This occupation is found in advertising, marketing, branding agencies. Across a range of sectors as creatives are either employed in house or in commercial agencies. Creatives can work for agencies and social media owners. Agencies can support multinational corporations through to small & medium sized enterprises. They also work for media agencies, tech agencies and other businesses. There are an increasing number of larger brands who have in-house creative teams, such as Specsavers, Unilever and Barclays Bank and a creative may work directly for them. Creatives are most often hired in teams although some agencies hire single creatives. Some creatives will work on a freelance basis and undertake contract work. They will usually report to an Executive Creative Director, and they will usually receive briefs from creative services. The role of a creative is transferrable with skills valued across multiple sectors.
The broad purpose of the occupation is to develop strategic campaigns, or one-off pieces of communication, that meet a client brief. Creatives will need to influence stakeholders, working with many interconnecting sectors, partners and influencers. They require a good knowledge of regulated industries and legislative requirements to interpret the purpose of the brief and create an impactful campaign on behalf of the customer. Creatives lead projects from concept and ideas to completion, applying continuous improvement from internal and external feedback to ensure a successful outcome. Creatives must understand the perspectives and approach of each brief and/or campaign. They must determine, refine, and adapt the initial vision of a client, promoting diversity and inclusion within briefs. Most often, this is to drive sales of a product or service, but it can also be to initiate change for example for social good. They will utilise strategic planning, taking responsibility to develop appropriate courses of action that are capable of underpinning change to meet the needs of a brief. A creative will have the skills to understand the clients’ key drivers and to be able to professionally challenge a brief by exercising autonomy and judgement to achieve the best for the client.
A creative will always meet the brief and, where appropriate, suggest improvements based on informed research and evaluation to continuously develop and improve strategy. They must manage relationships through conflict and creative differences to achieve the best outcomes for clients. The creative either individually, or as part of a team, will develop ideas presenting them to their creative director or line manager for feedback. Creatives must manage competing demands and their time effectively- sometimes there will be weeks to develop ideas and sometimes just hours.
The creative will be expected to show that they can develop ideas that are omnichannel – this means that they are able to execute ideas on a range of platforms such as TV, radio, print, out of home promotion, social media, experiential (for example, publicity stunts, sampling, tasting), PR events and instore promotion. The creative will have a strong say on the ways their idea is executed, partly by choosing and or recommending artisans to work with for example photographers, illustrators and set designers. The creative will understand that their decisions may be influenced by budget and achieving value for money.
In their daily work this occupation interacts with many other departments inside their agency – if they work for an agency (see above). This will include creative services, strategy and client services. They are expected to present ideas to senior staff in their organisation, including the executive creative director, the client service director and the planning director. They may have contact with the client, either working directly with the client to drive improvements to the brief at the research stage and or presenting and pitching ideas. They could either work independently or as part of a team of creatives to generate ideas. In the production phase the creative may also initially be working with other artisans to achieve the communication of their idea.
The creative will work independently or as part of a team on the client’s brief. They will have review meetings with their line manager, but they will be expected to take responsibility for their work. They will lead work based on their advanced theoretic and practical knowledge utilising established frameworks and utilising tools to develop ideas. A creative will be responsible for managing their time on briefs. Agencies often invoice clients according to the time taken on work therefore a creative will maintain accurate records and evidence value for money. When working on a brief for a client, they will ensure that any ideas presented are within the tone of voice that is appropriate for that client. Refining their ideas through research to reflect the client brand. If they are working on a brief in a regulated category for example alcohol or gambling, they will be expected to ensure that any ideas presented are within the regulatory requirements. Creatives will be expected to represent their agency always reflecting professionalism and agency values.
| Duty | KSBs |
|---|---|
|
Duty 1 Decode creative briefs to understand markets, drivers and blockers which impact deliverability. Providing strategic solutions to ensure a brief can be effectively delivered utilising success metrics. |
|
|
Duty 2 Answering briefs taking them through the creative development process, collaborating and responding to feedback from stakeholders to ensure the client vision is achieved, leading each project from the start to the end of the process. |
|
|
Duty 3 Providing, receiving and responding to feedback from internal and external stakeholders in the development process. |
|
|
Duty 4 Manage competing demands whilst working on multiple creative briefs ensuring stakeholder and client objectives and agreed deadlines are met. |
|
|
Duty 5 Liaise with appropriate internal and or external stakeholders to discover insights that will inform the development of ideas, briefs and pitches. |
|
|
Duty 6 Establish and maintain positive relationships with internal and external customers, clients and other creatives to promote stakeholder engagement and achieve the vision of the brief. |
|
|
Duty 7 Present developed ideas to stakeholders, as part of a pitch, to build confidence and trust that the brief has been met and will achieve agreed objectives and commercial success. |
|
|
Duty 8 Manage workloads within given time frames using analytical, research and evaluation techniques such as six thinking hats and sticky thinking to identify ideas that could be further developed or improved that meet the client's vision. |
|
|
Duty 9 Identify suitable specialists, for example photographers, animators and illustrators to work on the production of ideas. Express reasons why they are suitable. Supporting delivery if and when required. |
|
|
Duty 10 Provide creative direction to help guide specialists that have been hired to fulfil briefs following the commissioning process. |
|
|
Duty 11 Proactively develop ideas and take responsibility to achieve industry awards and or recognition that is integral to the client and sector to build brand and business awareness and commercial opportunities. |
|
|
Duty 12 Identify and recognise new and emerging trends to ensure work is innovative and culturally relevant. |
|
|
Duty 13 Ensure legislation and regulation requirements inform work where relevant. |
|
|
Duty 14 Maintain accurate record keeping following in house processes for the recording of billed hours. |
|
|
Duty 15 Follow organisational policies and procedures including for equality, diversity and inclusion. |
|
|
Duty 16 Investing time in Continuous Professional Development including industry trends informing creative work. |
|
|
Duty 17 Demonstrating professional and personal integrity representing yourself and the business. |
|
K1: Functions, roles and skills within advertising, creative and professional bodies representing the industry.
Back to Duty
K2: Media platforms and their formats including out of home adverts, TV adverts, radio adverts and social media adverts.
Back to Duty
K3: Which categories of advertising are subject to legislation and regulation for example food & drink and gambling. How to access the latest regulation and legislation.
Back to Duty
K4: Advertising History - recognise the differences in styles and periods in the story of advertising including that of notable historical and contemporary individual campaigns, which underpin current practices.
Back to Duty
K5: Theories, frameworks for example "Get to Buy" and models of writing a creative brief.
Back to Duty
K6: Prioritisation tools and techniques.
Back to Duty
K7: Pre - idea research techniques, frameworks and post evaluation techniques informing work produced.
Back to Duty
K8: Mainstream software, for example Adobe, to undertake image manipulation and design work including page layouts.
Back to Duty
K9: Visual language including semiotics, colour and typography to adhere to brand guidelines.
Back to Duty
K10: How to use templates and grids to create work that fits the format.
Back to Duty
K11: Where to find creatives, to support work for example illustrators, animators, set designers.
Back to Duty
K12: Commissioning and creative management process for employing third party creatives to work on a project.
Back to Duty
K13: Performance metrics and how they can be used to measure creative brief objectives.
Back to Duty
K14: Organisational policies and procedures including sustainability, health & safety and equality, diversity & inclusion.
Back to Duty
K15: Ethical and cultural values which influences the work produced for the target audience.
Back to Duty
K16: End to end workflow and planning process, the key stages including post-production and own role and responsibilities within this.
Back to Duty
K17: Communication techniques, and approaches to interact with stakeholders.
Back to Duty
K18: Where to source career professional development.
Back to Duty
K19: Emerging digital trends, and how these can be embedded in professional practice.
Back to Duty
K20: Approaches to managing and marketing own skills and services.
Back to Duty
K21: Presentation techniques to use in different settings for example in person, online or recorded which is appropriate for different audiences.
Back to Duty
K22: Negotiation and influencing models and techniques.
Back to Duty
K23: Frameworks to evaluate ideas including Six Thinking Hats, Three C's and Sticky Thinking.
Back to Duty
K24: Communication techniques for interacting with colleagues to decode creative briefs.
Back to Duty
K25: Recognise the differences in creative skills to meet creative brief objectives.
Back to Duty
S1: Work with colleagues to decode and understand the client brief.
Back to Duty
S2: Research client' audiences; understanding personas developing ideas for the target market.
Back to Duty
S3: Utilising research to inform work including research of business products, services and competition.
Back to Duty
S4: Work within given time frames utilizing evaluation techniques to identify ideas.
Back to Duty
S5: Rationalise ideas through the utilisation of frameworks and research techniques.
Back to Duty
S6: Use prioritisation tools for example priority matrix to manage workload, and deliver against brief objectives.
Back to Duty
S7: Present ideas using methods appropriate for the audience including using mock ups to stakeholders and colleagues.
Back to Duty
S8: Uses creative skills to execute the idea to meet the creative brief. Work produced may be co-produced or self - developed.
Back to Duty
S9: Use digital tools and collaborative platforms for example adobe to develop ideas and executions on a client briefs.
Back to Duty
S10: Insights into the brand, so that the brand identity is reflected in work produced.
Back to Duty
S11: Archiving a body of your work showcasing the latest, challenging and outstanding practice. Aiming to increase profile within the communications industry of both the individual and organisation.
Back to Duty
S12: Maintaining own accurate records for timesheets for best value for the client.
Back to Duty
S13: Identify and recognise new and emerging trends to inform the relevance of the work.
Back to Duty
S14: Utilising the opportunities to pursue industry awards individually or collectively as part of a team for example D&AD and Creative Circle.
Back to Duty
S15: Creative ownership to enhance work ensuring client's briefs are achieved to their satisfaction.
Back to Duty
S16: Identify and justify suitable specialists, for example photographers, animators and illustrators to work on the production of ideas.
Back to Duty
S17: Establish and maintain positive relationships with internal and external stakeholders for example suppliers, clients and customers.
Back to Duty
S18: Knows how to facilitate a creative brainstorming exercise and can do so on their own, in teams or in groups.
Back to Duty
S19: Maintains a professional network enabling self promotion within the industry.
Back to Duty
S20: Utilising policies and procedures including sustainability, health & safety and equality, diversity & inclusion in work.
Back to Duty
S21: Frameworks to evaluate individual creative ideas or those generated as part of a team.
Back to Duty
S22: Evaluates the creative brief, checking for any missing information and clarifying the outcomes in order to achieve creative brief objectives.
Back to Duty
S23: Use performance metrics information to change work accordingly.
Back to Duty
S24: Produce work that respects the ethical and cultural values of the audience.
Back to Duty
B1: Takes personal responsibility for ensuring agreed deadlines are met.
Back to Duty
B2: Curiosity to ask questions to achieve briefs.
Back to Duty
B3: Seek learning opportunities and continuous professional development to improve practice.
Back to Duty
B4: Promotion of equity, diversity and inclusion in creative work.
Back to Duty
B5: Work collaboratively with others across the organisation and external stakeholders.
Back to Duty
B6: Take responsibility of own obligations for sustainable practice, welfare issues and health and safety.
Back to Duty
B7: Take responsibility for ethical principles and consequences of work.
Back to Duty
B8: Motivated and resilient to challenging situations.
Back to Duty
Apprentices without level 2 English and maths will need to achieve this level prior to taking the End-Point Assessment. For those with an education, health and care plan or a legacy statement, the apprenticeship’s English and maths minimum requirement is Entry Level 3. A British Sign Language (BSL) qualification is an alternative to the English qualification for those whose primary language is BSL.
| Version | Change detail | Earliest start date | Latest start date |
|---|---|---|---|
| 1.0 | Approved for delivery | 24/11/2023 | Not set |
Crown copyright © 2025. You may re-use this information (not including logos) free of charge in any format or medium, under the terms of the Open Government Licence. Visit www.nationalarchives.gov.uk/doc/open-government-licence