Big ideas start with big pens.

It’s no coincidence that people use the expression ‘big picture’ when they’re talking about something conceptual.

A concept is the beginning of an idea and when you show someone a concept, you typically show your broad brush strokes, not forensic detail.

This applies directly to advertising: a creative team working on a press ad will begin by putting headlines on large sheets of layout paper. And these headlines will be written with a black fibre tipped marker about the same size as a well-endowed dog’s wedding tackle.

Copywriters and art directors don’t write headlines with spindly ballpoint pens and there are a couple of good reasons for this.

Firstly, headlines aren’t usually small things. They are supposed to be bold statements. So a big pen is best for the job. I also think the ink colour needs to be black, for ultimate legibility.

But also, the exercise of writing with a big marker pen is something that challenges your confidence. Big headlines will be seen by anyone passing your office door, which may open you up for praise or criticism. Which is the whole point of putting concepts on the wall in the first place.

The moment you write it down big, something abstract begins to become more concrete.

But this is not a principle that should only exist inside the walls of an advertising agency’s creative department. It applies equally to other situations when concepts are being generated at work.

Working on a Powerpoint deck? Wrestling with some key marketing statements? Mapping out a user journey? Go for the big marker first.

Do the opposite — which is what a lot of people do — and you are more likely to get bogged down in detail too early and developing concepts that fundamentally don’t work. Which is a waste of time and energy.

You could also become shy and introverted in the way you work and less likely to welcome comments (and suggested improvements) from your colleagues.

Small print is for lawyers.