In creative communication, the common path is a part of humanity's desire to go forward, a vital and interiorised desire. It is the path tracked by intelligence, in which creativity is a trip and the destination is the encounter of truth and beauty. Because, precisely, what creativity intends is to harmonise search and encounter. A voyage through a new creating intelligence, which now appears in a starring role as dynamising the society of the future. This is no longer the society of knowledge, but the society of knowing knowledge: metacognition. An attractively confusing baggage in which there is a blend of psychology, epistemiology, hermeneutics, sociological observation and, of course, heuristics.

Creativity is present at this point, and its response to the requirements of a new social, economic, and technological model of decision-making and system investigation. Now more than ever creativity is a play of balances and harmonies, of this everrenewed creative intelligence which is a blend of thought, intelligence, perception and intuition, logic and rationality, tacts and feelings.

Art and science blend to achieve advertising tales capable of seducing receivers. We could say that creativity methods are the tenth Muse needed by admen to maintain a high narrative-persuasive level. Technology offers some interesting programmes for help in creation. A further proposal is a sketch for a techno-poetic model of their own which can be very useful so that the Muse Mnemne (memory) will be generous when she is invoked.

When faced with classic methods of advertising creativity based on stimulation of the unconscious, we propose the definition of generative methods of advertising creativity, operatively based on models of a generative nature developed in the heart of textual sciences and cognitive science. This proposal is illustrated by means of a specific advertising message. We apply, in this message, a method of analysis with a semiotic character and consider the possibility of convening this method into an idea-generating method for the configuration of advertising messages. Finally, we sketch out a proposal for heuristics for ideation of advertising messages.

Introspective assertions by artists and scientists about their own idea-generating processes have been influenced by the myth of the creative genius and have contributed, eventually, to the creation of two theoretic positions when looking at the phases of the creative process: one which gives enormous importance to the unconscious, attributing to it complex functions of organisation, combination, and selection; and another which gives great value to conscious processes, as artists or scientists guide their choice throughout the process.

The results of a study carried out on admen, with the aim of knowing the concept of their work and to which parameters this concept pertains, stress the influence of the myth of the creative genius, as these professionals give little importance to the methods and techniques of creative advertising.

Normally, the approach to the study (if advertising meaning is a direct examination of the message, characterised by the anonimtty of the creator, and most of the study continues the programme ignoring authors and their personal values, as well as the scope of the internal processes of ad message creation, as the current socio-structural intellectual reign only understands the subject as the locus for processes. We do not aim to favour either of the sides of the dilemma of whether or not biography influences ad creation (the specific case of the problem of creation, generally, be it artistic, technical, or philosophical), there is sense to the question on what, in fact, are the values prevailing in the limited environment of what are known as admen, to what point these values are transmitted to their work (ads), what perceptions are implicit in the receiver (consumer), and to whar extent they are determined by the management system which, in the end, they serve. If the explanation of meaning in ad work cannot be based on the model of an autonomous author-subject, neither can it do without an understanding of admen's sets of mind and circumstance which is the main, outstanding ingredient in the makeup of meaning.

Creative people have a succession of specific characteristics of diverse types. This is what was shown by the results of an investigation whose aim was to recognise the differences in personality traits among creators in different fields, and also an in-depth perception of creators' beliefs about themselves, about creators in general, and creative processes. The investigation is based on several personality and process questionnaires carried out by diverse types of creative subjects: artists and painters, patent product inventors, designers, comic-strip drafters, and actors.

We all know that creativity in business is important -perhaps even more important now than it has been in the past. Therefore, it is surprising that there are so few good examples- the same case studies are endlessly re-cycled. Genuine creativity, it appears, is rare (one of the reasons why it is so valuable). Why? Clearly, not because managers don't recognise its importance, rather because it is hard. Hard in two ways. Firstly, it is difficult to formalise -it requires the magic moment. Secondly, creating the right environment to favour 'magic moments' challenges many existing management structures (particularly for the 'big berthas' of the business world -the large corporations) which have evolved for their own set of very good reasons. Moving to embrace creativity will involve some loss of control -and therefore some risk. A balance must be struck. But companies need to be brave to lead. Agencies and other outsiders can help, by acting as creative protagonists.

Presentation of the use of methodological instruments with a semiotic root for the development of marketing and advertising projects.

Exposition of the work carried out for the creation of a range of products for the Cafe San Marco brand. To develop this range, generative semantic models were used. The use of what is known as a 'semiotic framework' allows deployment of a repertoire of meanings referring to differentiated, sensations. This repertoire of meanings gave place to a repertoire of products which allowed enrichment of the brand offer in a coherent manner, while keeping the deeper values of the brand.

In the new market situation, innovation in designing products is needed. To achieve this when faced with classic analysis and investigation methods of a retrospective nature, prospective design methods are necessary, and these methods have as their main function the creation of new creative hypotheses with a view to the future, retrospective methods tend to satisfy consumers' as yet unformulated expectations and needs. Here is an exposition of the basic characteristics of prospective design methods, from the process phase to the making up of teams which are to participate in these processes.