This thesis has its motivation in mediated communication. Its purpose is to focus on how the creative companies become visible to the consumers. An area which is more topical now than ever, because of the global financial crisis. Therefore the focus is on how we talk with the consumers rather than how we talk to the consumers. I base my work on the hypothesis, that we all have different emotional attitudes to the concept of creativity. What you define as creative, innovative and of great value, is probably not the same definition as the person next to you. Based on this, this thesis will bring you on a discovery to areas within the concept of creativity. The discovery has two purposes. The first is to obtain a theoretical understanding of creativity. The second is to find a method to categorize companies as being creative. When I assume that there is a common denominator in people's views on what qualify getting the label creative and what is not, I am required to identify what people think about creativity. The reason for this is that it gives me an empirical understanding in human behavior with focus on creativity. With the understanding of this I am capable of finding out in what direction the communication about creativity has to be in order to reach the consumers. I order to obtain the full understanding I have mapped and categorized the consumers emotional view on creativity. This is grounded on a survey based on 400 responses from throughout the country. The result is a segment compass where the respondents are divided into four archetypes. In each group I have categorized the group’s emotional view on the concept of creativity. The compass is directly applicable in practice and is included in the context of a conceptual guide that gives the creative companies a tool to obtain creative visibility through emotional communication. The conceptual guide is based on an examination of how creativity can be visualized by making creativity the subject of the companies’ communication. In order to communicate creative there is need for an effective communications tool which is based on creativity. Here is the experience-based communications useful, since it is based on sensual circumstance which again has a connection to emotions. To contribute another perspective on the visibility of creative companies I focused on how the conceptual guide can be used in practice. Based on the case Lakrids by Johan Bülow, I made a proposal for how they get to emerge as a creative company. The result was a concept that I chose to call: Liquorice – beyond the obvious.