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Creative Processes and Techniques

Code: 103142 ECTS Credits: 6
Degree Type Year Semester
2501935 Advertising and Public Relations OB 3 1


Patricia Luján Bellon

Use of Languages

Principal working language:
spanish (spa)
Some groups entirely in English:
Some groups entirely in Catalan:
Some groups entirely in Spanish:

External teachers

Antonio Rodriguez Rios
Saraí Meléndez Rodríguez



Objectives and Contextualisation

  1. Provide a brief theoretical basis on what creativity is, its processes and techniques, the importance of nourishing oneself through references and knowledge of people and creative projects from a broad and multifaceted perspective.
  2. Know and study the creative processes and techniques of ideation, in general, and advertising, in particular.
  3. Practice various creative techniques in order to provide tools for the creation of great ideas and creative developments from an advertising point of view.
  4. Learn to think in a disruptive way, to feed on references and referents through daily activities, experiment and share ideas.
  5. Work as a team putting into practice the theoretical and practical knowledge of the subject.
  6. Carry out a final project with a powerful idea capable of becoming a Revolution to which thousands of people join.
  7. Apply the gender perspective in project research, in the search for creative and bibliographic references, as well as make use of an inclusive and non-sexist language.
  8. Have fun and discover that we are all creative.


  • Apply creative techniques in writing advertisements.
  • Demonstrate knowledge of the narrative and expressive characteristics of a creative advertising message.
  • Demonstrate knowledge of the structure and functions of the technological context that plays a role in the advertising communication process.
  • Introduce changes in the methods and processes of the field of knowledge to provide innovative responses to the needs and demands of society.
  • Students can apply the knowledge to their own work or vocation in a professional manner and have the powers generally demonstrated by preparing and defending arguments and solving problems within their area of study.
  • Students must be capable of collecting and interpreting relevant data (usually within their area of study) in order to make statements that reflect social, scientific or ethical relevant issues.
  • Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
  • Students must develop the necessary learning skills in order to undertake further training with a high degree of autonomy.
  • Take account of social, economic and environmental impacts when operating within one's own area of knowledge.
  • Take sex- or gender-based inequalities into consideration when operating within one's own area of knowledge.
  • Use one's imagination with flexibility, originality and ease.

Learning Outcomes

  1. Analyse a situation and identify its points for improvement.
  2. Analyse the sex- or gender-based inequalities and the gender biases present in one's own area of knowledge.
  3. Apply the strategic principles that determine a campaign to developing a creative briefing.
  4. Communicate using language that is not sexist or discriminatory.
  5. Consider how gender stereotypes and roles impinge on the exercise of the profession.
  6. Critically analyse the principles, values and procedures that govern the exercise of the profession.
  7. Distinguish the fundamental principles of relational dialectics between repeatability and originality-innovation.
  8. Explain the explicit or implicit code of practice of one's own area of knowledge.
  9. Identify situations in which a change or improvement is needed.
  10. Identify the fundamental principles of recognition and significant difference.
  11. Identify the social, economic and environmental implications of academic and professional activities within one's own area of knowledge.
  12. Propose new methods or well-founded alternative solutions.
  13. Propose new ways to measure the success or failure of the implementation of innovative proposals or ideas.
  14. Propose projects and actions that incorporate the gender perspective.
  15. Propose viable projects and actions to boost social, economic and environmental benefits.
  16. Students can apply the knowledge to their own work or vocation in a professional manner and have the powers generally demonstrated by preparing and defending arguments and solving problems within their area of study.
  17. Students must be capable of collecting and interpreting relevant data (usually within their area of study) in order to make statements that reflect social, scientific or ethical relevant issues.
  18. Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
  19. Students must develop the necessary learning skills in order to undertake further training with a high degree of autonomy.
  20. Use one's imagination with flexibility, originality and ease.
  21. Use technological instruments for the composition and editing of graphic messages.
  22. Weigh up the impact of any long- or short-term difficulty, harm or discrimination that could be caused to certain persons or groups by the actions or projects.
  23. Weigh up the risks and opportunities of both one's own and other people's proposals for improvement.


  1. Creativity and Creative Process
  2. The references
  3. Creative techniques


The calendar will be available on the first day of class. Students will find all information on the Virtual Campus: the description of the activities, teaching materials, and any necessary information for the proper follow-up of the subject.



To the theoretical part on creative processes and techniques will be added:

  • Practical exercises in group or individual.
  • Viewing of campaigns, projects, products, content, talks, articles...
  • Continuous search for surprising and interesting references that can inspire the group. IG Profile @inspirationalmagazine
  • Individual work "My Creative Notebook".
  • Final group work. Revolution Makers.
    We will create and "brand" a Revolution capable of being followed by thousands of people.

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.


Title Hours ECTS Learning Outcomes
Type: Directed      
Theory, Seminars and Practices 46 1.84 2, 1, 3, 20, 4, 7, 10, 11, 9, 23, 12, 13, 14, 15, 19, 18, 16, 17, 21, 5, 22
Type: Supervised      
Tutorials 8 0.32 20
Type: Autonomous      
Final work in group. Revolution Makers 40 1.6 6, 2, 1, 3, 20, 4, 7, 8, 10, 11, 9, 23, 12, 13, 14, 15, 19, 18, 16, 17, 21, 5, 22
Individual work "My Creative Notebook" 42.5 1.7 2, 1, 20, 4, 9, 12, 14, 15, 5, 22
Practical exercises 4.5 0.18 6, 2, 1, 20, 4, 7, 8, 10, 11, 9, 23, 12, 14, 15, 18, 16, 17, 21, 5, 22
Viewing of campaigns, projects, content, talks, articles... 4 0.16 6, 2, 4, 8, 5, 22


1. Self-assessment -> 5%

Self-criticism is key when working with ideas.
No one knows better than you what you have done during the course.
Honestly evaluate your effort, your desire to work, the originality of your ideas, the tireless search for new references, the books you have read, your evolution... Everything that has made your creative muscle grow and stimulate your desire to find new creative paths throughout the year.
A 10, if not real, is not an option.


2. Realization of practices in class -> 20%

Practices in class and out of class are compulsory.


3. Individual practical work "My Creative Notebook" -> 35%

The idea books will be delivered on the appointed day and will be returned after 6 months of custody.

It will be valued:

  • Constancy and daily work.
  • The solutions to the practical exercises proposed in class.
  • Own creative ideas.
  • Creative thoughts and references.
  • The use of the creative techniques learned.
  • The visual expression of the content through images, mind maps, drawings, photographic clippings.
  • And, in general, any original idea that contributes to the creative work being done on a daily basis. We hope that you have been fed with creativity every day and that you have searched for great ideas throughout the course.


4. Work and Final Presentation: Revolution Makers -> 40%

It will be valued:

  • Originality, simplicity, organization and formal development.
  • The oral presentation, in an understandable, entertaining, simple and clear and structured way of the work.
  • The presentation of all the members of the group.
  • The formal and final delivery of the campaign to launch a revolution likely to be followed by thousands of people.



Students will be entitled to the revaluation of the subject. They should present a minimum of activities that equals two-thirds of the total grading.

Resubmit the corrected and improved practices and / or the Final Work that has not been approved.

"My Creative Notebook" activity is excluded from the recovery process as it is a project to be carried out on a daily basis.


In the event that the student performs any irregularity that may lead to a significant variation of an evaluation act, this evaluation act will be graded with 0, regardless of the disciplinary process that could be instructed. In the event, that several irregularities occur in the evaluation acts of the same subject, the final grade for this subject will be 0.



Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Classroom Practice 20% 1 0.04 6, 2, 1, 3, 20, 4, 7, 8, 10, 11, 9, 23, 12, 13, 14, 15, 19, 18, 16, 17, 21, 5, 22
Individual practical work "My Creative Notebook" 35% 1.5 0.06 2, 1, 20, 4, 10, 9, 14, 15, 19, 18, 16, 17, 5, 22
Self appraisal 5% 0.5 0.02 6, 2, 1, 20, 4, 11, 12, 13, 14, 15, 19, 5, 22
Work and Final Presentation: Revolution Makers 40% 2 0.08 6, 2, 1, 3, 20, 4, 7, 8, 10, 9, 23, 12, 13, 14, 15, 19, 18, 16, 17, 21, 5, 22


Mandatory readings

Pricken, M. (2009). Publicidad creativa. Ideas y técnicas de las mejores campañas internacionales. Barcelona: Gustavo Gili
Martín Barranco, M. (2021). Ni por favor ni por favora. Cómo hablar con lenguaje inclusivo sin que se note (demasiado). Catarata

Complementary readings

Aced, C. (2013). Relaciones públicas 2.0: Cómo gestionar la comunicación corporativa en el entorno digital. Barcelona: Editorial UOC
Adair, J. E. (2009). The Art of Creative Thinking: How to Be Innovative and Develop Great Ideas. Kogan Page
Álvarez Ruiz, A. (2017). La magia del planning. Cómo utilizar la planificación estratégica para potenciar la eficacia de la comunicación. Madrid: ESIC editorial
Andrews, M. (2016). Persuasión. 33 técnicas publicitarias de influencia psicológica. Barcelona: Gustavo Gili
Andrews, R. j. (2019). Info We Trust: How to Inspire the World With Data. New Jersey: John Wiley & Sons
Anthony, J. (2015). Be Creative. A Quick Guide to Developing Brilliant Ideas & Unlocking Your Creative Potential. Jay Anthony Writing
Arden, P. (2005). Usted puede ser lo bueno que quiera ser. London: Phaidon
Arden, P. (2008). Pienses lo que pienses piensa lo contrario. London: Maeva
Banet-Weiser, S. (2012). AuthenticTM: The Politics of Ambivalence in a Brand Culture. New York: New York University Press
Bernard, A. (2020). Theory of the Hashtag. Cambridge: Polity Press
Blackmore, S. (2000). La máquina de los memes. Barcelona: Paidós
Bogusky, A. y Winsor, J. (2009). Baked In. Creating products and bussinesses that market themselves. Chicago: Agate
Brown, T. (2019). Change by Design. How Design Thinking Transforms Organizations and Inspires Innovation. New York: HarperBusiness
Buzan, T. (2004). Cómo Crear Mapas Mentales. Barcelona: Urano
Catmull, E. (2014). Creatividad, S.A.: Cómo llevar la inspiración hasta el infinito y más allá. Barcelona: Conecta
D&AD. (2011). The Copy Book. How some of the best advertising writers in the world write their advertising. London: Taschen
D&AD. The Art Direction Book.
De Bono, E. (1998). El pensamiento lateral: Manual de creatividad. Barcelona: Paidós
De Bono, E. (2008). Seis sombreros para pensar. Barcelona: Paidós
De Bono, E. (2015). Serious Creativity: How to Be Creative Under Pressure and Turn Ideas Into Action. London: Vermillion
Fallon, P. y Senn, F. (2007). Exprime la idea. Madrid: LID
Farran Teixidó, E. (2016). Desde la trinchera: Manual de supervivencia en creatividad publicitaria. Barcelona: Editorial UOC
Fill, C., Hughes, G. y de Francesco, S. (2013). Advertising: Strategy, Creativity and Media. Pearson Education Limited
Goldberg, E. (2019). Creatividad: El cerebro humano en la era de la innovación. Barcelona: Crítica
grupo autónomo a.f.r.i.k.a., BRUNZELS, S. y BLISSET, L. (2006). Cómo acabar con el mal: Manual de guerrilla de la comunicación. Virus
Harrison, G. P. (2013). Think: Why You Should Question Everything.New York: Prometheus
Herrera, E. y F. Iñurritegui, L. (2018). Historias que marcan Origen y significado de 50 marcas gráficas. Barcelona: Gustavo Gili
Holiday, R. (2019). El Ego es el enemigo. Ciudad de México: Paidós
Jardí, Enric. (2012). Pensar con imágenes. Barcelona: Gustavo Gili
Jenkins, H. y Ford, S. (2015). Cultura transmedia. La creación de contenido y valor en una cultura en red. Barcelona: Gedisa
Joannis, H. (1986). El Proceso de creación publicitaria. Planteamiento, concepción y realización de los mensajes. Bilbao: Deusto.
Johnson, S. (2011). Where Good Ideas Come From. The Natural History of Innovation. Penguin
Kaufman, J. C. (2016). Creativity 101. New York: Springer Publishing Company
Kelley, T. y Kelley, D. (2013). Creative Confidence: Unleashing the Creative Potential Within Us All. New York: Crown
Kelley, T. y Littman, J. (2010) Las diez caras de la innovación. Estrategias para una creatividad excelente. Madrid: Paidós
Kelso, T. (2018). The Social Impact of Advertising: Confessions of an (Ex-)Advertising Man. Lanham: Rowman & Littlefield Publishers
Kessels, E. (2016). ¡Qué desastre! Cómo convertir errores épicos en éxitos creativos. London: Phaidon Press
Kleon, A. (2017). Roba como un artista. Un cuaderno para cleptómanos creativos. Barcelona: Gustavo Gili
Kleon, A. (2019). Keep Going: 10 Ways to Stay Creative in Good Times and Bad. New York: Workman Publishing
Krause, J. (2012). The Logo Brainstorm Book: A Comprehensive Guide for Exploring Design Directions. Cincinnati, Ohio: HOW Books
Lamarre, G. (2018). La vía del creativo: Guía para reinventar nuestra práctica y nuestra mirada. Barcelona: Gustavo Gil
Landa, R. (2016). Advertising by Design: Generating and Designing Creative Ideas Across Media. Hoboken: John Wiley & Sons
Lanier, J. (2011). Contra el rebaño digital : un manifiesto. Barcelona: Debate
Lupi, G. (2016). Dear Data. London: Particular Books
MacLeod, H. (2009). Ignore Everybody: And 39 Other Keys to Creativity. New York: Portfolio
Mahon, N. (2012). Ideación. Cómo generar grandes ideas publicitarias. Barcelona: Gustavo Gili
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Von Oech, R. A. (1986). Kick in the Seat of the Pants: Using Your Explorer, Artist, Judge, & Warrior to Be More Creative. New York: Perennial Library
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