Contents

Acknowledgments

Introduction
Introduction
6-8
Literature Review
Part 1 - Integrated Marketing and Communications (IMC) An Exploration of Theories and
Concepts
IMC A Marketing Perspective
10-11
Figure 1. The IMC Process Model 11
IMC - Within a Socio-Theoretical Framework
12
Problematic Integration (PI Theory)
13-14
IMC As Process
14-16
Figure 2. IMC Strategy Hierarchy
15
Part 1.1 Creative Collaborations/Stakeholder Engagement Layers within Layers
Stakeholder Management/Engagement/Involvement Theory
17-18
Figure 3. Power/Interest Matrix
19
Creating and Developing Authentic Relationships a dialogic approach 19-22
Figure 4. Attributes of Dialogic Engagement
19
Figure 5 Stakeholder Salience Model
21
The Business-to-Business Relationship
22-23
Figure 6. B2B Relationship Marketing
22
Defining and Measuring Relationship Quality in the B2B Relationship
23-25
The Client/Agency Relationship
25-27
Part 2 Deconstructing Discourse During the Creative Collaboration Process
The Role of Visual Discourse in the Co-Creative Process
27-29
Figure 7. Perception Integration Feedback Diagram
28
Tools of the Trade - Channels and Management Systems Used to
Mediate the Co-Creative Process
30-31
Part 2.2 Communications and Discourse Structure Organisational Discourse
Defining Organisational Discourse
32-33
The Role of Organisational Discourse in the field of Communications
33-34

3. Research Report
Research Methodology
Figure 8. Research Process Map
Research Philosophy
Research Process
Communications Auditing Team Structure and
Orders of Discourse
Data Collection and Content Analysis
Evaluating Perceptions
Figure 9. Question/Option Matrix
3.1 The Case Study
Creative 1 Place in Print
Business Model
Figure 10. Place in Print
Business Model
Creative 2 Pate On Toast
The Brief
Figure 11. Partner/Activity Matrix
The Channels used to Mediate the Process
Perception Integration
Figure 12. Perception Integration
Open Coding identified themes
Final Questionnaire Perceptions of the final product
3.2 Evaluation
Business Model
Shared Language
Responsibilities
Perception Integration
Channels
Figure 13. Email Exchange
Bar Chart
Other Technology
Identified Themes
The Role of Visuals
Questionnaire
3.3 Conclusion

Bibliography

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37-38
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39-40
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41
41
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42
42
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43
43
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45-46
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48
48
48-49
50
51-52
53-55

57-63

Appendix
Learning and Reflection Journal (PDP)
Research Methodology (extension)
81-85
The Case Study (Illustrations and email exchange)
86-99
Questionnaires
100-107
Administration
108-109
2

65-80

ACKNOWLEDGMENTS

I would like to express my thanks to the following individuals;

My dissertation supervisor Rudiger Thielmann, for his support, guidance and patience
throughout the research journey. Ed Povey (Place in Print) and Paul Pateman (Pate on
Toast) for agreeing to take part in the research and keeping me updated on their
progress. (Thanks guys)!

INTRODUCTION

CREATIVE CONVERSATIONS -AN INTRODUCTION

Introduction
In understanding how the integrative process in creative communications evolves, the element of
discussion and collaboration during the process plays an integral part in the creation of marketing
collateral1. The conversations and channels used to communicate a vision, steer and influence (to a
large extent) the outcome of a specific project. The perception of success as defined by the client
and the creative is dependent on whether;

Both visions of the final product have converged

The key messages and objectives of a particular project have been successfully translated from
business to business
The target audience has a positive perception of the final product and subsequent interest in the
product demonstrated by purchase or observation. (Dependent on the objectives of the business)

Taking an integrative approach to communications, the concept of Integrated Marketing and

Communications (IMC) and engagement play an important role in collateral development.
Understanding how relationships are formed and how the structures operate cohesively and
differentially, an emerging picture can be evaluated in order to form conclusions about how structural
discourse and the integration of different elements within the discourse are compounded during the
co-creative process.

Visuals and language are utilised to support co-creative relationships in various ways throughout the
marketing collateral production journey. The objective being to convey an organisation's image, deliver
a message or support a brand. The conversations (discourse) that take place during the creative
process -on many different levels- are designed to ensure that there is a mutual understanding that will
lead to an end product that both businesses will be satisfied with.

The creative will employ varying discourse during the process dependent on their role in a project. A
major component within this discourse will be the use of images and text to communicate visions,
ideas and concepts based on the business initial requirements outlined during the briefing phases of a
project.

Marketing Collateral is defined as the end product supporting an organisations message and brand, e.g. publications, website, brochure.
etc.
1

The ensuing discourse is also dependent on the tools or channels used to present the material during
the developmental phase.

The interdependent or interdisciplinary approach chosen for this research and the subsequent analysis
and evaluation reflects the multifaceted and flexible nature of the creative collaborative process.

Taking into consideration that co-creation as a definitive area of study within the communications field
is not clearly defined as an individual and separate subject area, it can be observed that the
collaborative process involves the use of IMC techniques to assist co-creative endeavours. It is
therefore my objective in the literature review to outline different IMC theories which contribute to the
overall co-creative process in a business to business relationship, noting the correlative integrative
factors contained within the scope of the research project.

It should be noted that the research is not solely about creativity, but seeks to delineate, define and
evaluate the processes and structures in place, which support the creation of a product.

Valuable insights can be gained through evaluating the co-creative process from conception through to
finality including how the stakeholder relationship develops, the tools and channels used to mediate
the process and the conversations that support the creation of marketing collateral. The perceptions of
success and failure are -in part- dependent on the relationships built and the discourses used during
the process.

The literature review covers the spectrum of IMC concepts and theories, drawing on different
perceptions and models of integration and observing how different stakeholders engage with an
organisation. The analysis of the co-creative approach draws on the themes of dialogue, creativity and
discourse structure within the business-to-business relationship. Part 1 of the review is a journey
through the concepts and theories of IMC at a micro and macro level, delving into dialogic engagement
(which forms the basis of stakeholder relationships), definitions and theories concerning the businessto-business relationship and an exploration of the working relationship.

Part 2 explores the theory of discourse beginning with the role of visual discourse and how this is used
in combination with text to produce meaning during the co-creative process. Tools of the Trade (a
subheading under Part 2) observes how Information Communications Technology (ICT) plays a pivotal
role in the formation of interpersonal relationships, followed by definitions of organisational discourse
and its correlation with the field of public relations.

NB. Due to the continually evolving nature of the marketing and communications arena and the
expansion and integration of fields, academic references employ the use of different terminology to
describe the same subject area, therefore Public Relations (PR) and Communications as fields of
enquiry are used interchangeably in the following review unless explicitly stated.

PART 1 -MARKETING & COMMUNICATIONS; A

CONCEPTUAL FRAMEWORK
PART 2 -STAKEHOLDER ENGAGMENT

LITERATURE
REVIEW

Part 1 - Integrated Marketing and Communications (IMC) An Exploration of Theories and Concepts
Marketing and Communications integration can be defined in terms of developing a cohesive structure
within a set paradigm. The term or definition has numerous meanings and inferences dependent on
the context in which it is used and these meanings or perceptions can be associated with structural
definition, organisational flow, integrated management systems or varying combinations of all three.
Kitchen and Schultz (2009) note that the term is yet to be defined and the application and perception
of the term is dependent on the user, furthermore they also make reference to the fact that there are
more IMC voices than ever before. The point however, is to observe integration within marketing and
communications as a means to provide a systematic and measurable approach to communications
practices and -for the purposes of this research- to evaluate the processes leading to the final
marketing collateral.

A Marketing Perspective
The marketing perspective of IMC places integration at the epicentre of gaining an understanding of
the target audience. Yeshin, T (2003 in Baker, M 2003) notes that if the consumer is placed at the
centre of activity, understanding consumer behaviour is essential and this involves more than the
consideration of the message itself.

Taking a broader view of IMC, Hutton, G (2001 quoted in Heath, R 2001 pg. 209) makes reference to the
debate between traditional marketing techniques and the convergence with public relations and refers
to IMC as a wild card that has complicated the relationship between the 2 disciplines. In some ways
this supports Problematic Integration theory (PI theory)2 as IMC, in this particular instance is viewed
from the perspective of creating a dissonance between 2 practices inferring that the role of the
practitioner takes on a problem solving dimension. Hallahan, K (2007 in Toth, E pg. 311) notes the
disparity between public relations and marketing, observing that marketing theorists are more open to
developing a connection to other disciplines and suggesting that IMC provides a paradigmatic
alternative to public relations

See pg.13 for further information on PI Theory

10

Olander and Selin (2002) offer 3 clear definitions of communication's integration from a marketing
perspective;
1. The market control of marketing communications
2. Ensuring that the brand position, personality and messaging are delivered synergistically across
every element of communications and are delivered from a single consistent strategy
3. The strategic analysis, choice, implementation and control of all elements of marketing and
communications, which efficiently, economically and effectively influence transactions between
an organisation and its existing and potential customers and clients
Supporting Olander and Selins vision of IMC within the marketing paradigm, Briggand et al (2004) note
that IMC consists of customer centric processes defining the relationship as circular rather than linear.
Duncan (2002 quoted in Briggand et al 2004) proposed an IMC process model outlining the
cross-functional process contained within IMC.
Figure 1

The IMC Process Model (Duncan 2002)

11

Duncans model illustrates the flow of considerations involved in co-creativity. The considerations
highlighted in the diagram are also taken into account from an organisational discourse perspective and
form part of a conscious or unconscious process during the creative process.

IMC within a Socio-Theoretical Framework

Outside of the corporate view of IMC, an alternative perspective coming from a sociological context
focuses on 'integration' from the position of the individual. Wigand, R (2006) observes integration in
terms of how individuals come together within a group. Blau, (1960) looks at integration from the
perspective of bonds of attraction uniting members. Interpersonal bonding theory, which Varey, R
(2002) observes derives from Carl Rogers school of thought, notes that bonding in individual
relationships can also be transferred to marketing in terms of behaviour and attitudes; encouraging
trusting bonded relationships and using a mix of resources to foster mutually beneficial commitment in
support of creation value. This inherently supports the idea that the PR field is as much concerned with
the individual if taken within the context of groups or organisational activities. It could be argued that
sociology underpins all communications, therefore the roots or basis in which public relations
practitioners operate derive from an individualistic stance before corporate structures are taken into
consideration.

Hallahan, K (1999) aptly refers to public relations work as the construction of social reality. This view
draws upon a constructivist approach; which Hallahan notes is derived from the symbolic
interactionism school of sociology. This particular school of thought focuses on human behaviour in
terms of how people interact and their use of symbols to create meaning. Hallahans framing devices
within the context of public relations seeks to define the psychological processes through which
meaning is created. It could be argued that the co-creative relationship is concerned with generating a
specific meaning (as shown through the end product) and the development of a product takes shape
through a combination of different perceptions adhering to the concept of shaping and defining
meaning. The sociological reference contained in this perspective places the PR practitioner (or creative
for the purposes of this research) in the role of creating meaning for a target audience. Hallihan notes
that this could be viewed as manipulation, however it would depend on the ethical stance of the PR
practitioner and the boundaries of framing utilised.

12

Problematic Integration Theory (PI Theory)

Problematic Integration (PI) theory is also concerned with the way in which communications are
integrated. The cross fertilisation of PI theory broadens the context of communications moving it
beyond the discipline and practice led theoretical framework and extending the definition of
communications as a dialogic and interpersonal activity encompassing a range of dilemmas.

Babrow, A (2006) defines PI theory in terms of dilemmas of integration and seeking solutions which
transform those problematic integrations. Bradac, J (2006) notes that the key components of
integration theory as described by Babrow (1992) relate to complexity, dynamism and simultaneity. He
notes that communications is integral to PI processes and that it is a source, medium and resource in
experiences with problematic integration.

Communications (as a discipline or practice operating within a field) seeks to address issues of
communication from a macro and micro level and understanding the complexities in interpersonal
communications (which could be defined as operating on the micro level) can go some way in
addressing dissonances in integration. This theory somewhat turns other theoretical models contained
within the socio-theoretical framework on their heads, however the means of addressing problematic
integration are perhaps very similar if not the same when looking at the resources and tools available
to the practitioner within the field.

It could be argued that IMC (from a practice perspective) is concerned with reducing uncertainty and
problematic integration sits within the theoretical boundaries of uncertainty theory. Babrow makes
reference to the potentialities that exist in the cross fertilisation of disciplines specifically PI theory
with communications, and notes IMCs broad conceptual definition encompassing ideology, as well as
structure and theory. From an organisational perspective, McPhee and Zaug (2006) refer to social
constructs pertaining to organisational structures through institutional process (and its participants) as
stimulating problematic integration. They go on to acknowledge members of organisations and
subgroups within the organisation, noting that different members learn different facts, have different
issues and strive to meet different goals. This could be taken to define stakeholder relationships and
the importance of understanding and addressing stakeholder needs3

See Stakeholder Engagement Theory pg. 17-18

13

On a practical level, practitioners may conduct a communications audit as part of an overall strategic
plan in order to define the role of public relations within an organisation, as well as draw upon the use
of stakeholder maps to observe the various interdependencies between groups and individuals that are
connected to an organisation in order to understand how these people function, thereby defining the
probability of successful engagement and enabling the practitioner to reach their stakeholders at
different levels using integrative approaches.

There are different views and perspectives regarding the definition of IMC, which come under the
scrutiny of diverging/converging practices. Hutton, G (2001) quoted in Heath, R 2001 pg. 209) observes
that the definition is superfluous, but the underlying factors connecting the numerous translations of
IMC within the conceptual framework defines integrative factors as being synergistic in nature and
function in contrast with a practice which is dissonant and component led, or what Brignell et al (2004)
define as separate marketing functions operating with varying degrees of autonomy. The fluidity in
the usage of the definition implies a certain amount of adaptability within whatever framework this
concept can be applied to.

IMC as Process
IMC in conceptual terms is an emerging and fairly new trend borne from the necessity for
communications practitioners to develop more cohesive, or seamless structures within their working
practices. This has become even more relevant with the technological boom. Prior to this new
concept, marketing and communications was lead via segmentation of audiences and segmentation of
tools and channels to reach those audiences. Fill, C (2008) suggests a framework for the strategic
management of integration, whilst acknowledging that identifying appropriate elements may not be
ideal. The diagram on the following page demonstrates some of the considerations taken within an
IMC strategy.

14

Figure 2

IMC Strategy

Adapted from Fill, C (2009) Marketing and Communications Interactivity, Communities and Content
Pg. 258

An alternative view of IMC from a process perspective observes IMC in terms of a feedback loop that
creates what Broderick & Pickton define as brand equity.

Sender Message - Media Receiver - Receiver response Brand equity.

In this instance, IMC is placed within the framework of customer relationship and brand management.
Kitchen and Procter (2002) also view IMC within this context marking a differentiation between
marketing communications and corporate communications with a call to travel the road together in
terms of exploring IMC in conceptual terms. Duncan & Caywood (quoted in Moore and Thorson 1992)
note that IMC is a concept and a process; they also make reference to both the concept and process
being in a state of evolution.

15

Whilst IMC as a process can be defined and demonstrated within various contexts, these variables
themselves determine the structural processing contained within the definition. Hughes, G (2009
quoted in Tench, R & Yeomans, L 2009 pg. 500) notes that the term integrated is open to
interpretation which include co-ordinated, holistic, embedded and combined they observe that
whatever term is used [within various contexts] success is measured in terms of effectiveness and
addressing those terms produces measurable results.

Heath and Coombs (2006) use the MAPs approach in terms of defining integration within an
organisation as a means to integrate communications into one planning system The Maps approach
observes internal and external contact points in an organisation giving the practitioner an overview of
interrelated systems, people and functions. Baines, P et al (2004) place the communications audit
within the strategic process of IMC, following a similar approach to Heath and Coombs.

Taking into account the levels and sub levels contained within the definition, IMC can be viewed
through a macro and micro lens. Caywood, C (1997) looks at communications integration or what he
terms as public relations Macro/Micro Integration at 4 different levels.

Societal Integrations
Corporate Structure Integrations
Management Function Integration and
Stakeholder Relationships Integration

These definitions of Macro and Micro level integration structures are again dependent on the context
within which they are defined. Kitchen, P et al (2009) suggest that IMC needs further exploration
within the framework of business practices, one of which is stakeholder engagement, explored in the
next section.

16

Part 1.1 Creative Collaborations/Stakeholder Engagement Layers within Layers

Stakeholder Management/Engagement/Involvement Theory
Stakeholder engagement and involvement is a crucial element and key consideration for any
organisation. Engagement, ideology, politics and the economy are determinants that form the basis
and structure of this theory and practice. Gregory, A (2004) describes the interdependency between
stakeholders and organisations, noting that organisations are dependent on a group who can affect or
is affected by the actions, decisions, policies, practices or goals of an organisation. Supporting this
definition of engagement, Cornelissen, J (2011) notes that those who generally influence or affect, or
are influenced and affected by the organisation define stakeholder groups.

The 2 definitions highlight the co-dependency between organisation and other(s) and the
acknowledgment, understanding and internal organisation (or categorisation) of stakeholders supports
an organisation's business practice. The term stakeholder (to have a stake in) has broad implications
and there are various matrices that can be formed to express a categorisation process within the
stakeholder landscape that support the organisation in defining the people and groups who are
connected, either internally or externally to the organisation. As noted in the introduction of this
research project definitions of the term stakeholder are relevant and even though this particular term
may not be recognised or used in some fields to describe a co-creative or collaborative relationship, it
can be argued that stakeholder theory, as well as the theoretical model associated with the Business to - Business relationship (see pgs. 22-27) is equally relevant to the exploration of the subject.

It has been implied that the term stakeholder has evolved over recent years with the stakeholder
previously being defined as an individual who had a financial tie, or stake in the organisation, (such as a
shareholder or stockholder). Kruckenburg & Stark (2001) observe the differentiation (and similarities)
between the stakeholder and the stockholder both being integral in terms of accountability of profit
and loss. The stockholder/shareholders interests lay in financial and economical considerations,
however the stockholder/shareholder is also a stakeholder, so this term has been used to define
anyone who has an interest (financial or otherwise) in an organisation.

17

This implies that the term itself has broadened - becoming more inclusive in view of what stakeholders
represent and the contributions and interests they hold, which Cornelissen notes ranges from
economic to moral interests and anything in-between.

The definition of stakeholder within the context of the research conducted was interesting. The
research highlighted that the relationship between client and creative (or creative and creative in this
instance) conferred an equal status if we observe this through the lens of the stockholder/shareholder
parameter. Whilst a 'Lead' within the research project could be identified, both parties had an equal
financial vested interest in ensuring that the project was successful due to the structure of the
businesses involved and the commission based agreement between the 2 collaborators. It can also be
argued that a different business model would have the same or similar objectives, however the
perceptual differences and understanding of the target audience between the 2 stakeholders can be
further defined by the Perception Integration diagram. (Pg.s 28/43)

Stakeholder Mapping: Purpose, Process & Planning Defining the Stakeholder Landscape
Whilst it is important to define the stakeholder in conceptual terms and acknowledge the important
role that stakeholders play in any organisation, it's also important to look at how those stakeholders are
visibly organised and categorised in an organisation. Freeman et al (2007) observe that businesses can
be defined by their relationships among groups who have a stake in the organisation.

Understanding and visualising the interconnected relationships give the organisation a framework that
can be used to add overall value through understanding the various interactions that take place.
Stakeholder mapping is relevant from an internal and external perspective. During the research
process, it was important to understand how the two businesses (stakeholders) interacted by mapping
their connections at meso level (via visualisation using tacit knowledge rather than diagrammatic
representation) in order to gain a richer insight into the co-creative relationship and processes between
the 2 individuals. Tench and Yeomans (2009) make reference to the relevant factors that can be taken
into consideration during the mapping process, including impact, interest, expectations, needs and
power. They use the power/interest matrix to define stakeholder interest within a situational context
and the interpretation of stakeholders needs in order of importance and level of accountability can be
useful in determining specific levels of engagement within the stakeholder landscape.

18

Figure 3
Low

HIgh

Low

Adapted from Yeomans, L & Tench, R Stakeholder Power/Interest

High

Matrix Exploring Public Relations PG 185

Creating and Developing Authentic Relationships a dialogic approach

Authenticity within the stakeholder relationship is an important component in developing reciprocal
trust with the people and networks connected to an organisation. The dialogic approach to
communications as described by Bebbington et al (2007) observes relationships as being reflexive in
nature. The pedagogic perspective taken in their paper contends that learner and teacher operate
within an interchangeable cycle in the transfer of knowledge. Bebbington et al illustrate the attributes
of Dialogic Engagement below;

Figure 4 Attributes of Dialogic Engagement; Bebbington et al pg. 365

19

These attributes of dialogic engagement can be applied to communications practices. Piecska, M (2007)
writes extensively about the connections between public relations and dialogic expertise arguing that
dialogue is at the conceptual centre of gravity in public relations. Grunig (2001 quoted in Piecska, M
2008 pg. 109) notes that the two way symmetrical model4 allows practitioners to use research and
dialogue to bring about symbiotic changes in the ideas, attitudes and behaviours of both their
organisations and publics. This infers that the dialogic approach to communications supports a process
of change, making it an active component within marketing and communications practice.

The concept of dialogue has its roots in many disciplines. Kent & Taylor (2002) make reference to
dialogic discourse being present in philosophy, rhetoric, psychology and relational communications.
This moves dialogic engagement beyond the strategy driven management approach and into the
realms of mutuality, respect and collaboration based on 2-way communications. This is perhaps why
dialogic engagement has also been closely associated with Corporate Social Responsibility (CSR) or
authentic communications.

Relational Communications places an emphasis on the virtues and values contained within dialogic
exchange. Johannsen (1996) notes that Martin Bubers dimensions of what is termed true dialogue
can be viewed as ethical character, authenticity, inclusion, confirmation and presentness but it could
also be argued that dialogic engagement is a neutral term and the way that is understood, perceived
and embedded into the public relations discipline is very much dependent on the practitioner.
Highlighting the dialogic approach, Cornelissen, J (2008) defines this as the dialogue strategy which
observes the different types of communication that exists from a symmetrical and asymmetrical
perspective.

Grunigs interpretation and differentiation of the symmetrical models although classified in more detail correspond with
Cornelissens stakeholder salience model (see pg 23)

20

Figure 5
Informational strategy: One-way symmetrical model of communications
Organisation

Stakeholder

Persuasive Strategy: Two-way asymmetrical model of communications

Organisation

Stakeholder
Feedback

Dialogue Strategy: Two-way symmetrical model of communications

Organisation

Stakeholder

The Stakeholder Salience Model adapted from Cornelissen, J (2008) Corporate Communications pg.50

Grunig and White (2002 quoted in Kent & Taylor) refer to dialogic engagement as conversations
between different groups. They use the example of engagement and dialogue between a tobacco
company, smokers and anti smoking groups. Kent and Taylor also note that dialogue can be interpreted
as debate. In whichever way it is understood, the dialogic approach to communications fosters
collaboration at a level beyond monologic, push/pull mechanisms. Christians, C (1988) observes, in
what he terms the dialogic tradition that, taking this concept into account enables us to look at oneway media and upstream signalling from a different perspective. He notes that an intellectual goal
centres on the premise of refinement and examination of our basic ideas about our freedom and
responsibility in different cultural settings. In whichever way dialogic engagement is viewed and
understood, the concept seeks to open up discussion or provide a framework for open forums in which,
it could be argued that stakeholders inform, develop and influence business processes and practices.

21

Moss and Desanto (2011) refer to the four models devised by Grunig & Hunt, (1984) taking the use of
dialogue in communications practice and evaluating, not only how far they used dialogue, but to
what end. They viewed the 2-way symmetric approach to communication, -which involved genuine
open-ended discussion- more advanced. The concept or definition of dialogic engagement and the
'philosophical leanings' implied within many scholars definition, take this beyond the persuasive and
spin orientated view of public relations that -it could be argued-, has tainted the field. Moss & Desanto
also note that Persuasion communication ranging from spin, manipulation, propaganda and even
brain washing is a form of communications used to change attitudes and influence people.

The Business-to-Business Relationship

In defining stakeholder relationships, the Business-to-Business (B2B) relationship has been categorised
and analysed as a separate and distinct form of engagement that employs different levels of
relationship building. Blythe and Zimmerman (2005) note that, what they term The business market
includes organisations that buy goods and services that are sold, rented or supplied to others. They go
on to further define the business customer as one who buys on behalf of an organisation rather than
for personal purposes. Dwyer & Tanner (1999) observe that the business relationship goes beyond the
transactional and becomes more inclined towards partnerships. They go on to define the difference
between B2B relationships and consumer relationships, referring to the fact that demand in the B2B
arena is based on demand for consumer products [or consumption]. Ellis, N defines B2B marketing as
the activities of any organisation that has an exchange relationship with other organisations or
businesses.
Figure 6 B2B Relationship Marketing Adapted from Ellis, N (pg. 69) B2B Relationship Marketing
Communication

Commitment

Trust

B2B
Relationship
Marketing

Long term
Perspective

Customer Service

Mutual Benefits

22

Taking into account that a differentiation lays within the process and theoretical concepts of managing
B2B relationships (which could arguably be applied to relationship building with stakeholders in
general, as each business is a stakeholder to the other) allows us to draw parallels between the 2
disciplines however, the theoretical concept of B2B relationships lays within the marketing arena.
Further distinctions are made between the research subjects; creative (C1) and creative (C2)
relationship (the focus of this dissertation), explored further in the research report. ( Pgs 36-40)

Defining and Measuring Relationship Quality in the B2B Relationship

Measuring quality in terms of relationships can pose some difficulties, mainly because quality
(especially in relation to art and design) is relative and based on perception and personal taste.
Gummesson, E (1992) notes 5 generic types of quality definition. The type worthy of note,
(specifically in relation to the theme of this dissertation) is Transcendent Quality Perceptions, which is
based on taste and personal preference. The other types are categorized, as Product Based Quality,
Manufacturing Based Quality, User Based Quality and Value Based Quality. All are measurable and
related to the product and service as opposed to the relationship between businesses. Gummesson, E
(1992 quoted in Bowen, D et al 1992) also observed a chain of influence in the customer identification
process that affects quality dimensions;

Service provider A is a Customer to Service companies B C and D their quality influences A's ability
to deliver to his customers E, F and G. Gummesson, E pg 178 in Bowen, D et al 1992

It could be argued that relationships within the B2B arena are an integrated feature in terms of
assessing and evaluating quality. Ennew & Woo (2004) note that there is some confusion or [different
perspectives] as to the directional relationship between relationship quality and service quality
offering a number of different theories relating to the subject. (See table on pg 24)

23

Author

Theory

Crosby et al 1990

Stress that relationship marketing is critical

when the service is complex, delivered over a
continuous stream of transactions and involves
many relatively unsophisticated buyers

Smith 1998

Relationship quality is a central construct in the

relationship marketing literature

Naude and Buttle (2002)

Within the rapidly expanding literature of

Business to Business marketing, supply chain
management,

relationship

marketing

and

customer relationship management, there is

remarkably little attention paid to the issue of
relationship quality

Crosby et al (1990 quoted in Ennew and Woo 2004) also note that there are unresolved issues
between relationship and service quality. They make reference to the fact that there is a lack of
consensus regarding the dimensions of relationship quality, as well as noting that the directional link
between relationship quality and service quality is not defined. We could view this as a chicken/egg
scenario in terms of which dimension affects perceptions of service quality due to a lack of clear
consensus about what the consumer values most. The exploration of relational quality and product
quality would be an interesting study. Even though this falls outside of the dimensions of the research
conducted for the dissertation project, the author of this dissertation notes that there may be some
correlation. (The measurements would have to be perception based and a definitive conclusion would
be difficult to draw).

Auruskeviciene et al (2007) observe that the concept of relationship marketing and the correlations
between this type and transactional marketing are somewhat nebulous. Their research (conducted on
the IT market) show that all 4 types of approaches; transactional, database, relationship and network
are used fairly consistently in the B2B market with a slight emphasis on relationship marketing.

24

The correlation co-efficient showed that there was no difference between marketing types and
performance in terms of success however, there was bias towards using relationship marketing
(inclusive of network and database marketing which the authors place under the heading of
relationship marketing in accordance with Coviello's (1996 quoted in Auruskeviciene 2007) integrative
approach).

Gummesson, E (1992 quoted in Bowen, D et al 1992) brings a bit of love into the quality dimension
debate describing quality as a matter of personality and a need for care, compassion, ethics, tacit
understanding and intuition Gummesson uses the word love in the wider sense of the word stating
that quality needs to be approached from a deeper humanistic perspective. He takes this rather
religious and philosophical perspective of quality in marketing a step further by equating what he
terms the golden rule of Christianity, Do unto others what you want others to do unto you!

We can surmise that relationships within the B2B arena are the foundation of B2B marketing practices
going beyond the transactional and entering the sphere of social interactivity and mutual benefits.

The Client/Creative Agency Relationship

The Client/Agency relationship is another form of the Business-to-Business relationship however; there
are some key differences in terms of the function and relationship formation that adds further
emphasis to the notion of co-creativity.

An element of translation within the discourses occurs on both sides. McIver, C (nd Pg 15) notes that
[an] agencys creative department has to be the interpreter who translates one view point into terms
acceptable to the other It is this translation which, could be argued occurs at both ends of the
relationship, that forms the foundation of the co-creative partnership. This translation process was
less evident in the research for this dissertation due to the fact that one creative commissioned
another creative to do the work. It was evident that both businesses working in the same field and
towards the same objectives used a shared language during the developmental phases of the work.
The mutual understanding of the software used to develop the work enabled both creatives to
converse using technical descriptors to support changes to the project, therefore interpretation was
not a requirement at this level. (Though it could also be argued that at another level, both businesses
still needed to convey their ideas in a way that was understandable to the other).

25

Hill et al (2006) note that; what they term creative arts marketing works through mutually satisfying
exchange, placing a particular value on reciprocity. Kamoun et al (2007) make reference to the
client/agency collaboration as being based on an interactive relationship, (this could also be defined
as the co-creative relationship) and service marketing viewed as taking an interactionist approach.
This implies that the relationship is very much based on the dialogic model using Grunigs 2-way
symmetrical approach as a basis for developing the relationship. Supporting this theory, (Mills and
Marguiles 1980 quoted in Kamoun et al 2007) note that interaction lays the foundation of the
relationship and is defined as an open system in which an organisation has a direct influence on its
client and is itself influenced by its clients behavior and characteristics. Quality in this instance then
becomes a measurement of relational success.

Paliwoda & West (2005) note that, within the client/agency relationship an appreciation of
interpersonal influences has progressed into literature, fusing the process between the buying and
supplying organisations. This suggests that the relationship is not simply a transactional one and
moves into the realm of co-production. They also make an interesting observation, correlating
interpersonal relationships within the client/agency relationship as a collaboration that reduces risk.
This infers that dialogue is important in establishing how a specific project will progress in relation to
key messages and objectives as defined by the 2 parties.

The discourses are informed by the

participation and level of technical and creative understanding possessed by the client (as noted
above), as well as how much input the client will add to the overall process. This may not be easily
identifiable at the onset and could be a process that evolves alongside the co-creative process.

Paliwoda & West note that users (identified as the client side business) may wish to have greater
involvement in the creative process (especially if they are PR practitioners leading on the development
of a project) than is appreciated by the agency, however this would depend on other contributing
factors; e.g. how the agency wishes to work, the structures in place to accommodate different styles of
working and the relationship between the client and the agency. The research subjects for this
dissertation were 2 professionals in the same field working collaboratively with one professional
leading on the conceptualisation this was interesting from an observational analysis perspective (with
the researcher also having design and client side experience). The use of language and terminology
used between the 2 specialists would obviously differ from a relationship with a client who had no
design experience thereby changing the dynamic within the co-creative relationship.

26

Jung, J et al (2012) take a novel approach in deconstructing the client/agency relationship and observe
the collaboration as a potential learning experience. They make a correlation between learning and
the co-creation of a brand, placing an importance of knowledge garnered during the co-creative
process as an important component of the relationship. Whether clients enter into a contract with the
desire to learn is debatable, though the recognition of the potential to gain additional knowledge,
whilst also working towards a final product may add value and as Jung, J et al note, could be used as an
alternative criterion in evaluating the agencies performance.

Part 2 - Deconstructing Discourse During the Creative Collaboration Process

The role of visual discourse in the co-creative process
The co-creative process operates on many different levels and the discourses employed throughout
these processes are a combination of different factors. These factors can be extended to visual
discourse, taking an integrative approach to analyzing the effect of text and imagery during the cocreative process. Visual discourse is viewed as a language in itself and the analysis of art as a
communicative medium is valuable in understanding how different viewers perceive symbolic
references in collaboration with text.

Albers, P (nd) defines visual discourse analysis as a theory and methodological approach to analysing
visual language. Whilst creatives may not be aware of the discourse they use (from a theoretical
understanding or what Fairclough, N terms the technocalization of discourse5) with a client during the
creative process, the theory of semiotics which Albers, P describes as the exploration and nature of
signs or sign systems or systems that have distinct grammars like art, music or language [etc.] underlie
the communications process. Albers goes on to say that semiotics offers a way of thinking about how
language and visuals work together to produce meaning. Communicating a vision or what Candy et al
(2002) define as the language of creative exchange is a key determinant in defining the perceptions
within the co-creative relationship, which ultimately shapes and defines perceptions of success at the
end of the process.

The technocalization of discourse refers to the implementation, integration and training of discourse as a mode of study
within a specific field or institution

27

Within the co- creative paradigm, Ambrose and Bilsen (2011 pg. 111) note design is about the visual
display of specific messages for an intended audience. Central to this is the meaning held by, and
attributed to the various visual elements; for example, text, images and illustrations. These meanings
as discourse structures or processes during the development of marketing collateral help to define and
assimilate the co-creative process.

At different stages in the production of material, creatives will employ the use of imagery, (with or
without text) to enhance a perspective, encourage creative visioning in their clients and to support
them in supporting their clients aim and objectives. In some ways, this necessitates a layering of
interpretation and assimilation of visual and language discourse. In regards to the research subjects
evaluated in this dissertation, their project used a striking combination of word and imagery and it was
noted that presentation of these concepts were used at various stages throughout the process to
encourage further conversations and to develop the concept via an evolving process. The points at
which the concept was offered in order to gain feedback was noted and formed an important part of
the analysis.

The diagram below shows one example of target audience awareness feedback mechanisms. The first
arrow shows the creatives perception of the clients perception which act as a 2-way feedback process.
The client has a direct perception of the target audience and the creative, a distant perception
informed by the client about the target audience.

Figure 7

Creative

Client

Target Audience

INTEGRATION

Perception Integration Feedback Diagram J Samuel (2014)

28

The diagram shows one variable in which the creative/clients perception can be illustrated and
demonstrates the way in which the author of this research has conducted the co-creative relationship
in previous employments. The research conducted for this dissertation shows a different perception
integration flow observing a different level of perception from the one highlighted above, attributable
to the structure of both businesses and the commission based agreement. The integrative factor from
creative to target audience - in this instance- is less distant. (See pg 43)

We could surmise that the discourses (visual and text) and dialogue between client and agency are
dependent on the perceived messages as communicated from each party. The creative is reliant on the
client to know what their target audience requires and the client is reliant on the creative to turn this
vision into something concrete. Supporting this view, Muneratto, G (2007) makes reference to the
notion that interpretation of reality is constantly filtered through the signs of everyday life. In a study
observing the learning experiences of public relations students and the incorporation of practical and
theoretical knowledge of the design process, Muneratto observed the correlations between production
and communication. Migliore and Servetto (1998 In Muneratto, G 2007) surmise It is a cognitive
experience which we could say amounts to the interpretation of visual lexicons and text that move the
creative process between collaborators towards an end goal. As Muneratto, G notes; the parameters
contained within that interpretation constitutes the real product towards which all the operators taking
part in the planning process strive. This cognitive experience defines a level of understanding
spanning different interpretations and layers within the co-creative process.

Marras (1998 in

Munerato, G 2007) interprets this process as A deliberate act in which vision and knowledge are
interwoven in a single teaching

During the actual dialogic process, the use of visual discourse can be defined in terms of what Feiner &
Zhou (1998) refer to as a sequence of visual actions. They explore visual discourse from a
programmers perspective observing discourse in terms of hierarchical structures that can be used
during different phases of the design process.

In summary, the sequential presentation of discourse, (visual, text or a combination of both) influences
how each separate component is translated, perceived and understood.

29

Tools of the Trade - Channels and Technology Used to Mediate the Co-Creative Process
Technologys role in the formation of relationships, engagement and interaction (as noted by Heath et
al 2004) has not been researched in great depth. In what they term Human Computer Interaction
(HCI), they observe that there is a growing recognition that technology in action needs serious
consideration in regards to the way social and interactional organisations are used in the work place.
Content Management Systems (CMS) and Computer Mediated Communications (CMC) can play an
important role in the creation of material and thus influence the co-creative relationship and process.

CMS can be defined as technology which allow users to interact with each other using a common
interface which can be static or live. Changes to documents and projects are visible and editable by
both users dependent on permission settings which enable the owner of the project to allow certain
groups and/or individuals to make changes, view changes or both dependent on their role in the
developmental process. This allows for a certain degree of control in regards to ensuring that
involvement is limited to people who are part of a project team, and flexibility in regards to allowing
people to participate and collaborate at different times where appropriate. CMC can be defined as the
technology used to engage and enable conversations to take place. (For the purposes of this particular
research project, this can be defined as emails and a cloud based transfer system used to facilitate the
co-creative process). It should be noted that CMC and CMS can be defined beyond the use of project
management and into the realm of online forums and discussions.

Borowski et al (2001) discuss the drawbacks in what they term the' traditional' method of working (e.g.
a dominant reliance on meetings and static channels) in a co-creative environment within a multi
disciplinary creative team. They note that a disconnection can occur at different points in the
'sequential' process of the project if stakeholders change elements within the design.

The traditional way of working without CMC or CMS would confer that meetings with separate
stakeholder teams at different times can be counterproductive as this does not reflect the 'real time'
status of the project. Borowski et al also observe that the next step is to turn sequential design into a
parallel process and CMS or CMC offer an integrative process within the life cycle of a project when
working within computer based management system. Kinns, Healey and Leech (nd) also make
reference to the fact that mutual engagement with a technological artefact allow each user to
participate in the changes being made through that particular tool. This could be defined as another
30

factor to take into consideration when evaluating the structure of discourse, which allows collaboration
to produce meaning and perceptions at another level. Supporting this theory, Heath et al (2004) note
that artefacts play a part in the accomplishment of practical organisational conduct use and the coordination of technology and interaction. They also make reference to the fact that particular tools and
technologies support, enhance or transform what people do and the way that they do it.

Technology (specifically the role of technology within the creative agency) can therefore not be ignored
in terms of evaluating discourse at a structural and organisational level. The HCI (Human Computer
Interaction) and Innovation Policy Discourse Panel (Berziwska et al 2012) refer to what they term
innovation [in the arts] discourse as having the ability to inform HCI/arts on a conceptual level. In
observing the collaborative processes contained within HCI/arts and the ways in which they inform the
other, the panellists note that HCI can help to drive creative expression and promote divergent
thinking and creative visions. It should be noted however that technology only forms part of a cluster
of mediated tools and channels used during co-productive processes and face-to-face meetings and
telephone conversations are also relevant. Rollinson, D (2008) observes that effective communication is
dependent on numerous factors, listing a number of considerations to take into account when
assessing the channels used to communicate, including whether multiple channels are used, whether
the channel and medium permit rapid feedback to the message sender, the type of communication, the
language sources used and the variety of information cues available for establishing meaning.

All of these factors were noted during the collection of data for this research along with the absence of
specific technological mediums due to a lack of necessity to collaborate using sequential methods. The
absence of CMS to develop the product observed in the research report for this dissertation relates to
the relationship and structure of both businesses. CMS may have been utilised in an alternative
working environment where 2 creatives are designing a product side by side and making changes
together using technology which enables them to alter aspects of the design simultaneously. The
structure of the relationship informs the discourse within the co-creative relationship and is as relevant
in the analysis of organisational discourse as information technology. The businesses did however make
use of CMC during the co-creative process. (See Pg.30 for CMC and CMS definition)

31

Part 2.2 Communications and Discourse Structure Organisational Discourse

Defining Organisational Discourse
Within the field of organisational communication, Clair, R et al (in Fairclough, N & Wodak, R 2010) make
reference to this particular theory of communications concern with the relationship between
discourse and the creation of social reality, observing the way in which discursive practices produce
shared meaning. Supporting this definition of organisational discourse, Chia, R (2009) notes that
meaning is carved from the undifferentiated flux of raw experience and conceptually fixed and
labelled so it can become the common currency for communicational exchanges. Chia, R goes on to
say, Modern social reality with its all too familiar features has to be continually constructed and
sustained through such aggregative discursive acts of reality construction. It is through the evaluation
of the interaction within the co-creative process that organisational discourse allows the researcher to
look at the key determinants that create successful relationships and products.

This formalising and deconstruction of what could be termed an intuitive process (intuitive in the sense
that some elements will be unconscious, unplanned and informally implemented) gives us insights into
what makes up a co-creative collaboration.

The immediate assumption is that organisational discourse is simply concerned with the way an
organisation (defined as members of a community including businesses) operate and how the
structures within that organisation work to produce meaning, or construct social reality amongst its
members, however organisational discourse can be viewed within a much broader framework, not
simply in the manner in which it is framed, but also in the actual terminology and understanding of
organisational structures. Chia, R makes the observation that it is inappropriate to assign organisational
discourse to the pre existing social object called the organisation. This view of discourse delves into
the epistemology and perception of the organisation. Chia makes a distinction between organisational
analysis (which is concerned with constructing the different elements that make up the organisation)
and organisational discourse.

Mease and Mumby (2010) make similar observations however, they define discourse in terms of macro
and micro levels in an attempt to frame the discourse organisation relationship. They define
discourse at the macro level as an interpretive factor driven by organisation members and at the micro
level in terms of interaction amongst members, though they also note that the 2 operate in a
reciprocal and dialectical way. Fairhurst, G et al (2008) note, organisational discourse research is
32

conceptually and methodologically diverse. This is immediately apparent from the research conducted
for this literature review, however this also introduces many possibilities within the field of research.
Fairhurst et al also observe that this versatility concerning the meaning implies creative theorisation
and empirical work, but in contrast can also lead to confusion.

There have been attempts to define discourse in linear terms within various frameworks. Fairclough, N
views discourse in terms of micro, meso and macro levels, Fairhurst, G et al define (D)iscourse (big D)
and discourse (little d) with (D) iscourse pertaining to culturally standardised interpretive frames and
(d)iscourse pertaining to talk and text in situated organisational contexts, there are however overlaps
and interchangeable elements within each definition.

The Role of Organisational Discourse in the Field of Communications

Discourse encompasses a number of concepts and interlinking theories. The role of organisational
discourse is multi-faceted and can be observed from a number of different directions. Barrett et al
(2004) refer to domains of discourse highlighting methodological and epistemological approaches to
discourse and studies of discourse as organising factors. Both approaches are relevant in the field of
public relations as both are concerned with communicative factors at a micro and macro level. Barrett
et al define organisational discourse as a structured collection of texts embodied in the practice of
talking and writing as well as visual representation and cultural artefacts (relevant to the research
topic). Whilst what Fairclough has termed the technicalization of discourse (which refers to the
implementation of embedding the study of discourse into an organisation) may not add any inherent
value to public relations practitioners, researchers have the opportunity to look at the structures and
dialogic engagement that occurs. Deconstruction of discourse at this level can be useful in gaining
valuable information about engagement, as well as (on a macro level) sociological factors that influence
and drive the PR field.

Dialogue is often researched under the banner of discourse, which David Bohms (1996 quoted in Hardy
et al 2004) refers to as a form of communication from which something new emerges. This
emergence is worthy of note and the processes through which people; organisations and individuals
arrive at the creation of something new is the main area of research and analysis covered in this
dissertation.

33

Discourse and communications are often used interchangeably. Lemeke (1999 in Fairhurst et al 2008)
discusses discourse and communications in terms of encompassing a medium and its language and
visual content as collaborative parts of a larger semiotic system. Though there are similarities between
discourse and communications, it may be expedient to apply some linearity to the 2 fields, observing
them as separate components rather than a synonymous interchange supports defining research
criterion and Fairhurst et als perspective that it is through discourse that language and
communication meet because discourse is language that is used for some communicative purpose
appears to add some definition to 2 fields which they note both have divergent meanings within
themselves.

Dijik, T (2007) notes that the fields of discourse and communications have grown over the last few
decades, but each has grown as separate from the other with few connections being made between
the two disciplines. Analysing meaning through evaluating text, semantics and rhetoric within the
broader context of organisations and cultures infers a natural overlap between discourse and
communications, whether looking at discourse from the structural, critical or micro/macro level. This
variety broadens the scope in determining research methodology in accordance with the area of study.

34

RESEARCH REPORT
RESEARCH METHODOLOGY
THE CASE STUDY
EVALUATION
CONCLUSION

35

Part 3 - Research Methodology

Main objective
To evaluate the key determinants which influence the co-creative process between 2 graphic
designers, (referred to as C1 and C2) during the production of marketing collateral from
conceptualization to conclusion.

Sub Objectives
To define successful co-creative collaborations through measuring perceptions.
To evaluate discourse at a structural level to determine how the order of discourse and the use
of technology inform the process.

Methodology
Using the single case study approach and employing grounded theory and identification of
themes through coding, the evaluation and research will analyse varying levels of discourse
between collaborators throughout the co-creative process.
Research Process Map

Figure 8 Research Process Map J Samuel (2014)

36

Research Philosophy
The objective of the research into co-creativity seeks to define the processes that lead to successful
collaborations within an agency setting. In exploring discourse structures at meso and macro level and
taking a phenomenological approach to gaining insight into perceptions of success, engagement and
co-production; the research seeks to explore -at different levels- the IMC approaches used during the
co-production of marketing collateral, observing dialogic engagement, technology, orders of discourse
and perceptions that enhance effective co-creative relationships, taking a holistic approach to research.

Research Process
LEVEL 1
Communications/business audit
Conceptualization of project
LEVEL 2
Levels of discourse throughout co-creative process
Data collection and content analysis
LEVEL 3
Final Interview
Evaluation
LEVEL 4
Conclusion

Level 1 - Communications Auditing -Team Structure and Orders of Discourse

The initial communications audit will focus on the organisational discourse within the creative agency.
An audit of the structure of the organisation in terms of the varying roles, as well as the technology
used by the agency will be conducted leading into the conceptualization or briefing phase of the
project, making note of the level of involvement each party has in developing the product.

Creative agencies work within different organisational structures. Whilst some agencies will operate
with one or two workers taking on multiple roles, other agencies operate within a larger multidisciplinary team structure meaning different individuals will lead on specific areas during the project's
development dependent on their area of expertise.

37

The structure of the team will influence the creative conversations that take place. Fairclough, N
(1995) describes this in terms of 'chain' relationships noting that there are chains of discursive practices
within and between orders of discourse, which transform in systematic ways.

The challenges posed in presenting the work during different phases of the project is largely dependent
on the structure of the team. This could be viewed as a discourse structure. Bieber et al (1998) define
this in terms of a template for a discussion structure which allows individuals to classify their
contributions to the discussion into meaningful categories that structure their relevance and
significance according to the nature of the topic, the objective of the discussion and the characteristics
of the group. They refer to this categorisation in terms of creative management systems or what they
term Computer Mediated Communications.

NB
It should be noted that Bieber et als (1998) and Healths definition places CMC and CMS into one
category. From a project management and co-creative perspective, a differentiation has been made
between the two for the purpose of the research in this dissertation, though it should be noted that
with changes to technology, some CMC systems are evolving or being embedded into CMS systems, e.g.
google docs which is described as a file synchronisation system allowing users to collaborate and One
Drive which operates using a similar concept. The research by the authors referenced above was
conducted before these systems were introduced/ or were in the beta phases of development.
(Updated by Jo Samuel July 2016)

This supports the idea that the discourse is co-dependent or mutually related to the channels and
management systems utilised during the creative process. Another factor to take into consideration is
the nature of the relationship between client and creative. (Or creative and creative in this instance).
This relationship is dependent on what material is being created and the participation levels defined by
both parties in the development of the material. Some clients may lean heavily towards allowing the
creative complete autonomy throughout the process, intercede during a particular stage in the
development of the collateral, or take on a larger co-creative role in the project.

38

Level 2 Data Collection and Content Analysis

At Level 2, the data collected will be used to inform the content analysis. All communications and
channels through which those communications are mediated will form part of the analysis. The
research will explore the interfaces and tools used during the discourse at a meso level observing how
different channels of communications affect the co-creative process; (for example, telephone
conversations have no visual discourse value, but may play an important role in the creative process) as
well as how visual and language discourse at a micro level converge to create a chain relationship with
the distribution and production of marketing collateral during the co-creative process at different
phases of the project.

The evaluation and conclusion will seek to understand the correlations between levels and orders of
discourse and how this influences perceptions of the final product and relationship.

Level 3 Evaluating Perceptions

The concluding interview will measure perceptions of the engagement process as well as evaluating
perceptions of success at different levels in the relationship. Bingham and Moore (1959 quoted in
Daymon & Holloway 2003) define interviews, as conversations with a purpose and a semi-structured
interview technique will be used to obtain data. The objective will be to analyse the 2 interviews and
observe the variables within the discourse highlighting how each respondent viewed the collaborative
process and how they perceived the final output. The questions will cover the full spectrum contained
within Pattons matrix of questions;
Figure 9 Question/Option Matrix
Past

Present

Behaviour/Experience
Questions
Opinion/Value Questions
Feeling Questions
Knowledge Questions
Sensory Questions
Demographic/Background
Questions
Adapted from Qualitative Evaluation and Research Methods: Patton, M (1980) pg. 293

39

Future

Whilst creativity (or the definition of creativity) is an important component within the collaborative
process, creativity in itself is not the focus of the research. The co-creative relationship building
process, engagement and perceptions of quality and successful output outline the criteria in terms of
evaluation.

Further considerations regarding the research methodology including; ethical considerations,

measurements, techniques and considerations for further research can be found on (Pgs. 81-85)

40

Part 3.1 - The Case Study

Creative 1 -Ed Povey (Place in Print)
Creative 1 (C1) Place in Print is a small local business operating in South East London owned by Ed
Povey specialising in a stylised approach to illustrating local and recognisable landmarks and buildings.
The company has a small local studio and stock space allowing people who have ordered prints to
collect them on appointment. The Companys tag line Celebrating Neighbourhood Through Locally
Themed Art and Design, describes a specific objective shown through the designs created by the
designer and owner of the company.

Business Model
Place in Print has adapted to the local market by providing a service directly linked to locality and has a
highly recognisable style. www.placeinprint.com. The business functions at different levels integrating 3
primary functions that can be further delineated into 3 secondary functions leading to the final output
before it reaches the end client.

Figure 10 Place in Print Business Model J Samuel (2014)

Place in Print
3 Functions

Commissioner

Agent
Designer

Seller, Promoter and Distributer

End Client

41

Creative 2 Paul Pateman (Pate on Toast)

Paul Pateman http://www.pateontoast.co.uk/ operates a small design studio in East London. Coming
from an agency background, he has recently started a sole venture specialising in illustrative work for
agencies, individuals and companies. He also commissions animation based on his illustrations. Paul
works directly with the end client, as well as with agencies who commission his work which means he is
one step removed from the end client when commissioning work and in direct contact with the client
when approached directly. For the purposes of this research, his business is defined as creative 2 (C2)
though both creatives took almost equal responsibility for the final product, C1 approached C2 and
could be defined as the individual responsible for final sign off upon completion of the creative project.

The Brief
Although there was no written brief for the project, both creatives formed the concept during an initial
face-to-face meeting. The overall objective of the project was to produce a series of illustrations for
London Boroughs using a single word to form part of the name, accompanied by an illustration (see
pg.s 86-90). The target audience at time of concept building were homeowners who would potentially
purchase the art for their homes. There were no deadlines set for the work.

Partner/Activity Matrix
The partner activity matrix, Candy, L et al (2002) demonstrates co-creativity accountability for the
research participants.

Figure 11 Partner/Activity Matrix

Place in Print (C1)

Pate on Toast (C2)

Brief
Concept
Illustration
Sign Off

The channels used to mediate the process

Email, face-to-face meetings and a free cloud based transfer service were used to mediate the
co-creative relationship. The data gathered highlighted the orders of discourse and identified themes
throughout the development of the product.

42

Perception Integration
The perception integration diagram illustrates the understanding between both creatives in view of the
distance in perception from the target audience. (See Pgs. 28-29 for a detailed definition)

Figure 12 Perception Integration

C1

C2
INTEGRATION

Target Audience
The Perception Integration diagram uses the same model shown on pg.28. The Perception Integration between C1 and C2 shows
an equal distance from the target audience demonstrating a shared understanding of the audience based on their B2B
relationship.

Open Coding Identified Themes

Reviewing the conversations between the 2 creatives and generating codes based on themes that arose
from the email exchanges, the following themes were identified;

The identified codes were;

Encouragement C1
Encouragement C2
Opinion Seeking C1
Opinion Seeking C2
Product Presentation
Research
Suggestions C1
Suggestions C2

43

The conversations were segmented into the above nodes with a view to observe the frequency of
occurrence in each node during the exchange of conversations.

C1 refers to the lead as defined for this research project,

C2 refers to the illustrator

A graph of the results on pg 48 shows the occurrences of each node and frequency during the
process.

Final Questionnaire Perceptions of the Final Product

A telephone interview was conducted with both research participants using a questionnaire in order to
evaluate how they viewed the final product and their perception of the business relationship. Both
research participants were asked the same questions. (See table on pg 51)

The objective of the questionnaire was to cross-reference answers to qualitative and quantitative
questions, evaluating correlative themes across the data given by both research participants.
Observations were drawn on the following;

a, whether perceptions of the process were similar/different

b, whether perceptions of the end product were similar/different
c, how they viewed their working relationship
d, next steps

44

Part 3.2 Evaluation

Business Models
The structure of the 2 businesses defined the development of the collaboration. C1 made the initial
approach stating an admiration for C2s work and the desire to create something that would work with
the 3-tiered structure of his business (identified by the researcher) in view of his role as co-marketer,
seller and distributor. C1s specialises in a specific graphic design style and has the channels established
to incorporate other styles and specialities which allows him to promote and commission other types
of design. This impacted considerably on the co-creative process and the structure of both businesses
defined the roles in which each party contributed.

Taking into consideration that C2s specialism and networks are organised in a different way in
comparison to C1, the collaboration suited both businesses equally.

Shared Language
Observing a co-creative relationship between 2 people in the same field operating as individual
entities, the language used to mediate development would differ significantly in comparison with 2
professionals working together in different fields. The use of language in the creative setting has been
defined by Candy et al (2002) as the language of creative exchange (see pg 27 for further details).
Drawing on some examples from the email conversation, it is fairly obvious that both creatives are
speaking a shared language that would be translated differently if one party were not a creative
professional. Examples below:
1. Could you try toned down shades for the background colours while the bright/bold colours
definitely stand out, they are also quite dominant, which might put some people off when it comes
to buying artwork for homes etc.
2. I'd be interested to see how the illustrations looked with a thick black outline like the one you used
on the 'Go Ultra Low' campaign.
3. The writing and image are a bit disjointed at the moment I wonder if adjusting the lettering colour
to match an element of the image could work, or if you end up using a stroke on the image,
reflecting that stroke in the lettering.
4. It might be worth playing around a bit with the scale of the icons/images perhaps some of them
could be falling off the edge of the image rather than all being central.
5. It took me a little while to work out 'chalk farm' - maybe a chalky line in addition to the chalk itself?

45

Phrases such as Scale of Icons/images and using a stroke on the image reflecting that stroke in the
lettering are phrases which would be defined as technical jargon showing that both the
commissioning entity and the other creative have a working knowledge regarding the capabilities of
the software being used and a shared awareness of graphic design terminology associated with a
professional understanding of design techniques.

Taking into consideration that there was no written brief for this project- a shared language and
understanding of that language eliminates - in part- the need for definition at the start of the process.
(The simplicity of the concept should also be taken into consideration). Both creatives were happy to
work to no specific deadline (and in view of the arrangements, it was in both parties interest to work
steadily towards completion), though it is noted that at certain points in the process, both creatives
either requested an update, or offered a work in progress illustration periodically moving the process
on.

Responsibilities
The responsibilities as outlined in the partner/activity matrix (pg 42) highlights a comparison of
responsibilities for specific areas of development. The partner/activity matrix shows that there is
almost equal responsibility in regards to different components of the process. This again reflects the
nature of the working relationship and builds a picture about how the 2 creatives worked.

Perception Integration
The equality established in the relationship is further defined by C1 and C2s commission based
agreement highlighting the importance of a shared vision and goal in order to reach the target
audience. In this instance, the shared vision outlined in the co-creative process was developed by both
parties impacting on the orders of discourse and the process. Both parties had a vested interest in
understanding who the target audience were and how this would impact the developmental process.
Different models of perception integration can show a one step removed line of perception with the
target audience (dependent on whether work is commissioned through another agency or directly with
the designer). In this instance, even though the work was commissioned from one designer to another,
the structure of the business and the business relationship showed an equality in partnership and a
professional understanding of the field in which they operated. (See pg 43 Perception Integration
Diagram) This mutuality takes us back to the equality shown in the partner/activity matrix and the
recurrence of equal status (perception distance and responsibility) shows an emerging theme.
46

Channels
The channels used to mediate the process were a face-to-face meeting, emails and cloud based
transfer service. Email was the predominant channel after the initial face-to-face meeting, which could
be described as a briefing session.

Referring to Attributes of Dialogic Engagement; Bebbington et al diagram (pg 19) observations can be
made about the different dimensions of engagement including one to one conversations leading to
successful engagement. Mutuality, respect and collaboration played an important role in C1 and C2s
collaboration.

In discussion with C2 conducted as part of the research for this project, it was clear that the
introductory meeting was held in order to establish a working relationship and build the foundation
before development begun. C2 noted that he felt that the value of face-to-face meetings at the initial
stage of the project gave him the opportunity to make a judgement of character and he found this to
be valuable starting point. (The researcher was not privy to the conversation held in the first meeting
and obtained this information based on the perception of one party after the meeting was held.)

The face-to-face meeting ensured that both parties were aware of the overarching objectives, that they
established a sense of familiarity on a personal level and set the foundations for continuing the cocreative process via email.

It is interesting to note that whilst working virtually was a preferable, cost and time effective mode in
which to work establishing relationships outside of the virtual environment may ensure that
misunderstandings are kept to a minimum and although the bulk of the development was conducted
via email, the initial meeting, (from both parties perspective) set the foundations for the development
of the project.

47

Other Technology
Emails have a limited amount of space for attachments and the use of a cloud-based file transfer
system was utilised during the process. This system was simple to use, did not require a lengthy sign up
process and was free. C2 uploaded the final illustrations showing different colour alternatives of the
same design and this system offered a practical solution.

Taking into consideration that C1 commissioned C2 to develop the work, due to the requirement for
specific specialisation, the use of what Boroski terms as parallel systems was not required. (Though
they had equal responsibility in the development of the work). This type of technology may be used in
creative agencies with multi disciplinary teams who work on different aspects of a single project and
need to observe the changes as they take place.

Identified Themes
Having identified themes that were prevalent throughout the email exchange, Nvivo software was used
to create a graphical illustration of the identified codes and results.

Figure 13 Email Exchange Bar Chart

48

Observing the themes shown in the graph on pg.48, there is a predominance of suggestions by C1
this would be as expected regarding the role C1 plays in the co-creative relationship. Suggestions
would arise after product presentation and on review of what was seen. These suggestions were
mostly technical alterations to the illustrations. The occurrence of suggestions for C2 was minimal,
though it is noted that there is one instance in the email exchanges.

Opinion seeking (defined by one party asking the opinion of the other) by C1 and C2 also featured quite
highly demonstrating that even though one party in the relationship could be defined as the lead, there
was still a sense of mutuality and equality in the relationship. When C1 gave suggestions, this was
often followed up with a question regarding the suggestions, such as What do you think? showing a
respect for the expertise demonstrated by C2 and an understanding that they were both in the same
field. C2 responded in a similar way, taking us back to the themes of dialogic engagement and showing
an equal stake in the relationship.

Encouragement of product development was solely defined by C1, who would give encouragement
when product presentation took place.

The column product presentation relates to C2 (as would be expected due to him being the creator of
the work). Observations about the points at which product presentation took place within the
discourse structure will be evaluated in the next section of the report.

Research did not figure highly in the conversations. It could be surmised that the idea required minimal
research due to the simplicity of the concept. The research column calculates all references and
demonstrates the consideration of research, rather than actual research conducted. Research also
refers to suggestions in testing the product and this data has been merged between C1 and C2.

49

The role of visuals Product Presentation

The role of visual discourse operated at 2 distinct levels during the collaboration;

1, The development of the actual product used a striking combination of text and imagery to convey a
message for a specific target audience.
2, What has been termed for the purposes of this research as product presentation during different
stages of the process to support the development and refinement of the product.

Visual discourse operating at these 2 levels highlights how visuals and language work together to
convey a message. The product itself required an understanding of the name of a specific borough,
separating the name into 2 parts (language and visual) requires a further understanding or cognition of
the design concept. In some ways this was like a simple puzzle adding another layer of depth to the
concept (see pg.s 86-91). One of the suggestions made by C1 questioned the cognition in a particular
illustration at one point in the exchange- it took me a while to work out chalk farm maybe a chalky
line in addition to the chalk itself. The overarching concept or idea behind development of the material
was simple and the conversations that took place reflected this objective.

It was interesting to note when the product was presented during the development of the process. The
lead would give suggestions, which would be followed by the presentation of the work, which would
lead to further suggestions. It can be observed that within a 2-month period, visuals were presented 5
times throughout the process, which would lead to further discussion, honing and refining between the
2 creatives. Most of the conversations about the product were based on altering the style and
suggestions were offered regarding different colour combinations from both parties.

50

Questionnaire
The telephone interview was conducted with C1 and C2 at the end of the process. The questionnaire
was segmented using the following headings; (See pg.s 100-107 for results)

Headings

Questions
How did the original idea arise
What did you use to develop and expand
upon your ideas
On a scale of 1-10, how well did you feel
the working relationship progressed
(1 = not so well, 10 = optimally)
Would you change anything about the way
you worked together
If there was anything that you would
change about the way you worked
together, what would it be? E.g. more
meetings, quicker deliver, etc.
Were you clear about your role in the
development of the product
Could you give further explanation for your
answer?
Did the final product meet your
expectations
Did the final product reflect the original
objectives of the brief
Did the original concept change at any
point during the process
If so, how did it change
Please rate the following channels (1= least
effective, 10 = most effective)
Face to face meetings
Emails
Did you conduct any research for the
project
If so, what research did you do
On a scale of 1-10 (1= least satisfied, 10 =
most satisfied, how satisfied were you with
the end result
Is there anything in particular that you are
especially proud of in relation to the end
result
Were you satisfied with the rate of
progress (could the development have
progressed any quicker/slower)
What are the next steps in relation to the
finished product
Would you work with the business again
on future products

Ideas and Vision

Relationship

Product

Tools and Channels

Research

Perceptions of Success

Next Steps

51

The objective of the final interview was to measure perceptions of the projects development and
success observing whether C1 and C2s ideas converged throughout the development of the work.

Under the heading Ideas and Visions in the table on Pg. 51, both C1 & C2 agreed about how the original
idea arose. C2 was a lot more descriptive in his summation and answered this question in a narrative
format. C2 as creator was able to expand upon the development question this highlights the process
in which the work was created and his thought processes as he developed the concept. C1 described
his role adequately in the process and it can be observed that each creative describes idea expansion
from his own perspective indicative of the roles each party had. Under the Relationship Heading,
(bullet 1) C1 and C2 rated the progression of the relationship similarly and both stated that they would
not change the way they worked together, however C1 expanded upon this by stating that he prefers
working in person rather than by email on more complex projects.

Although C2 did not expand upon his answer to this question, there is some alignment to C1s
preference under the Tools and Channels heading in the interview where he expands upon the rating
by saying that the first meeting was great and that he would have liked to have met more if it was
practical. In relation to product based questions, both C1 and C2 agreed on all points. C2 noted that
even though the concept didnt change, some of the places they were going to illustrate changed,
however this was not defined as a change in objective. Both C1 and C2 expressed slight concerns
around rate of progress under the heading Perceptions of Success, (bullet 3) and C1 mentioned the
request for updates to test the product at a certain point in the process (which he wasnt too sure was
met) whilst C2 noted that he would like quicker progression at the time the interview took place.

There was some ambivalence in their answers to Perception of Success questions which perhaps relates
to a reluctance to mention their concerns, however it was interesting to note that both C1 and C2
expressed slight concerns at different points in the project. This could be in view of a slight disparity in
perception highlighted in the Next Steps heading which was noted as the one point in which C1 and C2
had different ideas. (It should be taken into consideration that the research concluded as the final
product was presented and did not progress to the marketing stage of the product and it is assumed
that any misalignment of perceptions would be addressed during the testing and marketing phase of
the product). It was interesting to note that monetary value was mentioned during the interview at
different points by C1 & C2 even though this was not included in the questionnaire, both participants
mentioned sales as a measure of success.
52

Part 3.3 - Conclusion

Definitions of success in regards to co-creativity can be defined and observed in different ways. What is
evident throughout the development of the product in this particular case study is the equality of the
relationship between the 2 individuals. Whilst each had a definitive role within the developmental
process, each entities business structure and the nature of their relationship played an important role
in their collaboration. The conversations that took place reflected a sense of equality and respect for
their individual contribution, whilst the language used throughout the process reflected expertise on
both sides which could be interpreted as making the development less onerous (or simpler) than had
the relationship been between creative and a client in different professions. This was reflected in the
email exchanges as an understanding of the objectives and software used to develop the project
leading to a shared language, as well as the brief being conducted during a face-to-face meeting rather
that in written format.

The channels used to mediate the process and the order in which those channels were used are also
significant. The initial face-to-face meeting enabled both parties to gain a thorough understanding of
what was expected in the relationship. Taking into consideration that both individuals worked within
the same field and had equal interest in the success of the project; the absence of a brief and deadline
can be observed as a mutual trust and understanding about the overall objective. Further research
options could include observing other models and relationship structures to see how the co-creative
processes would differ alongside a comparison between different business models and types of
relationships.

IMC played an important role in the overall development at different levels. The evaluation identifies
the integrative events that took place leading to the final output. Both creatives had a thorough
understanding of what the objective was (at a business and creative level) by developing their
relationship and starting the process with a face-to-face meeting. The 2-way symmetrical model of
communications (dialogue strategy), supports the view that this form of communication is more
advanced and less open to misinterpretation. Both creatives utilised this model of communications,
which contributed to the successful development of material throughout the co-creative process.

53

Taking a thematic approach to analysing the email exchanges that took place and observing the
predominance of certain themes added another layer to the co-creative picture. The themes that arose
as the exchanges were evaluated are fairly obvious and took the research to another level. It was clear
(observing this through a holistic framework) that the business structure, activity and tools that were
utilised played a significant part in exchanges that took place. Observing a multi layered perspective
throughout the research, a pattern started to form over a period of time.

Approaching the research from an integrated marketing and communications framework on the
co-creative relationship, varying factors are taken into consideration. Whilst an integrative approach to
the process may not have been the conscious choice or decision, (or was second nature to the 2
creatives due to their field of work) analysing their conversations, defining the channels, modes of
communications and structure of both businesses give insight into how all these factors contributed to
perception integration, an end product specific for a target audience and a successful relationship. The
embedded and integrative process and the analysis of the varying factors contained within that process
take us to a point of recognition. If the co-creative relationship is quantifiable, then there are varying
factors that can lead to successful collaborations which can be measured.

It should also be taken into consideration that there are limits in terms of what measurements and
conclusions can be drawn.

Though one can observe different elements contained within the

relationship, a similar structure and discourse could potentially yield very different results. This may be
dependent on the characters and personalities of the creatives, timings, different perceptions of
success and different understandings of the end result. The purpose of a written brief supports
minimisation of issues and challenges that may arise in other co-creative relationships and many
agencies work from this foundation. However, it should be noted that a brief does not guarantee a
successful collaboration and success can be measured, to a certain point, by understanding
perspectives of the design team, their client and the target audience.

54

Success could also be defined in terms of monetary value, (the co creative process may have been
difficult, but the end product was lucrative and vice versa) or the target audiences interest generated
by the end result. Success would therefore depend on the overall objectives defined in the relationship.
Further research on the topic could delve further into definitions of success from the designer and
clients perspective observing the alignment of perception, the end result measured after completion
of the product and sales generation over a period of time. Sales generation was mentioned as a
measure of success by both creatives in the perception based interview. (This was unprompted and was
not included in the questionnaire).

Taking into account that the research focussed on measuring the process of a graphic design project as
a co-creative endeavour (specifically illustrations), design can be further defined by products such as
furniture and less tangible forms of co- creativity whereby a final output is measured by aesthetics
(such as interior design), or even design of an organisational process or project which has an end
objective and requires collaboration. Co-creativity can be measured beyond the usual meaning of the
word creative and there may be differences in the way collaborations are formed and developed
dependent on the end product, the tools used and the target audience. Further research options could
therefore observe comparisons with different products and processes noting how the co-creative
discourse differs.

Success in this particular case study can be observed from conceptualisation through to completion,
defined by an equality in the relationship, mutual respect for each contributors expertise, an equal
understanding of the software used, an established relationship through an initial face- to face meeting
and an equal desire to market the product in order to generate sales. All of these contributing factors
demonstrated an alignment in the visioning and development of the end product.

55

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APPENDICES

LEARNING AND REFLECTION JOURNAL

RESEARCH METHODOLOGY (EXTENSION)
CASE STUDY (THE CREATIVE PROJECT)
ADMINISTRATION

64

Learning and Reflection Journal

Introduction
My choice to research co-creativity was influenced by the positive as well as challenging experiences I
have had as a communications practitoner liaising with creative agencies. It has been my observation
that the co-productive process (and the variables contained within it) varies from agency to agency and
my particular role in terms of contribution to different projects has also varied over the years.

Definitions of Reflection
Reflection can be defined in a number of ways; Finlay, L (2008) notes different definitions of reflection
citing Boyd et al and Fales, Mezirow and Jarvis who define this as;

Learning through and from experience towards gaining new insights of self and/or practice

She also notes that there are different meanings implied within reflection, some see this as adopting a
thinking approach to practice, or taking a structured approach to being reflective, whilst others view
reflection as self indulgent navel gazing

Kahn et al (2006) and Taylor (2006) cited in Sen, B (2010) notes that reflection is a process. Watson
(2008) in Sen, B (2010) states that reflection can be developed and maintained to support continuous
learning and personal and professional development

Exploring Reflective Models

Reflection and reflective practice is a vast subject and there are different models and theories about
reflective practice.

Gibbs reflection cycle outlines 6 observable categories when writing about the reflection process.
Description, feelings, evaluation, analysis, conclusion and action plan (See figure 1 pg. 76).

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Kolb (1984) observes reflection from an experiential lens (defining this as a learning process) He makes
a clear distinction between rationalist, cognitive and behavioural modes of learning and defines
experiential learning as an integration of all 3. Kolb highlights three models of the experiential learning
process. (See Figure 2 4 Pg.s 76-77)
The Lewinian Model of Action Research and Laboratory Training
Deweys Model of Learning
Piagets Model of Learning and Cognitive Development

Schon, D (1983) categorises reflection as reflection on action and reflection in action. Schon defines
reflection in action as a process that takes place during practice, which I would define as an intuitive
process, or which has been defined by Schon as tacit knowing in action. Schon (1983) in Cendon, E
(2011) describes this in the following way;

He does not separate his thinking and doing, ratiocinating his way to a decision which he must later
convert into action. Because his experimenting is a kind of action, implementation is built into his
inquiry

Reflection on action as defined by Finlay, L (2008) is a process of reviewing, evaluating and analysing a
past process or practice to gain some insight into making improvements of future practice.

It was important for me to understand different perspectives of reflection in order to make reference to
my own insights giving them some structure and definition. Whilst some people would find reflective
theory relevant in developing their own thoughts, it was useful to me in understanding different
models from a theoretical rather than practical perspective and I was keen to avoid becoming bogged
down in the quagmire of different theories. Rogers, C notes that a lack of commonality in the language
of reflection makes defining what constitutes reflective practice challenging and I made the conscious
choice to write about my reflections and relate them to the relevant theory.

66

Initial Observations The Co-Creative Process

Observing the key determinants that influence the successful final output, as well as the relationship
(which I believe to be linked) was of keen interest to me. Having worked successfully for many years
with creative agencies in my role as a communications practitioner and having a working knowledge of
design procedures and software, I have often chosen to take an active part in the production of
marketing collateral in different contracts as a sole activity, as well as part of a spectrum of different
communications practices within a single organisation, however a recent challenge caused me to
question what makes a successful collaboration and if this can be quantified.

Perceptions and assumptions can often contribute to misunderstanding in a relationship and having
worked with larger agencies as well as one experience of working with a smaller franchise, I observed
the differences in organisational structure as well as general ways of working. The challenge presented
in this particular instance came down to a lack of definitive brief from the outset and the small agency I
employed for a personal project, (whilst their graphic design expertise was excellent) changed the
costings half way through the development of the work due to underestimating the amount of time the
project would take to complete.

It should also be taken into consideration that the company were more print specific and a significant
amount of their work was print related, whilst the project I was undertaking at the time was being
developed solely for online consumption. This may have impacted on the business relationship as I was
used to working with larger budgets for larger companies who specialised in graphic design across all
mediums.

Whilst flexibility and adaptability is important in developing creative material, structure and
conceptualization from the outset should be defined in clear terms. My choice to look at this
phenomenon in detail was brought about by my experience of successful collaborations over the years
and what I would define as one unsuccessful collaboration with a small design agency, which led me to
think about how successful relationships and co creative processes actually arise.

67

In terms of co-creation, its my belief that it is important to take a reflective position and in some ways,
the ability to step outside oneself and look at the situation from a birds eye perspective allows both
client and agency to think in terms of their own individual contribution to a project. Whilst this may
not be the usual objective when developing a product, my hope is that by segmenting and observing
the components involved in a collaboration (from the researchers perspective), a pattern will emerge
enabling a clearer definition of the processes involved in successful co-creative partnerships.

Challenges
Finding appropriate literature for the review section of the dissertation and ensuring that the literature
did not veer from the objective of the research was a challenge. Whilst it could be argued that
integrative marketing communications (IMC) -as a topic within communications academiaencompasses co-creativity, IMC is too broad a definition to use as a sole concept attributable to
co-creativity, however it does play an important role in the co-creative process alongside stakeholder
engagement and organisational discourse. Terms and definitions may vary according to the field and
understanding about what those definitions mean; e.g. stakeholder relationships and dialogic
engagement may not be recognisable terms in the field of enquiry, however these terms are correlative
to the research undertaken.

Keeping this in mind, careful and discerning editing of the literature review was a necessity and a
strong rationale has been embedded throughout the literature review and research report.

In regards to seeking out an appropriate research subject, it was necessary to look at how to define the
co-creative relationship via observation through a processual lens. This in effect meant that I could
broaden the scope of the research and define a methodology for studying process and organisational
discourse rather than focusing on the end product. The dialogic engagement involved in this process
(the 2-way feedback mechanisms and conversations involved) could then take precedence, which gave
the research project a far richer and deeper basis for analysis.

68

It was interesting to read other students accounts and reflections during their own reflective process
about their studies and the difficulties and challenges that arose from their own experiences when
conducting research for their project. At times, it was easy to believe that the challenges I identified for
myself were unique to me, however from observations I have made from McGuiness, C and Brien, Ms
(2006) research which observed reflective journals specifically assessing the research process, there
may be some universal thoughts and feelings relating to the experiences of students who are
undertaking research and their own individual processes which include challenges, difficulties and the
feeling of achievement. This put my own experience into perspective, as I was able to relate to some of
the experiences that were outlined in this research. (See figure 5 pg. 78)

Research Ethical Considerations

Prior to collecting data and contacting individuals for the research project, I looked extensively at
ethical research practices. I was concerned with this aspect of data collection and wanted to ensure
that I met the guidelines as specified by my institution.

It was interesting to note that there were grey areas in regards to what was considered ethical, for
example is it appropriate to offer incentives to people who are willing to participate in the research?
On meeting one of the creatives involved in the research I brought him lunch. He had already agreed to
do the research and this was a gesture on my part to thank him for his time. On discussing ethics, he
jokingly noted that I brought him lunch. This took me by surprise, as it did not occur to me that this
could be viewed as a potentially unethical action and I then reflected on whether cynicism on his part
played into his perception, or whether I was steering him to support my research project by offering to
buy him lunch and if this was the case, could this be taking an unethical stance.

Kumar, R (2012) pg. 245 notes that some researchers provide incentives to participants, whilst others
feel that the offering of inducements is unethical. This then lead me to think about perceptions in the
context of the researcher and the research participants which further highlighted how perceptions play
an important role in interactions beyond the co-creative process, informing my decision in future
communications and I ensured that any appreciation shown for his time was not followed by a request.

69

The Individual Learning Experience

It should be taken into account that individual circumstances and personal experiences can also impact
on the process of writing a dissertation. I knew that I had the skills and expertise to complete the
dissertation, (and the MSc) and I am a firm believer that I can do anything I put my mind to, however at
the same time I also acknowledged that there were some areas that I did not feel confident in
(specifically seeking research participants) and I found the need to rely on other people to conduct the
research to be my own personal stumbling block. This is perhaps due to my preference to complete
academic work autonomously and not wishing to rely on other people to complete the research. This
preference could be viewed from a reflective dimension perspective. Chen, Wei and Lieu (2010) note 5
different types of reflection dimensions;
Function
Form
Level
Scope
Leaning

The authors make reference to human mental functions within a self-governing role. The scope
dimension as defined by Chen. Wei and Lieu is concerned with; a preference for working alone or with
others

These different thinking styles demonstrate different ways of using our abilities. Their research
focused on web based learning systems, evaluating whether matching reflective teaching strategies and
students thinking styles lead to improved reflection levels.

Taking this into consideration, I noted the dimension according to Chen, Wei and Lieu (scope) that
correlated to my preference to working autonomously in academia. They then went on to provide
further definitions in terms of thinking styles (legislative, executive and judicial with the definition of
legislative being the best fit in regards to my individual style;

Legislative One likes to use her/his own ways to create, design and invent with little indication and
limitation

70

Correlating this to my own preference -although in this instance, the teaching strategies as outlined in
their research would not have been applicable in regards to my research project-, it was interesting to
note that my thinking style as defined by the above authors played some part in my activities during
the process of writing the dissertation, therefore it was necessary to address my particular style and
look at ways of making adaptations as necessary in accordance with different stages of the process.

Reflection on action/Reflection in action

This particular reflective journal is written from a reflection on action perspective. (See pg 66 for
Schons definition). It could be argued that I took a reflexive position whilst conducting the research,
which could be defined as reflection in action.
I observed an example of this (the observation being reflection on action on reflection in action) whilst
I formulated my research plan. It became apparent in hindsight (reflection on action) that I employed 2
levels of awareness whilst seeking appropriate research participants for my project. It was necessary for
me to consider formulating a research strategy and philosophy from the perspective of the academic
institution (who would be marking the dissertation) whilst thinking about the research participants I
would work with in order to conduct an analysis, (taking into account that they may not comprehend
academic expressions or understand the requirement for certain processes and procedures I needed to
take as part of the research). I therefore broke this down into 2 components;

1, Structuring the research and having a coherent plan that could be presented in the dissertation and
would allow me to evaluate the data correlating to the initial research question.
2, Communicating the plan to the agency (who may not have experience of academic writing and style)
ensuring that the language I used was relevant to them and they understood the objectives of the
research.

This thinking process used tacit knowledge at the time of making the decisions about different ways of
communicating (reflection in action) and I drew upon past and previous experiences whilst actually
undertaking the communications process.

Gill, G David, H et al (2013) make reference to the necessity of taking different modes of
communicating into consideration. They note that; Communication forms the basis of a mutually
assured development process. They also highlight the fact that language must change over time to
71

achieve a commonality of goals. This was evident in my discussions with the creatives as we tried to
work through a process whereby I was able to conduct research with the business, whilst taking into
consideration their needs in regards to non-obtrusive methods of data collection and time limitations.
It was also important that I was able to acknowledge their personal anxieties around the research, as
well as adapt and adhere to the structure of their company.

Overcoming Challenges
There were certain parts of the research process that were easier than others and I noticed a tendency
to focus on the easier aspects. In overcoming this, I looked at ways that I could view the process
differently and adapted the original proposal as time went on in accordance with additional learning
and understanding around the research topic. For example, my original proposal focussed more on
observing the creativity within the co-creative process and was more specific in relation to the actual
product, however it was apparent that the process of creation and the relationship between 2
businesses would be a better research design and was likely to yield interesting results.

As time went on and after discussions with my dissertation supervisor, it was apparent that there was
far more flexibility in regards to the research than I had originally thought and whilst it was important
that I worked within the scope of the research topic, I was able to adapt the research design over a
period of time.

I also realized that my perception of the co-creative process and the relationships contained within this
process held certain biases.

Having worked from a client side perspective quite extensively, (I

commissioned work and directed the creative to create collateral defined by the organisation I worked
for) my assumptions about the perceptions of the process were one-sided. Having not experienced
different business models within the field of my enquiry, it was interesting to note that the distance
(perception and understanding) from creative to target audience was dependent on the relationships
contained with the business model, the knowledge of the target audience and the roles both
individuals held in the process. This realisation brought about an adaptation and change in my way of
thinking about perceptions of the target audience and how this impacted on the co-creative process.

72

The Bigger Picture (post MSc completion)

My reasons for wanting to do the MSc were varied. I had been working in the field for a number of
years prior to undertaking the Masters and it was interesting to observe the differences between
practice and academia in my chosen field. Communications is a continually evolving subject (especially
with digital communications now featuring quite prominently in the field). The definition of strategic
communications, public relations and marketing is also subject to change and within a set paradigm;
these definitions are all interchangeable and connected. The nature of academia involves research
over a period of time, so understandably a lot of the academic writing was behind current practice,
however the nature of the course made discussion possible and conversations with tutors leading on
different areas were insightful making learning and understanding the nuances of the field (past and
present) a 2-way process.

Another reason for my choice to undertake the masters was to help give some credence to my work in
a field which is rife with misunderstandings about what communications actually entails. Helping to
move past the general misconception Dont you comms people just help us write letters and emails?
or lets just communicate everything all at once using all mediums available My experience of working
with internal stakeholders in some respects has always entailed defining my role (whilst also educating
them about the field and explaining what communications is and what it is not). Knowing what good
strategic communications looks like has meant that, at times I have had to go against the grain and
wants of senior stakeholders in organisations I have worked with who have no idea of how to
implement a successful strategy or work effectively with other stakeholders. This continual balancing
act sometimes means that too much time is spent trying to convince stakeholders of the validity of a
strategic aim and not enough time actually implementing a strategy.

Whilst some practitioners will jump to command I believe that the field deserves more respect than
this and a masters in the subject may help to lend some credibility to the concept of strategic
communications, helping to move the field towards being a fundamental core of an organisation and
generate understanding about how practitioners form their communications strategies based on an
in-depth knowledge of stakeholders using ethical stakeholder mapping techniques and an ability to
connect (and importantly understand) how different strands of an organisation come together.

73

At the time that I chose to study, the country I was in was also in the grip of a recession, so it appeared
to be an ideal time to take a work break and look at my options from a different perspective.

It is my general hope that employing someone with a masters in the field will pique the interest of
senior stakeholders in an organisation about a subject area which is viewed over simplistically and
unrealistically by demonstrating that advanced study in communications confers that it is a specialism
which requires a level of expertise and understanding about the field.

I had originally planned to study international communications, however due to circumstances beyond
my control, I found out that this course was not available to me after I had been accepted. This proved
to be quite disappointing on a number of different levels as I had invested a lot of time and energy into
the application process and I had a keen interest in intercultural communications; however, during the
course I was able to include some aspects of international communications in my assignments and I
intend to continue to pursue this subject area (academically and practically through employment) upon
completion of my current studies.

The experience has required a fair amount of adaptation and flexibility from the start and it is fortunate
that the structure of the course allowed for this. Cendon, E (2011) Make reference to conditions and
features attributable to a University for professional studies, she notes that professionals who have
already worked in their jobs for some time, return to university to reflect, systematize, further develop
and specialize their knowledge (which is acquired during their professional practice). She goes on to
note that these students require flexibility and freedom in regards to time and place for learning. My
future plans remain the same (in relation to moving into the international sphere of communications)
and challenges I have encountered and moved through have given me the confidence to continue to
move in this direction.

74

Conclusion
Reflecting on being a mature student undertaking a masters the anxieties, challenges and hopes that
came along with the experience, as well as the on-going learning process, I have come to the
conclusion that I can adapt to different situations as the need arises. This is in part due to my previous
experience in the field of communications (which requires quick thinking and adaptability
characteristics in its practitioners at times) and I believe that my prior knowledge and experience left
me equipped to cope with some of the more challenging parts of the degree. The experience has left
me with a thirst for more knowledge in different areas of the communications field and a sense of
unfinished business in regards to looking at international communications in more depth.

What has become apparent is that there is a specific skill set required to be an excellent
communications practitioner that can be applied across the board in different areas of the field. I
enjoyed reading different academic perspectives of a field that I have practiced in for a long time and it
was interesting to note the convergence of disciplines over the years. Public Relations, marketing and
communications have become intertwined and I have noticed that practitioners are expected to have a
broad range of experience encompassing all 3 disciplines. My studies have therefore highlighted the
correlative factors across different areas of communications practice and academia.

75

Appendix

Figure 1 -4 Illustrate different models of reflection

Figure 1 Gibbs Reflective cycle taken from On becoming a critically reflective Practitioner Forest, M
2008

Figure 2 The Lewinian Experiential Learning model (Kolb 1984)

76

Figure 3 Deweys Model of Experiential Learning (Kolb 1984)

Figure 4 Piagets Model of Learning and Cognitive Development

77

Figure 5 McGuiness, M and Brien, M (2006) identified the following students challenges when
undertaking their research project
Narrowing the broad essay topics down to manageable research problems
Orienting oneself in the library
Frustration when items in the library are mission or out on loan
Feeling overwhelmed by sheer quantity of information available
Fear of overlooking important resources
Problems with discerning relevant sources of information
False hits seemingly relevant sources proving irrelevant on reading
Problems using resources especially information and communication Technologies (ICT)
Time management problems juggling IL assignment with other work
Getting side-tracked and losing sight of essay topic
Problems with organizing the gathered information
Difficulty in developing a coherent essay structure
Fear of over reliance on print or electronic resources, especially the internet
Problems understanding the specialist terminology in some sources
Not having much to write about some weeks
Problems finding useful relevant statistics
Understanding referencing conventions
Technical problems (faulty equipment, PC crashes, loss of data, queues for PCs
Motivation feeling guilty about loss in momentum some weeks
Difficulties with search strategy Choosing keywords, understanding Boolean Logic
Lack of confidence in ability to complete tasks- feeling work is not up to college standard and
Fear of accidentally committing acts of plagiarism

78

Bibliography
Cendon, E (2011) Reflective Practice and Action Research Interaction of Theory and Practice in the
Process of Knowledge Production ECR Conference Berlin
http://fwb.duw-berlin.de/fileadmin/user_upload/fwb/publikationen/CendonECER_2011_Paper_Cendon_final.pdf

Chen,N Chun,W & Liu,C (2010) Effects of Adaptive Reflection Teaching Strategies on Learners
Reflection Levels in a Web-based Learning Environment Institute of Electrical and Electronic Engineers

Schon, D From Technical Rationality to Reflection in Action (1988) in Dowie, J & Elstien, A (1988)
Professional Judgment A reader in clinical decision making Cambridge University press

Finlay, L (2008) Reflecting on Reflective Practice, Practice Based Professional Learning Centre Open
University
http://www.open.ac.uk/cetl-workspace/cetlcontent/documents/4bf2b48887459.pdf

Forest, M (2008) On becoming a critically reflective practitioner Vol 25:3 Pgs 229.232

Gill, G H, David et al (2013) Multiview as a reflective framework: enabling reflection, transforming

practice, International journal of management practice Vol 6, 2

Kolb, D (1984) Experiential Learning; Experience as The Source of Learning and Development Prentice
Hall

Kumar, R (2012) Research Methodology; a step by step guide for beginners Sage

Maloney, S et al (2012) Honesty in critically reflective essays: an analysis of student practice Adv in
Health Sci Educ Vol 18 pg 617-626

McGuiness, M and Brien, M (2006) Using reflective journals to assess the research process, Emerald
Vol 35 No1

79

Rodgers, C (nd) Reflection: Another look at Dewey and Reflective Thinking; State University of New
York
http://www.jcu.edu/education/ed100/Rodgers,%20C.%20(2002).%20Defining%20Reflection%20Anoth
er%20Look%20at%20John%20Dewey%20and%20Reflective%20Thinking.%20Teachers%20College%20R
ecord,%20104(4),%20842-866..pdf

Sen, Barbara (2010) Reflective writing: a management skill Library Management Vol 31 )1/2): 15

80

Research Methodology Extension

Introduction
The purpose of this extension paper is to highlight further exploration of techniques and
methodologies that were considered during the process.

N.B Some areas of the original research areas have not been undertaken due to the business structures
of the research participants. Computer Management Systems (CMS) are mainly used by larger design
studios who use this type of technology extensively when collaborating on a project; however, the 2
companies that were involved in this research did not need to use this technology. (It is noted that the
use of different channels in different working environments could potentially impact on the co-creative
process in different ways. (See pgs. 84-85)

The Case Study

The case study sets the foundations for the research focusing on a specific creative project within a
business-to-business co-creative partnership. Daymon and Holloway (2003) note that the case study
allows the researcher to collect data across a wide range of dimensions and these dimensions will be
used to generate theory using a variety of theoretical and methodological frameworks. This research
method is highly suitable for this particular area of study and evaluation can be conducted observing
the variables contained within the development of marketing collateral, as well as the relationship
factors that enable and influence the collaborative process as it evolves.

Daymon and Holloway describe the characteristics of the case study approach;

Deep, narrow exploration

Focus on real events in their real life context
Bounded in place and time
Either a snapshot or a longitudinal study of events with a past and a present
Multiple sources of information and multiple view points
Detailed and descriptive
Holistic view, exploring relationships and connections
Focus on the taken for granted as well as the significant and unusual
Useful for theory building and theory testing

Daymon and Holloway pg. 106

81

The Grounded Theory Approach

The validity in grounded theory in relation to the exploration of co-creativity lays in the ability of this
type of approach to generate theory based on a cyclical process. Grounded theory in this particular
instance is useful as research is carried out in a processual manner. Daymon and Holloway (2002)
observe that grounded theory has the potential to offer insights into how things happen and focuses
on sequences unfolding over time and in context. They also make reference to this particular
approaches relationship with symbolic interactionism, which seeks to understand and interpret
interactivity between people and the order or process of discourse contained within the business to
business relationship informed the evaluation process.

The perception based interview was an important feature of the research, connecting the structures
and orders of discourse presented throughout the co-creative process, exploring themes through the
content analysis from 2 perspectives, whilst observing how the integration and progression of different
factors contained within that process contributed to the perception of the final result.

Qualitative and Quantitative Techniques

Whilst qualitative research methods informed a majority of the evaluation, quantitative questions were
also included in the final interview. These questions measured perceptions using the Likert Scale to
determine attitudinal scales in terms of perspective. The combination of qualitative and quantitative
techniques was used to evaluate the data from different dimensions allowing for a broad and
encompassing study.

Acknowledging the Limitations and Defining the Scope of Research

The case study is a single focal point containing various key factors that enable the researcher to form a
conclusion based on an initial hypothesis. As with all research methods, it has been duly noted that
there are limitations in terms of developing a comprehensive theoretical understanding of all the key
determinants, however specificity in regards to determining levels contained within the structure are
part of the investigative process and informed the evaluation and subsequent findings allowing the
researcher to gain some insight into a particular case.

82

The scope of the research included discourse analysis, which can be taken at various levels and to
varying depths. In this case, the discourse analysis did not delve into semiotics or text analysis (though
it is noted that this form of analysis would be relevant in a different type of research project). By
observing a working relationship, the discourse analysis took a much broader view and sought to
understand the structures in place, as well as the order of discourse and final perceptions of success
which were linked to concepts of quality definition based on relationship building and final output.
Though language was observed, the objective was not to conduct a full textual analysis, but to look at
the order of discourse taking a phenomenological approach to measuring perceptions.

Whilst creativity (or the definition of creativity) is an important component within the collaborative
process, creativity in itself was not the focus of the dissertation. The co-creative relationship building
process, engagement and perceptions of quality and successful output outlined the criterion in terms
of evaluation.

Measurements
Gaining an understanding of the organisational structure including information technology used and
employed throughout the process, ideas arose about how this informs the co-creative process, as well
as what level various instruments and techniques are used to co-create the collateral. Defining the
order of discourse and connecting this with the perception of successful collaboration throughout and
at the conclusion of the process were also measured.

Open Coding
The value of using open coding in defining perception lays in the flexibility of this particular approach
to measuring perceptions. By allowing the codes to develop organically, the researcher was able to
take a thematic approach to generate theory by observing what arose during data collection. Coding
worked well for this type of research, especially in defining perception. Daymon & Holloway (2002)
make reference to en vivo coding as having a direct reflection of the respondents reality and in the
process of developing the codes, extracting information in this way allows for definition and
perceptions to be based and informed by responses. The role of the researcher in this particular
research project, would therefore involve defining what codes would best inform the evaluation in
terms of the hypothesis and observing the correlative factors between co-creators that influence
perceptions and process.

83

Ethical Considerations
In obtaining data relevant to the area of research, there were a number of ethical considerations to
take into consideration regarding confidentiality. Permissions were sought in terms of disclosure of
organisations name and all relevant data collected.

It should also be taken into consideration that the potential for bias exists within research and the
challenges that may arise during the collection of data are in differentiating and defining success. It was
taken into account that the organisations concerned would potentially have a vested interest in
presenting their collaboration in a way that veered towards a successful perception of the co-creative
process. Kumar, R (2012) notes that there is a difference between bias and subjectivity. All researchers
are open to being subjective in terms of acknowledging that a philosophical perspective and
individuals background will in some ways inform the manner in which the research is conducted and
this can be taken into account however, remaining neutral and presenting the data in a way that
demonstrates the reality rather than the assumption or desired conclusive outcome forms part of the
challenge for the researcher.

Further Research Options Identified Outside of the Research Scope

Content Management Systems and Computer Mediated Communications
The creative process is dependent on a cohesive vision and this vision is dependent, not only on the
discourses taking place, but also the tools used within the exchange that support creative
conversations. Content Management Systems (CMS)6 and Computer Mediated Communications (CMC)
allow clients to interact directly with the creative and the material being produced giving them the
opportunity to observe different phases of the project coming together, either in a live simulation allowing users to view changes in real time, - or statically. The immediacy these tools offer creates a
different environment, changing the co-creative relationship thus altering the structure and tone of the
discourse.

Content Management Systems (CMS) are specific tools developed by a company that acts as an intermediary channel to
present content between a designated group allowing users with permissions to interact and make changes to a project.
Computer Mediated Communications (CMC) allow users to engage using Information Technology.

84

This could be defined as another element in the structure of discourse, supporting collaboration
through the use of technology to produce meaning and perceptions at another level and research into
the field of co-creativity could be taken a step further by a deeper analysis of the tools and channels
used within different co-creative settings.

Definitions of Success
It can be noted that the research hypothesis and dissertation abstract in itself veers towards observing
and defining success from a relational perspective, but success can be defined in different ways and
there is also scope to look at the challenges that could potentially arise during a co creative process
with the definition of success being how challenges are met during the production of marketing
collateral, as well as analysis of sales upon completion and customer perceptions of the end product.

85

THE CASE STUDY ILLUSTRATIONS PRESENTED DURING THE DEVELOPMENTAL PROCESS

PRODUCT PRESENTATION 1 and 2

PRODUCT PRESENTATION 3

86

PRODUCT PRESENTATION 4 (Using We transfer)

(Sent in a folder as separate files)

87

88

89

PRODUCT PRESENTATION 5

90

ADMINISTRATION
Email Exchange
From: " enquiries@pateontoast.co.uk" < enquiries@pateontoast.co.uk>
Reply-To: " enquiries@pateontoast.co.uk" < enquiries@pateontoast.co.uk>
Date: Thursday, 20 February 2014 17:23
To: Edward Povey < ed@placeinprint.com>
Subject: Hello
Hello Ed,
Thanks for your email and thanks for buying a print.
Yes I would be interested, shall we meet up for a coffee to discuss?
Cheers,
Paul

On 20 Feb 2014, at 17:28, Ed | Place in Print < ed@placeinprint.com> wrote:

Hi Paul,
Thanks for getting back to me. Yes, up for a coffee. Where are you based?
Ed Povey
Place in Print
http://www.placeinprint.com
http://www.twitter.com/placeinprint
+44 (0)20 8141 8703
Place in Print is a trading name of BrightPie Limited (8820048)
Registered address: 14B London Road, London SE23 3HF
From: Paul Pateman < enquiries@pateontoast.co.uk>
Date: Thursday, 20 February 2014 17:54
To: Edward Povey < ed@placeinprint.com>
Subject: Re: Hello
My studio is in Dalston, but Shoreditch is good.
There's a great coffee place called Allpress on Redchurch street.
When are you free?
Cheers,
Paul

91

Pt
pateontoast.co.uk
@pateontoast
+44 (0) 7889 645 117
On 20 Feb 2014, at 18:24, Ed | Place in Print < ed@placeinprint.com> wrote:
Hi Paul,
How is Wednesday next week looking? I could do early afternoon maybe 3pm?
Ed

From: Paul Pateman < enquiries@pateontoast.co.uk>

Date: Thursday, 20 February 2014 18:33
To: Edward Povey < ed@placeinprint.com>
Subject: Re: Hello
That's good for me, see you then.
Paul
pateontoast.co.uk
@pateontoast
+44 (0) 7889 645 117

On 26 February 2014 at 12:08 Ed | Place in Print < ed@placeinprint.com> wrote:

Hi Paul,
Still on for meeting at 3pm at Allpress? If so, I'll meet you outside.
Ed
07793867987
From: " enquiries@pateontoast.co.uk" < enquiries@pateontoast.co.uk>
Reply-To: " enquiries@pateontoast.co.uk" < enquiries@pateontoast.co.uk>
Date: Wednesday, 26 February 2014 12:13
To: Edward Povey < ed@placeinprint.com>
Subject: Re: Hello
Hello Ed,
Yes, I'll be in a grey North Face jacket.
Paul
On 26 February 2014 at 20:01 Ed | Place in Print < ed@placeinprint.com> wrote:
92

Hi Paul,
Great to meet you earlier I'm excited about the prospect of new Pate prints!
With regards to area priorities, the list below should give you an idea (although don't feel like you need
to follow the order too rigidly):
2. Brixton
3. Crouch End
4. Stoke Newington (or maybe just Hackney)
5. East Dulwich (or maybe just Dulwich)
6. Camberwell
7. Herne Hill
8. Dalston
9. Forest Hill
10.
Peckham
11.
Walthamstow
Let me know if you have any questions!
Kind regards,
Ed
P.S. Judging by your love of 'intimate' doodles will have to think twice before approaching 'Shepherds
Bush'!

From: " enquiries@pateontoast.co.uk" < enquiries@pateontoast.co.uk>

Reply-To: " enquiries@pateontoast.co.uk" < enquiries@pateontoast.co.uk>
Date: Thursday, 27 February 2014 12:06
To: Edward Povey < ed@placeinprint.com>
Subject: Re: Hello
Hello Ed,
I think you mentioned you did a little research on different areas of London. Could you send that
through to me?
Cheers,
Paul
On 27 February 2014 at 12:09 Ed | Place in Print <ed@placeinprint.com> wrote:
Hey,
I don't have any written research as such. The best I could do would be to send you some keywords
which come to mind when I think about a place.

93

Let me know if that would help,

E
From: "enquiries@pateontoast.co.uk" <enquiries@pateontoast.co.uk>
Reply-To: "enquiries@pateontoast.co.uk" <enquiries@pateontoast.co.uk>
Date: Thursday, 27 February 2014 12:09
To: Edward Povey <ed@placeinprint.com>
Subject: Re: Hello
Yes please.
P

From: " enquiries@pateontoast.co.uk" < enquiries@pateontoast.co.uk>

Reply-To: " enquiries@pateontoast.co.uk" < enquiries@pateontoast.co.uk>
Date: Friday, 28 March 2014 15:02
To: Edward Povey < ed@placeinprint.com>
Subject: Hello...
Hello Ed,
I hope you're well?
Please find attached where I'm at with the posters, I think they're looking great.
Let me know your thoughts,
Cheers,
Paul
enquiries@pateontoast.co.uk (enquiries@pateontoast.co.uk) Add to contacts 11/04/2014
To: jo-samuel@hotmail.co.uk

---------- Original Message ---------From: Ed | Place in Print <ed@placeinprint.com>

To: "enquiries@pateontoast.co.uk" <enquiries@pateontoast.co.uk>
Date: 28 March 2014 at 17:41
Subject: Re: Hello...
Hi Paul,
Thanks for this first impressions are good. Will have a closer look and think over the weekend.
Hope the snow was good!
Ed
94

To: jo-samuel@hotmail.co.uk
---------- Original Message ---------From: Ed | Place in Print <ed@placeinprint.com>
To: "enquiries@pateontoast.co.uk" <enquiries@pateontoast.co.uk>
Date: 31 March 2014 at 16:02
Subject: Re: Hello...
Hi Paul,
Hope you had a good weekend. I've been thinking further about the pun posters as they stand. I think
they are definitely heading in the right direction, although I have some ideas for a few alterations to
test out. While I think they could work well in their current form as greetings cards or a collage of
places (similar to your A-Zs), my main concern is whether they would work as stand-alone illustrations.
Some things to try out:
12.
Could you try toned down shades for the background colours while the bright/bold colours
definitely stand out, they are also quite dominant, which might put some people off when it
comes to buying artwork for homes etc.
13.
I'd be interested to see how the illustrations looked with a thick black outline like the one you
used on the 'Go Ultra Low' campaign.
14.
The writing and image are a bit disjointed at the moment I wonder if adjusting the lettering
colour to match an element of the image could work, or if you end up using a stroke on the
image, reflecting that stroke in the lettering.
15.
It might be worth playing around a bit with the scale of the icons/images perhaps some of
them could be falling off the edge of the image rather than all being central.
16.
It took me a little while to work out 'chalk farm' - maybe a chalky line in addition to the chalk
itself?
If you have any time to spend on it this week, it would be useful if you could focus on Brixton. I will be
attending a market in the area this weekend, which could be a useful testing ground.
Thanks!
Ed

From: " enquiries@pateontoast.co.uk" < enquiries@pateontoast.co.uk>

Reply-To: " enquiries@pateontoast.co.uk" < enquiries@pateontoast.co.uk>
Date: Friday, 4 April 2014 15:49
To: Edward Povey < ed@placeinprint.com>
Subject: Posters...
Hello Ed,
I hope you're well?
Please find attached where I'm at with the posters.

95

Not sure about cutting off the images, I think it's really important that the objects are really clear so
people square the circle.
Let me know your thoughts,
Cheers,
Paul

On 07 April 2014 at 11:55 Ed | Place in Print <ed@placeinprint.com> wrote:

Hi Paul,
Hope you had a good weekend. I think the scale and colour of lettering is working a bit better now,
what do you think? Could we try with paler versions of the original background colours you used (or a
different variety of background colours as opposed to the brown)?
On another note, I've been approached by a woman who is writing a Masters dissertation looking at
the role of communication in the design process. She is keen to follow our working relationship on this
particular project, which would involve following our correspondence and then us answering a
questionnaire at the end of the process. I've been assured that there won't be anything labour
intensive. Is it ok with you for her to do this, and if so, do you mind me giving her your contact info so
that she can "gain some insight into how you work"?
Kind regards,
Ed

1 attachment (614.1 KB)

(
Place_In_Print_Alt_Backgrounds.pdf
View online
Download as zip

From: "enquiries@pateontoast.co.uk" <enquiries@pateontoast.co.uk>

Reply-To: "enquiries@pateontoast.co.uk" <enquiries@pateontoast.co.uk>
Date: Tuesday, 8 April 2014 09:13
To: Edward Povey <ed@placeinprint.com>
Subject: Re: Posters...
96

Morning Ed,
I've attached some background variations. Let me know your thoughts.
Feel free to pass my details on.
Cheers,
Paul

On 11 April 2014 at 11:22 Ed | Place in Print <ed@placeinprint.com> wrote:

Hey,
Could you send me print-ready PDF versions of each of the posters? Don't need any bleed marks or
anything.
If poss, could you send your favourite coloured backgrounds for each, as well as the bright coloured
backgrounds that you did originally (the bright backgrounds will probably work well for cards).
Thanks!
Ed

Hello Ed,
I'll send these over on Monday.
Cheers,
Paul

97

From: " enquiries@pateontoast.co.uk" < enquiries@pateontoast.co.uk>

Reply-To: " enquiries@pateontoast.co.uk" < enquiries@pateontoast.co.uk>
Date: Tuesday, 15 April 2014 13:55
To: Edward Povey < ed@placeinprint.com>
Subject: Files...
Hello Ed,
I hope you're well?
Just checking in to see if you got my files from We Transfer?
Cheers,
Paul
---------- Original Message ---------From: Ed | Place in Print <ed@placeinprint.com>
To: "enquiries@pateontoast.co.uk" <enquiries@pateontoast.co.uk>
Date: 15 April 2014 at 18:07
Subject: Re: Files...
Hi Paul,
Yes, all received thanks. Haven't had a chance to look through yet, but assume they look good!
Will get them online asap.

E
---------- Original Message ---------From: "enquiries@pateontoast.co.uk" <enquiries@pateontoast.co.uk>
To: "ed@placeinprint.com" <ed@placeinprint.com>
Date: 24 April 2014 at 12:47
Subject: Hello
Hello Ed,
i hope you're well.
Do you know when you might put the posters up on your site?
Cheers,
Paul
On 24 April 2014 at 16:36 Ed | Place in Print <ed@placeinprint.com> wrote:
Hey,

98

Sorry for the delay trying to get lots of new artwork sorted at the same time!
Do you mind if I play around a bit with the background colouring? Also looks like the lettering works
well in white (as you originally suggested) as long as there is a white border around the edge of the
print which there will be if I don't full-bleed print. What do you think?
Hoping to take a couple of designs to a market this Sunday baptism of fire!
E

Brixton_Green_Background.pdf
View online
Download as zip
Hello Ed,
No worries.
Would you mind if we went with the attached green, which is a part of my regular colour pallet?

99

Questionnaires
QUESTIONNAIRE (C1)

1. Ideas and Vision

How did the original idea arise?
We met to discuss in person potential ideas and Paul thought of puns and the idea of
playing on words (tongue in cheek) and I knew that his work in the past was along these
lines.
I liked his style and own some of his prints, so was keen to work with him

What did you use to develop and expand upon your ideas (e.g. images, software etc.)?

I gave Paul a set of key words and a list of places to create the artwork and this helped
some of those ideas for the use in the artwork

2. Relationship
On a scale of 1 10 how well did you feel that the working relationship progressed
(1= not so well 10 = optimally delete as appropriate)?
7/8
Would you change anything about the way you worked together?
NO

100

If there was anything that you would change about the way you worked together,
what would it be. E.g. more meetings, quicker delivery etc.

There isnt anything that I would change about the way that we worked together, but Im an
advocate for working in person on more complex projects. I find working face to face to be
beneficial for idea generation and refinement.

Were you clear about your role in the development of the product? (Delete as appropriate)
YES

Could you give further explanation for your answer (for example, if you were clear about your
role, why was this - e.g. good understanding of what was required, good working relationship etc.)?
If you were not clear, why do think this was and what remedies could have been put in place.
As I commissioned the work, I was clear from the outset and knew my role fairly well as
retail distributer and Paul being the creator very early on.

3. Product
Did the final product meet your expectations? (Please delete as appropriate)
YES

Did the final product reflect the original objectives of the brief? (Please delete as appropriate)
YES

Did the original concept change at some point during the process (Please delete as appropriate)
YES
101

If so, how did it change?

Only at the start when I first talked to him and a few ideas came up about the way they
could work and I had a few ideas and we went with his.

4. Tools and Channels

Please rate the following channels (1 = least effective, 10 = most effective) in terms of
what you think were more effective)
Face-to-Face meeting
9
Emails
8

5. Research
Did you conduct any research for the project? (Please delete as appropriate)
YES

If, so what research did you do

(See 1.1)

102

6. Perceptions of Success
On a scale of 1-10, (1 = least satisfied 10 = most satisfied) how satisfied were you
with the end product
7

Is there anything in particular that you are especially proud of in relation to the end result
Not at the moment, Im not sure how well they will sell as prints

Were you satisfied with the rate of progress (Could the development have
progressed any quicker or slower)?
YES (One instance of waiting to test the market, but Im not sure if I did
receive the Brixton poster on time)

7. Next Steps
What are the next steps in relation to the finished product?
I will be testing the print in Brixton next Friday

Would you work with the business again on future products?

YES

103

QUESTIONNAIRE (C2)

1. Ideas and Vision

How did the original idea arise?
Initially Ed saw my A-Z of North London and I knew that he specialised in location specific
prints. The A-Zs are laborious and time consuming and I wanted to do something which
had multiple examples on all the stuff I could get my hands on. I wanted to put something
different out there

What did you use to develop and expand upon your ideas (e.g. images, software etc.)?

The first step was to go through a list of places and work out whether they could fit into a
half word and half image
Then using a note pad, I noted places that would work
Another consideration was whether they would make a good poster, for example Forest
Hill would have been difficult, so the next stage is wheedling out anything that would not
work so that we are left with areas that work.
Then it was about looking at the images, for example for Brixton, what does a ton weight
look like, so I was aiming for something stereotypical and with some clarity.
The next stage is to look on the web for images to base the illustration on so images of a
Lamb or a tonne weight. Then colour and composition how they best look

2. Relationship
On a scale of 1 10 how well did you feel that the working relationship progressed
(1= not so well 10 = optimally delete as appropriate)?
6/7

Would you change anything about the way you worked together?
No

If there was anything that you would change about the way you worked together,
what would it be? (E.g. more meetings, quicker delivery etc.)

N/A
104

Were you clear about your role in the development of the product? (Delete as appropriate)
YES
Could you give further explanation for your answer (for example, if you were clear about your
role, why was this - e.g. good understanding of what was required, good working relationship
etc.)? If you were not clear, why do think this was and what remedies could have been put in
place.
Ed was into the initial idea and it was just a case of cracking on and expanding upon the
idea. This was different from a commercial project and I knew that Ed liked my work so I
gave him a style that I knew he would be happy with. It only becomes unclear when a
client wants you to work outside of your style and Ed showed enthusiasm for my style

3. Product
Did the final product meet your expectations? (Please delete as appropriate)
YES (But we cant put a full stop on in there until we start selling
the product, then I can start putting it on my website, tweeting
and face booking, so when it goes live we can gauge the reaction.)

Did the final product reflect the original objectives of the brief? (Please delete as appropriate)
YES

Did the original concept change at some point during the process (Please delete as appropriate)
YES/NO

If so, how did it change?

The concept didnt really change. Places went by the wayside

4.
105

Tools and Channels

Please rate the following channels (1 = least effective, 10 = most effective) in terms
of what you think were more effective)
Face-to-Face meeting
9/10
Emails
7

5. Research
Did you conduct any research for the project? (Please delete as appropriate)
NO (location specific content)
If, so what research did you do
N/A

6. Perceptions of Success
On a scale of 1-10, (1 = least satisfied 10 = most satisfied) how satisfied were you
with the end product
8
Is there anything in particular that you are especially proud of in relation to the end result
I liked the idea. Its difficult to do something a little bit different and I think this was
achieved.

Were you satisfied with the rate of progress (Could the development have progressed
any quicker or slower)?
YES/NO Could be a little quicker at the moment

106

7. Next Steps
What are the next steps in relation to the finished product?
Im waiting for Ed to put them live on the website

Would you work with the business again on future products?

YES

107

Administration
Consent Forms

108

109

END

110