That many creative workers have uncertain and uneven incomes is well-established, but how or why they make a living is not. This paper examines the elusive value exchanges between Creatives, buyers, consumers, and other economic supporters, and offers a model of how Creatives make a living. By mapping income statistics of Swedish Creatives together with in-depth interviews some patterns emerge. This, combined with Bourdieu's theories of social, cultural and symbolic capital, and Knorr's objects of sociality, forms a basis for a structured model of value exchange. The paper shows how creative workers create economic and non-economic capital (capitalization), how they advertise this capital (signaling), and how they convert between different types of capital (conversion) in order to make a living.

In the fragmented network economy of toady remote work for creative designers becomes mor eand more prevalent. This is good for a number of reasons. Mainly, creative designers can find work inside and outside of their region irrespective of where they choose to live. However, competing for jobs in a global market is harder, and the online presence of the Creatives becomes their main shopping window. We have conducted a study, interviewing digital Creatives in Västerbotten.

Denna studie är grundad i intervjuer som ägde rum på en reklambyrå. Studiens syfte är att utforska innebörden av 'kreativitet' i reklamvärlden. I intervjuerna betonade informanterna i synnerhet vikten av att reklam kommunicerar genom känslor och emotioner. I denna uppsats ges en närmare inblick i vad informanterna anser att känslor och emotioner har för innebörd för reklamskapande.Detta görs genom att tillämpa fenomenologisk teori. Den fenomenologiska analysen förser oss med en djupare och mer vidsträckt förståelse för den intuitiva kunskap informanterna förmedlar.

Previous research within the field of advertising creativity has been based on the point of view of professional advertisers, deciding the norms of creativity without wondering how consumers define creativity. Thus, the main purpose of our thesis has been to investigate which dimensions advertising creativity consists of and the driving forces behind them. All based on a consumers? point of view. The secondary purpose has been to show how creativity affects efficiency through purchase intentions and Word- of-Mouth.