I’ve spent more than twenty years working across B2B and B2C in art and design direction. For me, the idea is at the heart of good creative. What are we trying to say, why should the audience care and how do we bring it to life?
More of the client teams we work with are building creative capability in-house. AI and design tools are making it easier to explore ideas and produce work, and there is real value in that.
My concern is that we stop asking questions once something looks good. A polished visual can make the thinking behind it seem stronger than it really is.
So how do we judge whether the work is actually good, rather than simply well presented?
Start with the idea
A strong idea can be difficult to define, but for me it has a clear thought behind it. It gives the audience something relevant to stop and think about, makes sense for the brand and doesn’t need a lengthy explanation to get the point across.
The design then brings that idea to life. The imagery, typography, copy and composition should all help communicate it.
That takes craft. I’m not suggesting the execution matters less. But we should be able to explain what makes the work worth paying attention to beyond how it looks.
“Do I like it?” is only part of the conversation
It is a natural question in a creative review. We all have preferences. But liking an image, a colour or a particular style doesn’t tell us whether the work is right for the brief.
Good creative has a job to do. Brand and identity work needs to build recognition over time. A campaign might need to challenge a perception, explain a benefit or give someone a reason to consider the business.
Those are different jobs, and we need to be clear about which one we are judging.
AI hasn’t created the problem of personal taste driving decisions. It does, however, make it easier to reach a convincing-looking execution before we have properly questioned the idea.
The questions we ask
At Velo, we use questions like these to move the conversation beyond personal preference.
- Is there one clear idea?
Can we explain the main thought, and does it hold together across a campaign? Ipsos’s research describes effective big ideas as emotionally engaging, ownable, impactful and campaignable. We need something with substance beyond a single execution.
- Does it connect with the audience and their situation?
What problem, need or ambition are we recognising? Ehrenberg-Bass’s B2B research into Category Entry Points explores the needs and situations that trigger buying. The work should connect with those moments, rather than simply look right for the industry.
- Does it feel like this brand?
Beyond the logo, what makes it recognisable? Ehrenberg-Bass’s work on distinctive assets highlights the role of colours, shapes and other brand cues. Are we building recognition, or creating something a competitor could use just as easily?
- What do we want people to remember?
Will someone remember the brand and why it matters when they are ready to buy? LinkedIn’s B2B Institute and WARC’s B2B Effectiveness Code examines the relationship between creativity, brand building and business results. That gives us a reason to look beyond the immediate reaction to an advert.
Experience still matters
None of this means gut feeling has no place. You develop a feel for the work through the projects you take on, the decisions you make and what you learn from them.
Some of the best calls I’ve made started with a sense that something wasn’t right before I could explain why. That is worth listening to.
Your instinct should send you looking for the reason, not replace it.
Is the idea unclear? Does it feel wrong for the brand? Or is it simply unfamiliar? Being able to explain the difference makes the conversation more useful and gives the team something to work with.
The takeaway for in-house teams
For in-house teams, the starting point is to agree what the work needs to do before choosing a route. Be clear about the audience, the idea and why it is right for the brand.
AI is a genuinely valuable tool. I’m dyslexic, and it has helped me organise my thoughts and shape the wording of this article. Without it, you might still be waiting for the introduction. But I still need to question what it produces and make sure it reflects what I actually think.
The same applies to creative work. Use the tools to explore and produce, but give the thinking proper attention before signing anything off. Your team should be able to explain why the work answers the brief, beyond “we like how it looks”.