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Creative Services Market size is valued at USD 3.167 Billion in the year 2024 and it is expected to reach USD 5.353 Billion in 2031 at a CAGR of 6.78% over the forecast period of 2024 to 2031.Creative Services Market DriversDigital Transformation: The shift towards digital platforms has created a significant demand for creative services. Businesses need compelling digital content, websites, and online advertising to engage customers, necessitating creative expertise.Increasing Importance of Branding: Companies are investing heavily in branding to differentiate themselves in a competitive market. Creative services play a crucial role in developing brand identity, including logos, packaging, and marketing materials.Growing Use of Social Media: The rise of social media platforms has created a demand for creative content to engage audiences. Businesses require visually appealing graphics, videos, and advertisements to capture the attention of users on platforms like Instagram, Facebook, and Twitter.
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TwitterSince the last bulletin (published in January 2009) there have been further revisions to the methodology and source data for the Radio and TV series. Therefore DCMS has undertaken detailed work to create a consistent time series and to ensure continued data quality for the creative industries. Please see the Technical Note below for explanation of these revisions and other methodological issues.
For further detail about the estimates, or to be added to a distribution list for future updates, please email the department via CIEEBulletin@culture.gsi.gov.uk.
This will be the last bulletin produced using the existing structure. Future bulletins will need to use the new 2007 SIC structure and we will be undertaking work to map the new SIC codes to the creative industries over the coming months. This will include reviewing the framework for measuring the creative industries and the provision of regional data.
For Ministerial briefing purposes only:
Minister for Creative Industries
Head of Creative Economy Programme
Senior Policy Adviser, CEP
Press Officer - Media Desk
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According to Cognitive Market Research, the global Computational Creativity market size was USD 685 million in 2024 and will expand at a compound annual growth rate (CAGR) of 27.4% from 2024 to 2031. Market Dynamics of Computational Creativity Market
Key Drivers for Computational Creativity Market
The growing integration of computational creativity in various industries- The computational creativity market is rapidly expanding, driven by its integration across diverse industries. In entertainment, AI-generated music, art, and scripts are revolutionizing content creation, enabling faster production and personalized experiences. The advertising sector leverages AI for innovative campaign designs and audience targeting, enhancing engagement and conversion rates. In gaming, procedural content generation creates unique, immersive experiences, reducing development time and costs. Additionally, computational creativity is transforming education through AI-driven personalized learning tools and interactive content. The fashion industry employs AI to predict trends and design unique apparel, while in architecture and design, generative algorithms optimize functionality and aesthetics.
Increasing adoption of generative models and deep learning techniques to drive the Computational Creativity market's expansion in the years ahead.
Key Restraints for Computational Creativity Market
High development costs pose a serious threat to the Computational Creativity industry.
The market also faces significant difficulties related to ethical concerns regarding AI-generated content.
Introduction of the Computational Creativity Market
The computational creativity market, encompassing the intersection of artificial intelligence and creative industries, is rapidly expanding. This market includes tools and platforms leveraging AI to assist in art, music, literature, design, and other creative processes. Key drivers include advancements in machine learning algorithms, increased demand for personalized and novel content, and the integration of AI in professional creative workflows. Companies like OpenAI, Adobe, and Google are prominent players, innovating with AI-driven products that enhance human creativity. The market is also influenced by the rising interest in digital art and the NFT boom, which leverages AI for unique content creation. Challenges such as ethical concerns, intellectual property issues, and the balance between human and machine creativity are critical considerations.
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TwitterEmployment in the creative industries in Italy experienced an annual increase in 2023. That year, the number of employees in the architecture and design market reached nearly *******, growing by *** percent from 2022. Over the same period, employment in the communication market rose by *** percent, peaking at roughly *******.
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Freelance performers and creative artists in the United States have been navigating a rapidly evolving and often turbulent landscape, shaped by economic pressures, union action and technological disruption. High-profile strikes led by the WGA and SAG-AFTRA in 2023 and Actors' Equity in 2024 secured landmark protections for workers, particularly around censure and the threat of AI in the creative industries. Yet, these victories came with heavy costs to freelancers, including widespread project delays, lost opportunities and significant job losses outside of union contracts. Combined with elevated inflation and turbulent consumer spending, the salaries highlight the widening gap between contracted union members and freelance creatives. Even so, revenue grew at a CAGR of 8.4% to reach an estimated $72.0 billion in 2025, including a rise in growth of 1.1% in 2025 alone. At the same time, the rise of digital platforms has expanded resiliency for independent artists and intensified competition. Platforms like TikTok, YouTube, Patreon and Substack have expanded access to audiences, enabling creators and freelance artists to establish direct fan relationships, experiment with new content formats and generate additional live streams. However, many have struggled to stand out amid a flood of low-cost and free online content, making visibility and popular fan relationships essential for sustainability. Federal arts funding under the Trump Administration in 2025 has compounded these pressures, terminating hundreds of grants that support direct financial relief and critical collaboration and exposure, especially in underserved and marginalized communities. Private donations and emergency programs have only partially filled the gap, leaving artists to grapple with diminished access to resources and programs that previously fostered growth. Performers and creative artists will navigate both challenges and opportunities over the next few years. Industry recovery from prior disruptions, coupled with consumer demand for fresh and original experiences, is expected to fuel overall market growth, with top-tier freelancers reaping disproportionately larger profit margins than smaller creators. However, the rapid integration of AI-driven tools and rising competition, fueled by lower barriers to entry, will intensify financial and job instability. Sustainability will become a central concern, driving innovation in eco-friendly materials, ethical labor and community-based programming as artists seek new ways to attract conscious consumers and diversify their revenue streams. The challenge for freelance creatives will be to adapt swiftly, balancing organization, digital savvy and sustainable business practices, to remain competitive and resilient in an oversaturated market. Over the next few years, revenue is projected to strengthen at a CAGR of 1.4% to $77.1 billion in 2030.
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TwitterThe information shared on this page is no longer being updated. For more information about Imagine Austin and its ongoing update, please visit speakupaustin.org/ImagineAustin View the results of the indicators related to the Grow and Invest in Austin's Creative Economy Priority Program of Imagine Austin.
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TwitterThe value added of creative industries in Italy experienced an annual increase in 2023. That year, the value added generated by the architecture and design market amounted to roughly *** billion euros, growing by *** percent from 2022. Over the same period, the value added of the communication segment rose by *** percent, peaking at nearly *** billion euros in 2023.
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Discover the booming global market for cultural and creative products! This comprehensive analysis reveals a $500 billion market in 2025, projected to grow at a 7% CAGR through 2033. Explore key drivers, trends, and regional insights impacting crafts, food, stationery, and more.
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Discover the booming Arts & Culture Services market! Our analysis reveals a $150B+ market in 2025, projected to grow at 7% CAGR through 2033. Explore key drivers, trends, restraints, and regional insights. Learn how digital transformation, government funding, and consumer spending are shaping this dynamic sector.
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April 2025
DCMS and digital sector October 2020 to September 2023 employment data tables including the full set of additional breakdowns for all years have been re-published.
November 2024
We have made some small revisions to both the DCMS and digital October 2021 to September 2023 employment tables, due to the identification of an error.
For DCMS sectors, October 2022 to September 2023 data tables have been re-published and for October 2021 to September 2022, headline data at sector-level has been re-published.
For Digital sectors, the October 2022 to September 2023 table has been re-published for Digital and Telecoms sectors and total filled jobs for digital subsectors. For October 2021 to September 2022, headline data has been published for the Digital and Telecoms sectors.
The full set of additional breakdowns for these tables will be re-published in due course.
26 March 2024: The Economic Estimates: Digital Sector Earnings Annual Gross Pay 2023 table has been corrected and re-published following the identification of an error. No other Digital or DCMS Earnings or Employment tables are affected by this change.
These Economic Estimates are used to provide an estimate of the contribution of DCMS sectors, and separately the digital sector, to the UK economy, measured by employment (number of filled jobs) and employee median earnings. These estimates are calculated based on the Office for National Statistics (ONS) Annual Population Survey (APS) and Annual Survey of Hours and Earnings (ASHE) respectively.
These statistics cover the contributions of the following DCMS sectors to the UK economy;
civil society
creative industries
cultural sector
gambling
sport
Tourism is not included as the data is not yet available. The release also includes estimates for the audio visual sector and computer games sector.
Users should note that there is overlap between DCMS sector definitions. In particular, several cultural sector industries are simultaneously creative industries.
A definition for each sector is available in the tables published alongside this release. Further information on all these sectors is available in the associated technical report along with details of methods and data limitations.
Between October 2022 to September 2023, there were 4.0 million total filled jobs in the included DCMS sectors, an increase of 393,000 (10.9%) since pre-pandemic (2019) and 55,000 (1.4%) since the previous equivalent 12-month period.
Since pre-pandemic (2019), driving the growth in included DCMS sector employment was the creative industries (16.3% increase). Over this period, employment also grew in the civil society sector (8.0% increase), cultural sector (1.3% increase), and gambling sector (4.8% increase), however, remained below 2019 (pre-pandemic) levels in the sports sector (2.5% decrease).
As of April 2023, median annual earnings for employees in the included DCMS sectors were £30,164; 1.7% greater than the UK overall (£29,669). Median annual earnings for included DCMS sectors have grown in line with the UK overall compared to the previous year, both growing by 6.9%. However, compared to pre-pandemic, median annual earnings have grown faster in included DCMS sectors, an increase of 22.8%, than for the UK overall, which grew 19.0%.
Employees in the creative industries (£39,366) and cultural sector (£31,014) had higher median annual earnings than the UK overall but employees in the civil society (£27,409), sport (£21,000) and gambling sectors (£26,164) had lower median annual earnings.
As of April 2023, for every £1.00 earned by a man employed in the included DCMS sectors, a woman earns £0.80. Meaning a gender pay gap of 19.8%, larger than the UK overall (14.2%). This is a 0.2 percentage point decrease from last year (20.0%), and a 3.1 percentage point decrease from pre-pandemic (22.9%).
These statistics also cover the contributions of the following digital sectors to the UK economy
digital sector
Of which: telecoms
Users should note that the telecoms sector sits wholly within the digital sector.
A definition for each sector is available in the tables published alongside this release. Further information on all these sectors is available in the associated technical report along with details of methods and data limitations
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License information was derived automatically
This dataset accompanies the study The Cultural Resource Curse: How Trade Dependence Undermines Creative Industries. It contains country-year panel data for 2000–2023 covering both OECD economies and the ten largest Latin American countries by land area. Variables include GDP per capita (constant PPP, USD), trade openness, internet penetration, education indicators, cultural exports per capita, and executive constraints from the Polity V dataset.
The dataset supports a comparative analysis of how economic structure, institutional quality, and infrastructure shape cultural export performance across development contexts. Within-country fixed effects models show that trade openness constrains cultural exports in OECD economies but has no measurable effect in resource-dependent Latin America. In contrast, strong executive constraints benefit cultural industries in advanced economies while constraining them in extraction-oriented systems. The results provide empirical evidence for a two-stage development framework in which colonial extraction legacies create distinct constraints on creative industry growth.
All variables are harmonized to ISO3 country codes and aligned on a common panel structure. The dataset is fully reproducible using the included Jupyter notebooks (OECD.ipynb, LATAM+OECD.ipynb, cervantes.ipynb).
Contents:
GDPPC.csv — GDP per capita series from the World Bank.
explanatory.csv — Trade openness, internet penetration, and education indicators.
culture_exports.csv — UNESCO cultural export data.
p5v2018.csv — Polity V institutional indicators.
Jupyter notebooks for data processing and replication.
Potential uses: Comparative political economy, cultural economics, institutional development, and resource curse research.
These steps reproduce the OECD vs. Latin America analyses from the paper using the provided CSVs and notebooks.
Click File → New notebook.
(Optional) If your files are in Google Drive, mount it:
from google.colab import drive
drive.mount('/content/drive')
You have two easy options:
A. Upload the 4 CSVs + notebooks directly
In the left sidebar, click the folder icon → Upload.
Upload: GDPPC.csv, explanatory.csv, culture_exports.csv, p5v2018.csv, and any .ipynb you want to run.
B. Use Google Drive
Put those files in a Drive folder.
After mounting Drive, refer to them with paths like /content/drive/MyDrive/your_folder/GDPPC.csv.
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TwitterFor DCMS sector data, please see: Economic Estimates: Employment and APS earnings in DCMS sectors, January 2023 to December 2023
For Digital sector data, please see: Economic Estimates: Employment in DCMS sectors and Digital sector, January 2022 to December 2022
In the 2021 calendar year, there were approximately 4,270,000 filled jobs in DCMS Sectors (excluding Tourism), 12.9% of the UK total, and a 3.1% increase compared to the preceding 12 months.
Growth in total DCMS sector filled jobs was primarily driven by the Creative Industries and Digital sectors, which increased by 113,000 (5.1%) and 108,000 (6.3%) filled jobs respectively. This was partially offset by decreases in the Civil Society and Sport sectors (4,000, 0.5% and 5,000, 0.9% respectively).
Although there is wide variation between sectors in terms of demographic breakdowns, overall the proportion of filled jobs held by women was lower in the DCMS Sectors (excluding Tourism) (44.5%) than the UK overall (48.1%). DCMS Sectors (excluding Tourism) have a similar share of jobs filled by people from ethnic minority groups (excluding white minorities) or by people with disabilities compared to the UK workforce overall.
According to earnings estimates in the 2021 calendar year, within the DCMS Sectors (excluding Tourism) median hourly gross pay was greater than the UK overall, at £15.68 compared to £13.51. Of the individual sectors, only Gambling and Sport had lower pay than the UK average, while the Creative Industries and Digital sector had the highest median pay.
Within the DCMS Sectors (excluding Tourism), the difference in pay between men and women is estimated to exceed the UK overall (DCMS 23.9%, UK 15.1%), while the disability pay gap was similar (14.7%, 14.6%) and there was great variation in pay by ethnic group.
On Friday 4th November, we removed the following estimates of employment and earnings:
This is because ONS have identified an https://www.ons.gov.uk/employmentandlabourmarket/peopleinwork/employmentandemployeetypes/articles/theimpactofmiscodingofoccupationaldatainofficefornationalstatisticssocialsurveysuk/2022-09-26">issue with the way their underlying survey data has been assigned to the refreshed SOC2020 codes that were used to calculate these estimates in this publication. ONS expect to resolve the issue by Spring 2023. No other data in this release is affected.
The employment (number of filled jobs) estimates series is a National Statistic under the Code of Practice for Statistics. It is calculated based on the Office for National Statistics (ONS) Annual Population Survey (APS).
The earnings estimates series is an Experimental Statistic. It is also calculated based on the ONS Annual Population Survey (APS) and was first published in the DCMS Sector National Economics: 2011 to 2020 to provide estimates of earnings with different demographic breakdowns. For headline estimates of earnings, DCMS also publishes estimates using the Annual Survey of Hours and Earnings (ASHE), which are seen as more robust for that purpose.
Additionally, DCMS has published estimates of the Civil Society sector, broken down by Local Authority. This uses pooled data spanning the period 2018 to 2021 to boost sample sizes. It was developed as an “ad hoc” release based on user request and can be found in our ad hoc statistical release page.
In 2020, the ONS conducted a review of the Standard Occupational Classification (SOC) codes to update and revise the classification of occupations to reflect changes within the economy since the previous ‘refresh’, around 2010. As the Creative Industries is defined using the occupation codes which have been determined as creative, DCMS has updated the list of creative occupations based on the
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The global creative software market size was USD 8.73 billion in 2024 & is projected to grow from USD 9.31 billion in 2025 to USD 17.35 billion by 2033.
Report Scope:
| Report Metric | Details |
|---|---|
| Market Size in 2024 | USD 8.73 Billion |
| Market Size in 2025 | USD 9.31 Billion |
| Market Size in 2033 | USD 17.35 Billion |
| CAGR | 6.7% (2025-2033) |
| Base Year for Estimation | 2024 |
| Historical Data | 2021-2023 |
| Forecast Period | 2025-2033 |
| Report Coverage | Revenue Forecast, Competitive Landscape, Growth Factors, Environment & Regulatory Landscape and Trends |
| Segments Covered | By Deployment,By Type,By Region. |
| Geographies Covered | North America, Europe, APAC, Middle East and Africa, LATAM, |
| Countries Covered | U.S., Canada, U.K., Germany, France, Spain, Italy, Russia, Nordic, Benelux, China, Korea, Japan, India, Australia, Taiwan, South East Asia, UAE, Turkey, Saudi Arabia, South Africa, Egypt, Nigeria, Brazil, Mexico, Argentina, Chile, Colombia, |
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According to our latest research, the global artist development programs market size reached USD 6.7 billion in 2024, reflecting a robust expansion driven by the increasing recognition of the arts as a vital component of cultural and economic growth. The market is expected to grow at a CAGR of 8.2% from 2025 to 2033, reaching a forecasted value of USD 12.6 billion by 2033. This growth is propelled by the rising demand for structured training and mentorship across music, visual arts, performing arts, and literary arts, as well as the rapid adoption of digital delivery modes and global collaboration platforms.
The growth of the artist development programs market is primarily fueled by the increasing emphasis on professionalization within creative industries. As creative economies expand, there is an ever-growing need for artists to not only hone their craft but also acquire business acumen, digital literacy, and entrepreneurial skills. Governments, private institutions, and non-profit organizations are investing heavily in these programs to nurture talent, foster innovation, and create sustainable career pathways. The proliferation of grant funding, scholarships, and public-private partnerships has further enhanced access to high-quality artist development programs, attracting a diverse pool of participants from various socioeconomic backgrounds.
Another significant driver of market growth is the digital transformation of the arts sector. The rise of online and hybrid delivery models has democratized access to artist development programs, allowing aspiring and established artists from remote and underserved regions to participate in world-class training and mentorship opportunities. The integration of advanced technologies such as virtual reality, AI-driven feedback, and collaborative digital platforms has enriched program offerings and enabled personalized learning experiences. This digital shift has also facilitated cross-border collaborations and global exposure, enabling artists to connect with international mentors, peers, and audiences, thereby expanding their creative and professional horizons.
In addition, the growing recognition of the arts as a catalyst for social change and community development has spurred demand for artist development programs. Governments and cultural organizations are increasingly leveraging these programs to address social issues, promote cultural diversity, and support mental well-being. Initiatives aimed at empowering marginalized groups, fostering youth engagement, and revitalizing local communities through the arts have gained momentum worldwide. The expansion of corporate social responsibility (CSR) initiatives and philanthropic funding in the arts sector has further contributed to market growth, with corporations and foundations supporting artist residencies, workshops, and mentorship programs as part of their broader social impact strategies.
Regionally, North America and Europe currently lead the market in terms of revenue and program diversity, owing to their established creative industries, robust funding ecosystems, and strong institutional support for the arts. However, the Asia Pacific region is witnessing the fastest growth, driven by rising disposable incomes, expanding urban populations, and increasing government investments in cultural infrastructure. Latin America and the Middle East & Africa are also emerging as promising markets, supported by vibrant local art scenes and growing international collaborations. The regional outlook for the artist development programs market remains positive, with each region contributing uniquely to the global landscape through innovation, cultural exchange, and policy support.
The program type segment of the artist development programs market encompasses music, visual arts, performing arts, literary arts, and other specialized art forms. Music development programs continue to dominate the market, accounting for the largest share in 2024. This dominance is attributed to the global popularity of music as an art form, the widespread availability of music education infrastructure, and the strong presence of industry stakeholders such as record labels, streaming platforms, and music academies. Music programs often offer comprehensive training in performance, composition, production, and music business, attracting a diverse pool of participants ranging from aspir
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The Artificial Intelligence (AI) in Creative Industries market is revolutionizing the way creative professionals, including artists, designers, writers, and marketers, approach their work. As businesses increasingly integrate sophisticated AI tools, they can enhance creativity, streamline processes, and optimize the
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The global Creative Services Market is projected to reach a market size of approximately USD 1.2 trillion by 2033, growing at a compound annual growth rate (CAGR) of 6.5% from 2025 to 2033.
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Creative Software Market valuation is estimated to reach USD 10.02 Bn in 2025 and is anticipated to grow to USD 14.48 Bn by 2032 with steady CAGR of 5.4%
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Creative Services Market size is valued at USD 3.167 Billion in the year 2024 and it is expected to reach USD 5.353 Billion in 2031 at a CAGR of 6.78% over the forecast period of 2024 to 2031.Creative Services Market DriversDigital Transformation: The shift towards digital platforms has created a significant demand for creative services. Businesses need compelling digital content, websites, and online advertising to engage customers, necessitating creative expertise.Increasing Importance of Branding: Companies are investing heavily in branding to differentiate themselves in a competitive market. Creative services play a crucial role in developing brand identity, including logos, packaging, and marketing materials.Growing Use of Social Media: The rise of social media platforms has created a demand for creative content to engage audiences. Businesses require visually appealing graphics, videos, and advertisements to capture the attention of users on platforms like Instagram, Facebook, and Twitter.