selected short stories and personal insights on life and its detours.
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