"You have to step outside the box to see something new."
With its lively avant-garde nature, brand worldview, and maximization of heritage,
The creative design of Studio Jot, which has captivated the Korean advertising industry.

A book that will serve as a guide for all creators!
CEO Choi In-ah, Director Shin Woo-seok, Stussy Marketer,
Highly recommended by designers Kim Ki-jo and Yoo Jun-ho.

From the prince of the Binggrae kingdom, Binggraeus, to the supporting role of the Miwon series, which reinterprets the seasoning MSG, Studio Good is captivating the Korean advertising world with its lively avant-garde style, brand worldview, and maximization of heritage.
This book contains the 'creative methodology' of Studio Jo's CEO Song Jae-won, which easily goes beyond conventional wisdom and produces unfamiliar yet convincing results.
He emphasizes that creativity is not something that falls from the sky or is accomplished through innate talent, but rather a skill that can be trained, and teaches how to design creativity through analysis and structure.
In this book, he focuses on three keywords: "unconventional," "creative," and "relevant." He explains how these elements interlock and complement each other, leading to high-quality results, using his solid methodology and abundant case studies.

This book is a guide for people in advertising, marketing, branding, video, design, and any field that requires creativity.
It's especially useful for college students and junior professionals entering the creative industry, providing practical insights and tools that can be applied even to seemingly unrelated jobs.
Anyone can train and realize the practice of convincing and absurd ideas that are created through 'design' rather than simple 'feeling'.
This book will serve as the most practical starting point for those seeking to grasp the clue.

The degree to which a piece is completed depends on how deeply the creator understands the format.
The saying, 'Imitation is the mother of creation' means that the process of 'imitation' that absorbs formality becomes the foundation for creating 'breakthrough'.
However, while innovation is a goal that every creator aspires to, it is difficult to actually achieve.
Opportunities don't come often.
Most creative works are decided by subtle differences in who has more refined formality.
It's really just a difference.
The real breakthrough comes when the creator, having achieved that level of sophistication, tries to break away from convention to create something unique.
It is an 'escape' that creates completely new value by boldly overturning and reinterpreting what has been imitated, rather than simply repeating it.
The adage, "Opportunity favors the prepared mind," means that only creators who have meticulously refined their craft can create a "breakthrough."
--- p.48~49

Therefore, creators must find a balance between redundant boundaries.
A good break doesn't involve crossing every boundary, but rather selectively crossing a few key boundaries.
Trying to cross all boundaries at once is somewhat risky.
Conversely, if you are too eager to faithfully maintain all boundaries, you may end up crossing none.
Just as an orchestra conductor adjusts the dynamics of his instruments to create beautiful harmony, a creative work must also adjust its dynamics to determine which boundaries to cross.
Creators must always ask themselves:
What overlapping boundaries does my work straddle? How deeply do I understand the formality of each boundary? Which boundaries should I boldly cross, and which should I adhere to formality?
--- p.66

What do we perceive as "creative"? It's not simply "different" or "new."
It feels like surprise added to the newness.
It is a positive surprise that is new but accepted without cognitive dissonance.
In fact, most of the ideas we perceive as creative are not new at all.
It's just a combination of elements we already knew, or a slightly different twist.
For example, the 'Fosbury Flop' technique is representative in the high jump event.
The traditional high jump involved jumping forward or sideways, but Dick Fosbury was the first to jump lying on his back.
Fosbury won an Olympic gold medal with this idea, and it has since become the standard for high jumping.
In fact, what Fosbury attempted was not a special technique, but rather a change in the 'direction of leaping'.

--- p.123

You can extract multiple choices from a single reference.
Remove unnecessary parts from references that are a mix of various elements.
Rather than simply saving it because it 'feels good', we disassemble the structure and use it like a 'part'.
It breaks down the essential elements of a reference into smaller units, much like factoring in mathematics.
In this way, ‘extracted inspiration’ becomes the ‘component’ of an idea.
You can assemble it freely like Lego blocks.
You can also mix parts from Reference A with parts from Reference B.
Factorization should be as short and clear as possible, with keywords and a single representative image.
If you remember it as a sentence that is too long or an image that is vague, it will be difficult to transform it or combine it with other parts later.

--- p.145

The common insight from these cases is clear.
The effectiveness of your creative work depends on where you place your connection points.
Ogilvy's signs changed people's emotions, 'Got Milk?' changed consumer perception, and 'Think different' changed the fate of a brand.
It didn't just grab attention with its unique creative flair; it changed perceptions and brought real benefits to the brand.
Truly great creative isn't just one sentence or one scene that grabs the attention of consumers.
It should include designing connections that benefit the brand.
There are three questions you should consider before your creatives go out into the world.
“Is it fresh enough?”, “Where is it connected?”, “What does the brand gain from that connection?”
--- p.253

This is why videos containing excessive brand information are called 'first birthday party videos'.
This means that it is full of content that is only meaningful to the brand and of no interest to the viewer (consumer).
In first impression design, what's important is not 'what I want to say', but 'what the other person wants to hear'.
'Maker voice' - that is, a message that is meaningful only from the perspective of the speaker (brand) must be translated into 'consumer language' that is of interest to the recipient.

An important psychological factor at this time is rapport.
Rapport refers to a state of emotional connection and emotional synchronization with another person.
Once rapport is established, the other person becomes more engaged and responds quickly to persuasion.
Competent counselors build connections through a variety of methods, including utilizing the client's (patient's) language directly or establishing a sense of empathy by matching cultural codes.

--- p.265

This is a very well designed example of Relevance-Creative.
JC Deco's goal was to prove the 'effectiveness of subway billboards.'
Instead of simply discounting advertising costs or using famous models, they focused on their core value: the attention on the billboard itself.
Choosing a "100-year-old grandmother"—the polar opposite of the most typical influencer model—was a deliberate break.
People reacted as expected, and this unusual choice dramatically demonstrated the billboard's impact.
If we had used typical young and beautiful models, it would have been difficult to attract such explosive interest.
The campaign ultimately won awards at various international advertising festivals, redefining Relevance's value as an "outdoor subway advertising" for the advertising industry and marketers.

--- p.293

The 'Banana Milk' character is mainly in the color of the product, light yellow, and her costume is shaped like a jar.
In keeping with the status of this product, it is set as a ‘god’ within the worldview, and the design is based on a green ring (product package lid) + white cane (straw) motif on top of its head.
The 'Bibibik' character has a skin color that is identical to the original product's color, an appearance that expresses the muscularity of ice cream that has been frozen solid in the refrigerator, and a 'farmer' setting that connects him to raw ingredients such as red beans and pumpkin.
His belt and costume also follow the graphics and colors of the package.
In this way, the design of Relevance, which connects the intersection of Binggrae and the romance fantasy genre, makes even concepts that may seem out of place convincing to consumers.
We created a youthful image for the brand, one that resonated with both consumers and internal employees.

--- p.307

This sentence encapsulates the entire concept of this book: ‘unconventional × creative × relevance.’
Creativity without innovation is just a 'packaging renewal', Relevance without creativity is a 'plain model answer', innovation without Relevance is a 'one-day happening', Relevance without innovation is 'tired sympathy', innovation without creativity is 'brain dead', and creativity without Relevance is a 'new product with no interest'.

But when these three elements are organically combined, the creation shakes the world and leaves a deep resonance in people's hearts.
Ultimately, I believe the most important skill a creator must possess is a perspective that centers on the world and the consumer, not on oneself.
When you start thinking about how your creations will connect with the world, creativity becomes a trainable muscle, not a random inspiration or a divine revelation.
From then on, the creative process will change completely.

--- p.398