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MODULE 1: THE CREATIVE ECONOMY
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PAGETitle
/core concept		CKSPECCKNotes on alterations:
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4Intro1.1The different creative and non-creative industries that form part of the creative economy and the responsibilities of creative roles

Students should be able to recall the different creative and non-creative industries that form part of the creative economy and the responsibilities of roles within the creative industry. *		1.1.1 1.1.1 creative industries that form part of the creative economy – film, television (TV), broadcasting and video, publishing, music and the performing arts, digital, crafts and design. * See page 7 for Roles and Responibilities inc. 1.1.3
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1.1.21.1.2 non-creative industries that form part of the creative economy – legal, financial, logistical, marketing and communications, human resources. 
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5The project Lifecylce9.1The stages and requirements within a project lifecycle

• recall the requirements of each stage within the project lifecycle

• demonstrate understanding of the benefits and challenges of meeting the requirements at each stage and requirements within the project lifecycle and how meeting and not meeting these requirements can impact a project in the creative industries

• consider different aspects of the stages and requirements within the project lifecycle and how they interrelate.*

9.1.1Initiation stage** See P5 for expanded CKs (9.1.1 - 9.1.4)
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9.1.2Planning stage*
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9.1.3Execution stage*
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9.1.4Delivery stage*
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NaEvaluation Stage* Additional evaluation stage (blue) added to ensure all parts of The Production Process (P5) and the Creative Supply Chain (P6) are contained within the Project Lifecycle
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6The Production Process1.3
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9.1 (expanded) 		1.3 The creative supply chain

• recall the supply chain of the creative economy, including the production process and factors that need to be considered for delivering a product, content or service

• demonstrate understanding of the benefits of the creative supply chain to the economy, how the production process operates and factors that need to be considered for delivering a product, content or service. *

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9.1 The stages and requirements within a project lifecycle

• recall the requirements of each stage within the project lifecycle

• demonstrate understanding of the benefits and challenges of meeting the requirements at each stage and requirements within the project lifecycle and how meeting and not meeting these requirements can impact a project

• consider different aspects of the stages and requirements within the project lifecycle and how they interrelate.

1.3.2production process:

• establishing the need for a product, content or service:
o research and development stage

factors that need to be considered for delivering of a product, content or service:
• compliance with standards and legislation:
o copyright clearances
o quality assurance
o contributor consent








• ideation of the creative vision:
o generation and development of ideas and concepts
o gathering, processing and responding to initial feedback
o presenting or pitching ideas






• execute:
o initial production planning
o sourcing of funding
o sourcing of materials, resources and services





• pre-production stage:
o preparing materials and resources
o testing equipment and resources
o review of production schedule
o review of production planning
o planning human resources






• production and post-production stage.
9.1.1initiation stage: 
• identification of client needs or brief requirements
• identification of feasibility of project in relation to:
o budget
o timeframes
o resources
• identification of risks
• identification of scope
• identification of outcome or deliverables, including key performance indicators (KPIs)
• identification of stakeholders
• creation of key documentation.		* CK 1.3 Split between P5 Production Process & P6 The Creative Supply Chain

*Factors to consider and Economic Impact P6
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9.1.2 planning stage:
• organisation of the project into smaller phases
• identification of roles and responsibilities of project personnel
• identification of task dependencies
• creation of project plan
• establishment of working procedures of the project
• financial management, including forecasting, budgeting
• establishment of resource requirements:
o materials
o personnel
• scheduling:
o allocation of duties
o creation of workflows, including the use of Gantt charts
o collaboration with stakeholders
• contingency planning.
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9.1.3 execution stage:
• create/produce
• monitoring of quality outcomes and deliverables.
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1.3.3• archival:
o media files, including unedited source material and finalised media content files
o paperwork
• results tracking to determine the success of the project, including audience feedback, reviews, ratings.		9.1.4 delivery stage:
• completion of identified outcomes
• supply of identified deliverables.
• project evaluation and reporting:
o reflective practice
o determining positive and negative outcomes of project.
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7The Creative Supply Chain1.3 ctd The creative supply chain (cntd)

• recall the supply chain of the creative economy, including the production process and factors that need to be considered for delivering a product, content or service

• demonstrate understanding of the benefits of the creative supply chain to the economy, how the production process operates and factors that need to be considered for delivering a product, content or service. *		1.3.11.3.1 supply chain of the creative economy:
• production:
o creative workspaces and studios
o industrial sites
• consumption – places where creative work is experienced, showcased, exhibited and sold:
o museums
o galleries
o libraries
• economic impact:
o direct impact on the economy from producing and consuming the output from creative industries
o indirect impact on the wider economy through the supply chain.		*1.3.3 Factors to be considered covered within CA5 Regulation & Legislation
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1.3.31.3.3 factors that need to be considered for delivering of a product, content or service:
• compliance with standards and legislation:
o copyright clearances
o quality assurance
o contributor consent
o health and safety compliance
• distribution of a product, including exhibition, installation
• archival:
o media files, including unedited source material and finalised media content files
o paperwork
• results tracking to determine the success of the project, including audience feedback, reviews, ratings.
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8Roles & Responsibilities1.1The different creative and non-creative industries that form part of the creative economy and the responsibilities of creative roles

Students should be able to recall the different creative and non-creative industries that form part of the creative economy and the responsibilities of roles within the creative industry. 		1.1.31.1.3 Responsibilities of roles:
• business − commissioning, fund-raising, managing the workforce, budget and schedules, marketing, promotion and distribution
• design − ideas generation, research, development of concepts, products and services
• production − preparation for production, utilisation of resources, production and delivery of concepts, creating content, post-production
• technical − ensuring that all materials, resources and equipment meet the required technical specifications for the commission, archiving.
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2.3Different roles in the creative industry

Students should be able to recall the different roles in the creative industry and the types of activity performed in the role.		2.3.12.3.1 research/development roles:
• generating and developing ideas/creative vision
• winning the contract, securing funding.
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2.3.22.3.2 technician roles:
• maintenance
• technical support.
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9.3 The roles, responsibilities and interdependencies of key personnel within a project

Students should be able to:
• recall the roles, responsibilities and interdependencies of key personnel within a project
• demonstrate understanding of the benefits and challenges of key personnel meeting their responsibilities and the ways in which the roles, responsibilities and interdependencies of key personnel can impact a project in the creative industries
• consider different aspects of the roles, responsibilities and interdependencies of key personnel within a project and how they interrelate.
9.3.1 9.3.1 commissioning roles:
• responsibilities:
o sets brief
o sets scope
o sets budget
o requests changes
o releases payment
o accepts final deliverables

• interdependencies:
o provides direction to project leadership
o oversees direction of creative decisions taken
o receives updates from leadership team on progress.
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9.3.2 9.3.2 project leadership roles:
• responsibilities:
o manages the project from concept to close
o communicates tasks to the wider production team
o manages budget

o manages and plans resources
o communicates with client or commissioner
o initiates project evaluation and closure
• interdependencies:
o receives direction from commissioner or client
o provides direction to project production team.
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9.3.3 9.3.3 production roles:
• responsibilities:
o provides expertise for specific areas required by the project
o generates design ideas and concepts
o performs project tasks
o provides status updates

• interdependencies:
o reliance on sequencing of tasks across departments
o receives direction from project leadership
o provides feedback concerning their specialism to appropriate stakeholders.
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2.3
/9.3		2.3.32.3.3 sales and distribution roles:
• distributing products to customers
• public relations.
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2.3.42.3.4 marketing:
• developing campaigns
• advertising and publicising products and services.
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9.3.4 9.3.4 distribution roles:
• responsibilities:
o promotion and marketing of production content
o monetising the content through sales
o compliance with legal processes

• interdependencies:
o provides distribution recommendations to commissioner in line with agreed targets
o liaises with project leadership on distribution model and material, based on creative decisions and directions.
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9Project Management9.2The common features and types of project tools applied to managing projects
Students should be able to:
• recall the common features and types of project tools
• demonstrate understanding of the benefits and challenges of using project tools and the ways in which project tools are applied when managing projects in the creative industries
• consider different aspects of the common features and types of project tools and how they interrelate		9.2.29.2.2 types of project tools:
• digital project management software – multi-feature software packages for tracking tasks and time
• work breakdown structure software – used to detail tasks within a project, the sequence, dependencies and timescales
• spreadsheets – store, manipulate and analyse data
• dashboards – a way of visually displaying data, such as KPIs
• customer relationship management (CRM) software – used to manage and record interactions with stakeholders.		* Types of tools before features
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9.2.19.2.1 common features of project tools:
• planning – organising and planning the scope, tasks, activities and timelines of a project
• time management – enables project teams to log and measure time and effort
• estimation and forecasting – allow for estimations of key project drivers
• scheduling/tracking – schedule, delegate and track work with tasks, subtasks, folders, workflows and budgets
• management of risks – identification and mitigation of risks
• collaboration and communication – working with multiple people by assigning tasks, monitoring progress, approving changes and communicating via chat groups
• file management – editing, versioning, sharing and storing files
• reporting – provides an update on status and progress to stakeholders
• evaluation – ability to track and assess productivity and progress through resource management.
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10Employment Models2.5Employment models and their features used within the creative industries
Students should be able to:
• recall the employment models and their features used within the creative industries
• demonstrate understanding of the benefits and drawbacks of different employment models used within the creative industries
• consider different aspects of the employment models and their features and how they interrelate.		2.5.1 2.5.1 direct employment model:
• permanent contract – non-expiring contractual agreement
• fixed-term contract – contractual agreement with a determined end date
• project-based – hired for a specific project only
• zero-hours/casual contract – ad hoc working patterns based on employer need, with no obligation to be offered work.
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1.2		2.5.2 2.5.2 self-employment model:
• freelancer – undertakes pieces of work for different employers
• sole trader – business is run as an individual
• sub-contractor – a third party that completes work on behalf of an organisation.		1.2.81.2.8 freelancer:
• specialist self-employed individual contributing to and supporting a range of projects
• not affiliated with a sole employer.
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1.2.91.2.9 sole trader:
• individual who runs and owns a company
• can employ people to support with operations.
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11Organisations Industry bodies1.2The characteristics of different types of organisations that operate within the creative economy
Students should be able to recall the characteristics of different types of organisations that operate within the creative economy.		1.2.11.2.1 sector skills bodies (for example, UK Fashion and Textiles (UKFT)):
• comprised of key industry figures
• not for profit or commercially driven
• develop occupational standards
• reduce skills gaps and increase performance in the sector.		*CK1.2 continued in business models P12
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1.2.21.2.2 creative bodies (for example, Creative UK, the Crafts Council):
• not for profit or commercially driven
• invest, develop and support creativity in businesses and individuals
• champion interest of its members.
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1.2.61.2.6 not-for-profits:
• operational drivers do not financially benefit board of directors or any individual
• surplus finance reinvested in line with corporate social responsibility (CSR)
• not eligible for charity tax relief.
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1.2.71.2.7 charities:
• established for a charitable purpose for public benefit
• organisation is subject to charity law and legislation
• eligible for charity tax relief.
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1.6The purpose of relevant bodies, trade associations and organisations that operate within them
Students should be able to:
• recall the purpose of relevant bodies, trade associations and organisations that operate within them
• demonstrate understanding of how different bodies undertake their purpose.		1.6.11.6.1 industry bodies – representative bodies that improve the service that the industry provides by developing future workforce and supporting industry innovation:
• Crafts Council
• Design Council
• Arts Council England (ACE)
• British Council
• The National Association of Jewellers (NAJ)
• British Ceramic Confederation (BCC)
• British Furniture Confederation (BFC)
• UK Fashion & Textile Association (UKFT)
• Heritage Crafts Association (HCA).
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1.6.21.6.2 guilds – organisations promoting the tradition of trades and crafts:
• The Drapers’ Company
• The Goldsmiths’ Company
• Merchant Taylors’ Company
• The Haberdashers’ Company
• The Worshipful Company of Dyers
• The Leather-sellers’ Company
• The Worshipful Company of Upholders of the City of London
• The Framework Knitters Company
• Furniture Makers’ Company the furnishing industry’s charity.
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1.6.31.6.3 advisory bodies – boards or authorities that provide non-binding strategic advice and guidance across numerous creative areas:
• Creative UK peer support networks.
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1.6.41.6.4 regulatory bodies – sector-specific bodies outlining compliance guidelines and standards:
• Advertising Standards Authority (ASA)
• Health and Safety Executive (HSE)
• Office for Product Safety and Standards
• Anti Copying in Design (ACID).
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1.6.51.6.5 governmental departments – deliver governmental policies and visions:
• Trading Standards
• Department for Digital, Culture, Media & Sport (DCMS).
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12Organisations Business Models1.2The characteristics of different types of organisations that operate within the creative economy
Students should be able to recall the characteristics of different types of organisations that operate within the creative economy.		1.2.31.2.3 corporations:
• legal entity separate from its owners
• generally indicates a significant size of turnover and workforce.
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1.2.51.2.5 small and medium-sized enterprises (SMEs):
• organisations whose staff numbers fall below a certain threshold:
o microenterprise: fewer than 10 employees
o small enterprise: 10 to 49 employees
o medium enterprise: 50 to 249 employees.
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1.2.41.2.4 limited companies:
• private organisations where the liability of owners is limited to debt to the amount invested or guaranteed
• deliver goods or services for profit.
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13Funding 1.5The common sources of finance and funding opportunities available within the creative industries
Students should be able to:
• recall the common sources of finance and funding opportunities available within the creative industries
• demonstrate understanding of the benefits and challenges of common sources of finance and funding opportunities available within the creative industries
• consider different aspects of the common sources of finance and funding opportunities available within the creative industries and how they interrelate.		1.5.1commercial 
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1.5.2sponsorship 
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1.5.3incentives 
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1.5.4crowdfunding 
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1.5.5grants 
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14Monetisation 1.4 "The features of models used to monetise creative products and services in industry
Students should be able to:
• recall the features of models used to monetise products and services in the creative industries
• demonstrate understanding of the benefits and challenges of different models used to monetise products and services in the creative industries
• consider different aspects of the models used to monetise products and services in the creative industries and how they interrelate."		1.4.1commissioned
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1.4.2self - generated
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1.4.3Subscription
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15Finances2.6The importance of financial acumen in supporting operations within creative industries
Students should be able to:
• recall the reasons why it is important for people working within the creative industries to have financial acumen
• demonstrate understanding of how having good financial		All CKs as listed in spec
2.6.1 - 2.6.7		Financial Acumen
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9.4The key components of a project budget
Students should be able to:
• recall the key components of a project budget
• demonstrate understanding of the benefits and challenges of maintaining a project budget and the ways in which the components of a project budget can impact projects in the creative industries
• consider different aspects of the key components of a project budget and how they interrelate.		All CKs as listed in spec
9.4.1 - 9.4.6		The key components of a project budget 
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16taxes2.7The features of personal and business taxation
Students should be able to recall the features of personal and business taxation within the creative industries.		2.7.1 Income tax 
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2.7.2 tax year returns: 
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2.7.3 corporation tax: 
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2.7.4 National Insurance (NI) 
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2.7.5 VAT
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17Regulation & Legislation5Key features of legal and regulatory requirements affecting the creative industries and implications of non-compliance
Students should be able to:
• recall the key features of legal and regulatory requirements affecting the creative industries
• demonstrate understanding of the benefits and challenges of adhering to legal and regulatory requirements and the implications of non-compliance with legal and regulatory requirements affecting the creative industries.		5.1.1 Health and Safety at Work etc Act. 1974 
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5.1.2Copyright, Designs and Patents Act 1988 
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5.1.3Data Protection Act 2018: 
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5.1.4Environmental Protection Act 1990 
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5.1.5Safeguarding Vulnerable Groups Act 2006 
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5.1.6REACH
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5.1.7The Furniture and Furnishings (Fire Safety) Regulations 1988, 
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AdditionalEquality Act (2010)
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5.1.85.1.8 implications of non-compliance:
• prosecution
• fines
• injury or danger to life
• reputational damage
• damage to equipment
• loss of business
• loss of sponsorship or external funding
• intervention from regulatory bodies
• damage to environment.
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