The OPEN series was born from the desire to create a forum for applauding and interrogating strong creative design within the Out of Home (OOH) industry. Illustrating how OOH is part of our cityscape, our commute, our weekend and our shopping and holiday experiences, OOH is ‘the original tweet’ and it cannot be switched off, ignored or fast forwarded. Big, bold, cheeky, simple, clever and controversial, OOH is the ultimate creative stage, allowing brands to be unique, contextually relevant and targeted while reaching mass audiences.

The OPEN series was born from the desire to create a forum for applauding and interrogating strong creative design within the Out of Home (OOH) industry. Illustrating how OOH is part of our cityscape, our commute, our weekend and our shopping and holiday experiences, OOH is ‘the original tweet’ and it cannot be switched off, ignored or fast forwarded. Big, bold, cheeky, simple, clever and controversial, OOH is the ultimate creative stage, allowing brands to be unique, contextually relevant and targeted while reaching mass audiences.


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<strong>OPEN</strong> 3

<strong>OPEN</strong> 3

“Seeing great work in a book such as this just can’t match<br />

the breathtaking impact of experiencing brilliant Out-of-Home<br />

advertising in the flesh. We just need to see more of it out there<br />

in the real world.”<br />

...<br />

Zak Mroueh

Published in Australia by:<br />

Outdoor Media Association (OMA)<br />

Australia on behalf of Federation Publicité<br />

Exterieur (FEPE) International, Outdoor<br />

Advertising Association of America<br />

(OAAA), Out-of-Home Marketing<br />

Association of Canada (OMAC) and<br />

Outsmart UK.<br />

Suite 504, 80 William Street<br />

East Sydney NSW 2011 Australia<br />

ABN: 59 004 233 489<br />

www.oma.org.au<br />

The OMA is the peak national industry body<br />

representing most of Australia’s Out-of-<br />

Home (OOH) media display companies and<br />

production facilities, as well as some media<br />

display asset owners.<br />

OMA operates nationally and, prior to July<br />

2005, traded as the Outdoor Advertising<br />

Association of Australia. It was first<br />

incorporated in 1939.<br />

OMA media display members advertise<br />

third party products on both digital and<br />

non-digital signs across a variety of OOH<br />

formats and locations: airports, bicycle<br />

stations, billboards, buses, bus stations,<br />

cafes, doctors’ surgeries, free-standing<br />

advertisement panels, medical centres,<br />

office buildings and lifts, pedestrian<br />

bridges, railway stations, shopping centres,<br />

trains, trams, universities as well as street<br />

furniture (bus/tram shelters, public toilets,<br />

telephone booths and kiosks).<br />

© 2017 Outdoor Media Association Inc.<br />

This book is subject to copyright. Apart<br />

from any fair dealing for purposes<br />

permitted in the Copyright Act 1968, no<br />

part of this publication may be reproduced<br />

or communicated by any process without<br />

written permission.<br />

<strong>OPEN</strong> 3<br />

ISBN: 978-0-9874105-3-5<br />

Outdoor Media Association<br />

Editorial Overview: Ti-Ahna Firth<br />

and Charmaine Moldrich.<br />

Project Manager: Ti-Ahna Firth.<br />

Project Sub-Committee: Mark Flys and<br />

Richard Saturley, FEPE International; Kate<br />

Flaherty and Stephen Freitas, OAAA; Alice<br />

Goyau and Jacques Major, OMAC;<br />

Ti-Ahna Firth, OMA and Katherine<br />

Ashmore, Outsmart UK.<br />

Image Research: Katherine Ashmore,<br />

Alli Collier, Megan Evan-Hughes, Ti-Ahna<br />

Firth, Kate Flaherty, Stephen Freitas and<br />

Alice Goyau.<br />

Image Contributors: Local and<br />

international advertising agencies, clients<br />

and OOH operators.<br />

Design: Thursday Design, Sydney.<br />

Copy Editor/Contributor: David Hely.<br />

Photography: BP Imaging; Emma<br />

Summerton, CLM for David Jones;<br />

Dan Gray, Graynoise; Jake Brusha, Leo<br />

Burnett Worldwide; Thanh Pham, Sid Lee<br />

and Zachary Madrigal, Zack Madrigal<br />

Photography.<br />

Indexer: Katherine Webster.<br />

Pre-Press: Spitting Image, Sydney.<br />

Printer: Imago Group, Australia and<br />

Hong Kong.<br />

COVER<br />

<strong>OPEN</strong> 3<br />

Campaign: Women’s Aid, Look at me.<br />

Domestic violence affects one in four<br />

women, yet we continually turn a blind<br />

eye to the issue. This innovative billboard<br />

healed a woman’s bruises when people<br />

actually took notice. Despite the shocking<br />

nature of these images, the campaign<br />

ended with the model thanking those who<br />

stopped, paid attention and helped heal<br />

her. The resulting coverage was seen by<br />

326.9 million people worldwide and the<br />

campaign won a Gold Lion at the Cannes<br />

Lions International Festival of Creativity.<br />


Every effort has been made to ensure that the<br />

information contained in this book is accurate<br />

at the time of printing. However, to the full<br />

extent permitted by law, this book is supplied<br />

‘as is’ without express or implied warranty.<br />

The OMA welcomes suggestions for<br />

improvement but cannot accept responsibility<br />

for any errors or omissions and makes no<br />

representations about the content or the<br />

suitability of the information for any purpose.<br />

Except as required by law, the OMA will not<br />

be liable for any damages whatsoever (whether<br />

direct, indirect, special, consequential or<br />

otherwise) arising out of the use of, or in<br />

connection with or reliance on, the information<br />

contained in this book.<br />

<strong>OPEN</strong> 3


— Matthew Dearden<br />

President, Federation Publicité Exterieur International<br />

FOREWORD 6<br />

— Terry Savage<br />

Chairman, Cannes Lions International Festival of Creativity<br />


— Apple<br />

Shot on iPhone 6<br />


— Warren Brown 24<br />

Creative Founder, BMF<br />

— Jane Burhop 44<br />

Creative Director, Common Ventures<br />

CANADA & USA 58<br />

— Zak Mroueh 64<br />

Chief Creative Officer and Founder, Zulu Alpha Kilo<br />

— Gerry Graf 78<br />

Founder and Chief Creative Officer, Barton F. Graf 9000<br />

— Philippe Meunier 92<br />

Chief Creative Officer, Senior Partner and Co-Founder, Sid Lee<br />

— Mark Tutssel 106<br />

Global Chief Creative Officer, Leo Burnett Worldwide<br />

and Creative Chairman, Publicis Communications<br />

EUROPE & UK 118<br />

— Dino Burbidge 122<br />

Director of Innovation and Technology, WCRS<br />

— Neil Morris 146<br />

Founder and CEO, Grand Visual<br />


INDEX 156<br />




Matthew Dearden<br />

President, Federation Publicité Exterieur International<br />

“The power of posters to communicate big ideas, and<br />

therefore build brands and activate sales, is further<br />

unleashed as the digital revolution moves offline into<br />

the physical world.”<br />

Seventeen thousand years ago, the leading<br />

creatives of their generation painted cuttingedge<br />

works of art 15 metres underground by<br />

the light of small lamps burning animal fat that<br />

gave off more putrid smell than illumination.<br />

Their paints were local soils and minerals<br />

laboriously hand-mixed with water, or yet,<br />

more animal fat. Their airbrushing took<br />

particular commitment, blowing the foul paint<br />

from the artist’s mouth through a tube.<br />

Today, the art of the Lascaux Caves still<br />

captivates and communicates powerfully. The<br />

vibrant images of animals tell of the survival<br />

and hunting skills of the artists. In the Hall of<br />

the Bulls, pride of place goes to a 5.2m billboardsized<br />

beast. These intermingle with depictions<br />

of humanity as well as abstract signs – the<br />

forerunner of the logo.<br />

The greatest communicators and brandbuilders<br />

of our age also recognise the power<br />

of big ideas displayed in public. The biggest<br />

brands consistently use posters more than their<br />

competitors to build their business. From Apple<br />

to McDonald’s, Wall’s to Google, successful global<br />

mega-brands across all categories know that<br />

Out-of-Home (OOH) advertising builds the fame,<br />

recollection and affection needed to keep ahead<br />

of the rest.<br />

What many know instinctively is also<br />

demonstrated by a compelling body of evidence.<br />

The need for a medium that creates fame among<br />

a target group, but also the wider population,<br />

is now well understood. Highly targeted ads<br />

have their role and have become increasingly<br />

fashionable online. But while they can be effective<br />

at short-term sales activation, they don’t build<br />

long-term profitable brands. The very public<br />

move by the world’s biggest advertiser, Procter<br />

& Gamble, to reduce its use of narrow online<br />

targeting, due to lack of sustained sales response,<br />

is a high-profile example of a growing trend.<br />

This big audience is matched by posters<br />

offering a big canvas, both literally and<br />

metaphorically. Numerous neuroscience studies<br />

have demonstrated that, compared to smaller<br />

media, a large poster creates a bigger impression<br />

on the brain and improves recall.<br />

To be effective, these big creative ideas need<br />

to be simple, relevant to the brand and built on<br />

powerful human insight. There is nowhere to hide<br />

in OOH; a weak creative idea can’t be glossed up<br />

with slick production values or clever tech tricks.<br />

The work lives or dies on its merits.<br />

The best creatives know that these factors<br />

combine to make posters the ultimate showcase<br />

for their talents. Indeed, the Executive Creative<br />

Director of Google Labs, Steve Vranakis, requires<br />

his teams to show him the poster that would<br />

promote any new idea. To make a compelling<br />

poster, the idea must be distilled to its essence<br />

and still be powerfully motivating. Pitches that<br />

fail to do so are because they are unfinished, too<br />

complex, or simply not remarkable enough to be<br />

appealing, whereas ideas that pass the test are<br />

ready to develop into products, or cross-media<br />

creative and, of course, will particularly benefit<br />

from the big canvas of OOH.<br />

The power of posters to communicate big<br />

ideas, and therefore build brands and activate<br />

sales, is further unleashed as the digital<br />

revolution moves offline into the physical world.<br />

Once confined to special builds, Digital OOH<br />

(DOOH) creative is now scaling without losing its<br />

new-found smarts. There is already fabulous new<br />

creative on our screens; less visible, but arguably<br />

more powerful, is the new power of DOOH media<br />

planning. With the flexibility of airtime and<br />

greater responsiveness than any other medium,<br />

DOOH’s timing and triggers give brands exactly<br />

what they need: ice cream advertising in hot<br />

weather; hay fever remedies during high pollen<br />

counts; music stars synchronising ads to their<br />

radio airplay; supermarkets responding on the<br />

same day to their competitors’ price moves – all<br />

of this creative potential is live today, though far<br />

from being fully exploited.<br />

All of this builds to the purpose of<br />

advertising: to change people’s behaviour.<br />

In our desire to do this better and more cheaply,<br />

we’ve created immense complexity and mystique<br />

in advertising, which brings great advantages to<br />

all involved. But, even at its best, this complexity<br />

often obscures the fundamental truth that all<br />

advertising is built on brilliant creative ideas that<br />

can change hearts and minds. Ultimately, the role<br />

of any media channel is to allow brands to engage<br />

with people by showcasing this great creativity.<br />

OOH is a fabulous showcase for the best<br />

creative ideas. If you wanted to see state-of-theart<br />

creative 173 centuries ago you had to take<br />

a dim light deep into the caves of Lascaux. Now,<br />

you hold in your hand a bright beacon of fabulous<br />

creative. It will inspire you about the potential of<br />

OOH and provide you with powerful insight from<br />

some of the leading thinkers in their field about<br />

how to deliver on that potential. Enjoy the work,<br />

use the insight, and continue the spirit of Lascaux<br />

in telling the stories of our age.<br />



Terry Savage<br />

Chairman, Cannes Lions International Festival of Creativity<br />

“The very nature of what we now think of as<br />

Out-of-Home has expanded and become harder<br />

to define – it is branded communication that can<br />

happen almost anywhere and be virtually anything<br />

– and that makes it the ultimate opportunist.”<br />

While the forces of fragmentation have turned<br />

the screws on press, radio and TV, spend on<br />

Out-of-Home (OOH) advertising is on the up,<br />

with consistent revenue growth over the past<br />

three years and healthy projected increases<br />

until at least 2020.<br />

What has challenged other channels has<br />

only served to energise OOH. In the past decade,<br />

it’s arguably become the most dynamic of media<br />

channels, nimbly adapting and reinventing itself<br />

over time to take advantage of these industry<br />

shifts.<br />

OOH campaigns that in the past would have<br />

passively lain in wait for eyeballs now aggressively<br />

pursue visibility and engender engagement by<br />

leveraging the flux in technology, the physical<br />

environment and culture. Instead of competing<br />

against the juggernauts of change like digital and<br />

data, OOH has been able to work with them and<br />

wind up richer and more diverse for it. As a result,<br />

the very nature of what we now think of as OOH<br />

has expanded and become harder to define – it is<br />

branded communication that can happen almost<br />

anywhere and be virtually anything – and that<br />

makes it the ultimate opportunist.<br />

<strong>OPEN</strong> 3 celebrates this versatility, gathering<br />

stand-out OOH work of the past few years from<br />

Australia and around the world – inspiring<br />

examples that range from eye-popping executions<br />

in iconic locations to small-scale specialist<br />

solutions.<br />

An example of the former, Google’s<br />

Androidify (p. 68–69), leveraged New York’s<br />

instantly recognisable epicentre of entertainment,<br />

Times Square, to launch a game. Creating what<br />

Gizmodo called a “gargantuan visual spectacle”,<br />

the campaign befitted the most expensive and<br />

visible OOH real estate in the world. It allowed<br />

the public to create characters via the Androidify<br />

website or app and then – standing on a purposebuilt<br />

platform fitted with motion sensors – play<br />

them against each other on the biggest digital<br />

screen in the USA. It wasn’t just the sheer size<br />

that created cut-through in this congested<br />

environment, it was also the unprecedented<br />

interactivity and live nature of the content that<br />

drew the crowds in.<br />

This campaign used innovation to deliver<br />

an OOH component, but others have used it to<br />

seamlessly integrate OOH with other media and<br />

create a theatrical experience.<br />

To herald the UK arrival of the latest<br />

in the Tomb Raider franchise, Xbox’s Survival<br />

of the grittiest billboard (p. 149) relied on<br />

technology to allow global participation in a<br />

‘human billboard’. Eight contestants, chosen<br />

from thousands of applicants, stood on a platform<br />

and were subjected to the harshest simulated<br />

weather conditions as voted for online by the<br />

public. The last one standing won a trip, while the<br />

brand netted hours of content, millions of views,<br />

thousands of comments and a dwell time that was<br />

hundreds of times higher than average.<br />

What’s also been interesting in the past<br />

12 months is seeing a significant body of work that<br />

has rejected the benefits offered by technology,<br />

opting instead to return to the roots of OOH and<br />

celebrate its power as a pure and potent graphic<br />

language.<br />

Qantas’ Welcome home campaign (p. 36–37)<br />

demonstrated how powerful a poster can be at<br />

generating an emotional response with a simple,<br />

flawlessly executed idea. As you headed to or<br />

from the airport and saw the candid image of<br />

loved ones being reunited, a chord was struck that<br />

linked that feeling to the brand and reminded you<br />

of the very personal role Qantas plays in people’s<br />

lives. The campaign also complemented and<br />

amplified Qantas’ Feels like home TV campaign,<br />

illustrating how effectively different channels can<br />

work together.<br />

The Outdoor Advertising Association<br />

of America similarly chose to keep it simple.<br />

Feel the real (p. 113) used little more than clever<br />

location choices and bold, text-based executions<br />

with personalised messages to demonstrate<br />

the advantages and effectiveness of OOH over<br />

digital, at a time when there is growing concern<br />

about the visibility of online advertising and its<br />

susceptibility to artificially inflated views. The<br />

constant in these campaigns, big or small, high<br />

or low tech, is creativity.<br />

Creativity is at the heart of the success of<br />

OOH. And its importance will only increase<br />

through further changes to the industry because<br />

the inherent, unavoidable intrusiveness of OOH –<br />

and its ongoing advance into new and unexpected<br />

places – creates an increased obligation to be<br />

entertaining, relevant, original and wanted.<br />

As we saw with broadcast, a lack of tolerance for<br />

bland or interruptive advertising gives rise to the<br />

desire and then the means to circumvent it. And<br />

while, as an individual, you can’t block a billboard,<br />

perceived visual pollution could jeopardise the<br />

industry’s future access to public spaces.<br />

Curating outstanding OOH work for <strong>OPEN</strong> 3<br />

is important because these campaigns showcase<br />

the channel at its most creative and inspire<br />

the industry to do great things. The following<br />

examples have succeeded in adding value to both<br />

the communications and physical landscapes<br />

through thoughtful creativity – work that treats<br />

the environs in which it’s executed as a living<br />

organism, leveraging its unique traits to bring<br />

an idea to life in a way that is harmonious and<br />

authentic to the brand.<br />



Apple<br />

Shot on iPhone 6<br />


One of the most awarded international campaigns<br />

in 2015, Apple’s Shot on iPhone 6 featured<br />

photographs taken by iPhone 6 users, turning<br />

them into works of art displayed on various Outof-Home<br />

advertising formats. Featured across<br />

70 cities in 24 countries around the world, it was<br />

one of the largest mobile photo galleries ever<br />

assembled. Images for the campaign were sourced<br />

through social media platforms, which involved<br />

combing through tens of thousands of usergenerated<br />

photographs to select the best ones<br />

for the campaign. This section features examples<br />

of the campaign from Australia, Canada, China,<br />

Germany, Hong Kong, Japan, Malaysia, United<br />

Kingdom and United States of America.<br />


Information Technology<br />

MEDIA<br />

Billboard, Digital Billboard,<br />

Street Furniture, Transit<br />

AGENCY<br />

TBWA\Media Arts Lab<br />


United States of America<br />

YEAR<br />

2015<br />




Apple<br />

Shot on iPhone 6<br />




United Kingdom<br />

Australia<br />

Japan<br />

Australia<br />


Apple<br />

Shot on iPhone 6<br />




United Kingdom<br />

China<br />

Germany<br />

Canada<br />



Apple<br />

Shot on iPhone 6<br />




Australia<br />

Malaysia<br />

United States of America<br />

Hong Kong (overleaf)<br />




Australasia<br />


Australia<br />


Australia<br />


Australia<br />


Australia<br />

FORD<br />

Australia<br />



New Zealand<br />


Australia<br />

BONDS<br />

Australia<br />

QANTAS<br />

Australia<br />


Australia<br />


SYDNEY<br />

Australia<br />



Australia<br />

ANZ<br />

Australia<br />

LEXUS<br />

Australia<br />


Australia<br />



Australia<br />


Hong Kong<br />

MARS<br />

Australia<br />

MDA<br />

Australia<br />



Australia<br />


New Zealand<br />


Australia<br />



Warren Brown<br />

Creative Founder, BMF<br />

“Creating great Out-of-Home teaches you to let things<br />

go. Knowing what’s important is the key to creative<br />

success and without a doubt the best training ground<br />

for achieving that success is Out-of-Home.”<br />

There’s definitely something magical about<br />

a great poster. A great poster or Out-of-Home<br />

(OOH) idea embodies a unique advertising<br />

alchemy – a combination of elements that<br />

capture the essence of a brand, impart a potent<br />

nugget of information and make you feel an<br />

emotion that will stick to your soul for years,<br />

if not forever. And it does all this in the blink<br />

of an eye. No other medium can do that. This is<br />

why OOH remains as relevant and powerful<br />

as ever.<br />

I owe my career to a poster. Back in 1979,<br />

while still a student, I created a wall poster that<br />

featured a loudly dressed and demented-looking<br />

loony with wild rainbow-coloured hair and a<br />

speech bubble that said, “Suppose I’m fairly<br />

conservative really.” It was silly. But I managed<br />

to sell it to the greeting card company, Valentine<br />

International, for enough money to buy a one-way<br />

ticket to London where I figured the best work<br />

was being done. And I wasn’t wrong. London<br />

was nirvana for OOH. The amount of real estate<br />

dedicated to advertising was mind boggling,<br />

as was the standard of creativity. Wonderfully<br />

surreal images without words, words combining<br />

seamlessly with brilliantly crafted images and<br />

special builds adorned the city – like a car stuck<br />

to a poster hoarding. Getting your hands on a<br />

poster brief was an opportunity to mix it with the<br />

creative gods of the time and the best training you<br />

could get to hone your skills for coming up with<br />

ideas that were fast and memorable.<br />

As a junior creative I managed to get a poster<br />

brief for a new beer brand launching in the UK.<br />

That brand was Foster’s. Not new to me of course,<br />

but getting the Poms to drink an Aussie beer was<br />

always going to be a challenge. I borrowed an<br />

idea from an Australian political cartoonist who’d<br />

drawn an eye and ear on a map of Australia with<br />

the Gulf of Carpentaria as its mouth. All I did was<br />

have a pint of Foster’s pouring into it with the<br />

tagline, ‘Foster’s, the Australian for lager’.<br />

The poster went on to win Poster of the<br />

Year at the Campaign Poster Awards, along with<br />

several category awards. It was the true beginning<br />

of my love affair with posters and putting into<br />

practise the creative discipline required for OOH<br />

ideas – that is – if you’re going to cut through the<br />

crap, it’s fundamental that you start with a singleminded<br />

idea.<br />

A couple of years later I had the opportunity<br />

to work on a campaign for Swan Vestas matches<br />

with advertising legend Bruce Crouch. Swan<br />

Vestas had been part of English popular culture<br />

since Victorian times and had a great advertising<br />

poster pedigree, so there was already something<br />

to work with. After only a couple of days, we hit on<br />

the idea of Britain’s favourite old flame, featuring<br />

black and white photographs of movie stars from<br />

the golden era of Hollywood. From a library of<br />

several thousand original images held in the<br />

famous Kobal Collection, I chose a select few<br />

and retouched the subjects’ hands so they were<br />

holding Swan Vestas’ iconic red, green and yellow<br />

box. It looked striking against the black and white.<br />

The posters brought some old-school glamour to<br />

the streets of London and were liked well enough<br />

to win a heap of awards including D&AD Yellow<br />

Pencils for best poster and poster campaign. They<br />

were also included in D&AD’s book, The best of<br />

40 years.<br />

Many years down the track, I still employ the<br />

same single-minded approach to solving creative<br />

problems. You have to know which bit will stick<br />

to your audience long enough to communicate<br />

your idea. Once that essence, or nugget, has been<br />

created, what you then do with it will determine<br />

how memorable it becomes. It’s amazing how<br />

much you can change the execution of an idea<br />

without ruining the idea itself. Great ideas have a<br />

way of surviving all manner of interference, but to<br />

ensure people see them at their best they need<br />

a champion, particularly when it comes to OOH –<br />

a media channel where there is nowhere to hide.<br />

Applying a poster and OOH mentality to<br />

any creative task forces you to resist the urge<br />

to decorate or dilute your idea, whatever the<br />

intended channel. OOH trains you to constantly<br />

ask yourself, “What can I take out?” It’s what you<br />

leave out rather than put in that will make an idea<br />

great.<br />

I love the iPhone 6 poster campaign that<br />

is simply a stunning shot with the words,<br />

‘Shot on iPhone 6’ (p. 10–19). Nothing about hitech<br />

features, battery life etc.; just a reminder<br />

that the thingy that connects you to the world<br />

and contains most of your life is also brilliant at<br />

capturing emotions and the beauty of the world<br />

we live in. Who’s not going to love that?<br />

An idea isn’t an opportunity to show off by<br />

smothering your creative nugget with your own<br />

– or worse, someone else’s – style. For me, it’s best<br />

not to have a personal style to fall back on. That’s<br />

a lazy approach. What is critically important<br />

though is having a standard. And the best way<br />

to achieve that standard is to understand the<br />

importance of the word EDIT – which to me also<br />

means Every Detail Is Tested.<br />

If something is not empowering your idea,<br />

chuck it out, no matter how much love you may<br />

have lavished upon it. Creating great OOH teaches<br />

you to let things go. Knowing what’s important is<br />

the key to creative success and, without a doubt<br />

the best training ground for achieving that success<br />

is OOH.<br />


AUS<br />

David Jones<br />

One name: Endless possibilities<br />

David Jones, one of Australia’s largest and most<br />

prestigious department stores, used digital<br />

billboards to promote the launch of its Spring/<br />

Summer 2016 season. The illumination of the<br />

screen enhanced the creative, producing a<br />

dramatic and impactful image.<br />


Clothing and Accessories<br />

MEDIA<br />

Digital Billboard<br />

AGENCY<br />

Whybin\TBWA Sydney<br />


Australia<br />

YEAR<br />

2016<br />


AUS<br />

Ford<br />

Connect to the music you love<br />

Ford used one of Sydney’s busiest train stations<br />

to promote its SYNC voice activation car feature,<br />

using floor to ceiling decals and large format<br />

digital screens.<br />


Automotive<br />

MEDIA<br />

Digital Billboard, Transit<br />

AGENCY<br />

GTB Australia<br />


Australia<br />

YEAR<br />

2016<br />


AUS<br />

The ICONIC<br />


The ICONIC, an Australian online fashion<br />

and sportswear retailer, dominated one of<br />

Sydney’s busiest train station’s stairways with<br />

motivational messages and a branded running<br />

track encouraging commuters to race to the top,<br />

increasing brand awareness of the variety of<br />

brands the online store offers.<br />


Clothing and Accessories<br />

MEDIA<br />

Transit<br />

AGENCY<br />

The ICONIC in-house<br />


Australia<br />

YEAR<br />

2016<br />


NZ<br />

New Zealand Aids Foundation<br />

Love your condom: Gear up series<br />

To encourage condom use, while avoiding<br />

the usual messages about the health risks<br />

of unprotected sex, the New Zealand Aids<br />

Foundation promoted the notion that condom<br />

use is actually a fun and acceptable thing<br />

for gay men with this humorous and playful<br />

Out-of-Home campaign.<br />


Public Interest<br />

MEDIA<br />

Billboard, Street Furniture<br />

AGENCY<br />

BCG2<br />


New Zealand<br />

YEAR<br />


AUS<br />

Clean Up Australia Limited<br />

Clean up Australia day<br />

Clean Up Australia Limited is a not-for-profit<br />

Australian environmental conservation<br />

organisation whose campaigns have traditionally<br />

focused on the negative impact of garbage on the<br />

environment. To inspire people to get involved<br />

on Clean up Australia day, a simple, striking<br />

Out-of-Home campaign was used to showcase<br />

what happens after the clean-up, when nature<br />

again manages to get a foothold where the<br />

garbage once was.<br />


Public Interest<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Cummins&Partners Sydney<br />


Australia<br />

YEAR<br />

2016<br />


AUS<br />

Philips<br />

#Huetown<br />

Philips transformed a Sydney bus shelter into<br />

an interactive light and music showcase, designed<br />

to engage commuters and promote Philips Hue,<br />

a connected home lighting and entertainment<br />

system. Philips donated the products used in the<br />

activation to local community groups after the<br />

campaign.<br />


House and Garden<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Iris Sydney<br />


Australia<br />

YEAR<br />

2015<br />


AUS<br />

Bonds<br />

The boys<br />

One of the most awarded campaigns in Australia<br />

in 2016, The boys used laconic Australian humour<br />

to encourage Australian men to choose Bonds’<br />

range of comfortable men’s underwear. A variety<br />

of media, including digital and non-digital Outof-Home<br />

were used, the most innovative being a<br />

24-metre-high digital billboard which streamed<br />

a live weather feed to which ‘the boys’ responded,<br />

as boys do – if it was cold the boys went up, if it<br />

was warm they went down, and if it was windy<br />

they swung from side to side.<br />


Clothing and Accessories<br />

MEDIA<br />

Billboard, Digital Billboard<br />

AGENCY<br />

Clemenger BBDO<br />

Melbourne<br />


Australia<br />

YEAR<br />

2016<br />


AUS<br />

Qantas<br />

Welcome home<br />

Qantas, Australia’s domestic and international<br />

carrier, is known for its patriotic campaigns, with<br />

the Welcome home campaign being one of the most<br />

loved and talked about campaigns of 2015. It was<br />

designed to pull at the heartstrings of travellers<br />

and their families reuniting at the airport. The<br />

large format billboards, strategically placed on<br />

the way to major airports, complemented the<br />

TV campaign and linked a strong emotion to<br />

the brand.<br />


Travel and Tourism<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Lawrence Creative<br />

Strategy<br />


Australia<br />

YEAR<br />

2015<br />


AUS<br />

Sunglass Hut<br />

Shades of you<br />

Sunglass Hut dominated several Out-of-Home<br />

formats in a multi-city takeover to promote its<br />

latest range of eyewear. The vibrant creative<br />

evoked a sense of cool during the long, hot and<br />

sunny Australian summer.<br />


Clothing and Accessories<br />

MEDIA<br />

Transit<br />

AGENCY<br />

Bashful<br />


Australia<br />

YEAR<br />

2016<br />


AUS<br />

Peters Ice Cream<br />

Proud & Punch<br />

To accentuate the freshness of the latest range<br />

from Peters Ice Cream, this campaign used a<br />

vertical garden integrated into the bus shelter<br />

panels to create a bold and colourful display.<br />


Confectionery and Snacks<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Leo Burnett Melbourne<br />


Australia<br />

YEAR<br />

2016<br />


AUS<br />

University of Technology Sydney<br />

Science superlab<br />

To increase enrolments in its 2017 science<br />

programs, one of Sydney’s largest and most<br />

diverse educational institutions, the University<br />

of Technology Sydney (UTS), took its state-ofthe-art<br />

science laboratory outside. Wrapping a<br />

bus with an image of the lab, the creative was<br />

designed to pique the interest of students.<br />


Education<br />

MEDIA<br />

Transit<br />

AGENCY<br />

UTS in-house<br />


Australia<br />

YEAR<br />

2016<br />


AUS<br />

Walking Wounded<br />

Walking Wounded<br />

The Walking Wounded campaign featured real<br />

stories of Australian soldiers who took their own<br />

lives. Armed with powerful, statistical truths, the<br />

Out-of-Home campaign doubled brand awareness<br />

of Walking Wounded and raised valuable<br />

funds to enable the organisation to support the<br />

psychological recovery of returning Australian<br />

soldiers. The campaign also sparked a national<br />

conversation in press and social media resulting in<br />

Post-Traumatic Stress Disorder, among Australia’s<br />

armed forces, becoming a key campaign initiative<br />

in the federal election.<br />


Public Interest<br />

MEDIA<br />

Billboard, Digital Billboard,<br />

Shopping Centre<br />

AGENCY<br />

BCM<br />


Australia<br />

YEAR<br />

2016<br />



Jane Burhop<br />

Creative Director, Common Ventures<br />

“Out-of-Home is no longer limited to those who pass<br />

by; if it makes a good impression, the campaign is<br />

picked up by the masses and quickly finds its way into<br />

the news and popular culture.”<br />

Growing up in rural Australia, my first<br />

exposure to Out-of-Home (OOH) advertising<br />

was the ‘55 kms to Macca’s’ billboard that stood<br />

crookedly on the side of the highway near my<br />

house. But instead of leading me to a Big Mac<br />

and fries, this sign subconsciously kick-started<br />

my career in advertising.<br />

Over the course of the past decade, as<br />

advancing technology has overtaken our<br />

competency and started ruling our lives, the<br />

advertising industry has adapted and morphed<br />

into a faster, shinier, better version of itself.<br />

Advertising elements can no longer afford<br />

to stand alone as just smart or loud messages.<br />

The best campaigns these days are made up<br />

of several components that work cohesively and<br />

contribute to a broader conversation. The most<br />

effective campaigns creep into your life and turn<br />

you into a brand advocate/lover/stage-5-clinger.<br />

More and more brands are using a mix of<br />

channels to create cultural impact and shift<br />

behaviours. The stand-out work of the past couple<br />

of years tends to fall into one of two categories:<br />

emotion or function. The decision to opt for<br />

storytelling over functionality, or vice versa, is<br />

dividing lovemarks and defining companies that<br />

storm in and disrupt the industry.<br />

Thought-provoking OOH campaigns can<br />

make you feel strongly about certain issues, while<br />

Virtual Reality (VR) and Artificial Intelligence<br />

(AI) OOH campaigns now offer a functional or<br />

entertaining experience through interaction<br />

with the physical site or space. As OOH continues<br />

to develop into highly interactive experiences,<br />

creatives need to acknowledge that OOH is a<br />

media channel that can, and should, be pushed to<br />

its limits.<br />

Marathons have been hijacked by activists<br />

calling for attention on more pressing developing<br />

world water issues. Street posters have been built<br />

into chairs. Telephone dead zones have become<br />

pop-up diners designed to encourage the dying<br />

art of face-to-face conversation. We need to stop<br />

thinking of OOH as a stand-alone billboard or a<br />

bus shelter poster and start thinking of how it can<br />

interact with and engage its audiences.<br />

History Channel’s Unforgotten soldiers<br />

brought a black and white World War I<br />

photograph to life on one of Auckland’s busiest<br />

streets by recreating a real-life trench. Complete<br />

with surround sound effects and soldiers in<br />

uniforms, the eight-hour performance echoed a<br />

typical day in the trenches. The campaign, which<br />

used traditional media channels, was screened<br />

on the History Channel and shared socially, using<br />

the hashtag #UnforgottenSoldiers.<br />

The digital billboard for Lexus’ This is the<br />

New Lexus campaign (p. 52) used cameras and an<br />

image-recognition database to identify the brand,<br />

model and colour of passing competitor vehicles<br />

to deliver personal messages to their drivers,<br />

such as, “Hey white Evoque , it’s time to cross<br />

over. This is the New Lexus NX.” The format also<br />

tailored these messages based on other variables<br />

such as time of day, weather, or traffic conditions<br />

to generate messages such as, “Hey blue Merc, the<br />

heavens have opened. This is the new Lexus NX.”<br />

These campaigns demonstrate how OOH<br />

continues to push the boundaries and capabilities<br />

of placement, connectivity and expectations.<br />

The once static, looming billboard is now being<br />

snapped, shared and tweeted across the globe.<br />

OOH is no longer limited to those who pass by; if it<br />

makes a good impression, the campaign is picked<br />

up by the masses and quickly finds its way into the<br />

news and popular culture.<br />

As the wallpaper of our streets and social<br />

feeds, you don’t need much imagination to peek<br />

into the future and see what’s ahead for OOH.<br />

From real-time data pulls, hypertargeting<br />

and reactive messaging, further technological<br />

integration will make way for much more<br />

sophisticated, useful and meaningful interactions.<br />

Billboards will do more than recognise<br />

the colour and brand of the car you’re driving;<br />

they’ll use facial recognition systems to greet you<br />

by name. Light projections will offer platform<br />

information and accurate transit updates so you<br />

don’t miss your train. You’ll be able to explore<br />

VR stores from the comfort of your living room,<br />

thereby mitigating the need for bricks and mortar<br />

outlets. AI integration will act as your qualified<br />

doctor and deliver the most effective prescribed<br />

products – with payment. All this will not only<br />

change the use and purpose of OOH, but it will<br />

challenge and evolve the way brands operate and<br />

interact with society.<br />

Functional, adaptable and future proof,<br />

OOH is constantly adapting to its environment<br />

and advancing with technology faster than you<br />

can say, ‘Find out more at www …’ It’s stopped<br />

screaming out sale prices and will soon be<br />

smart enough to help you sell your second-hand<br />

furniture. Who knows, in the not-too-distant<br />

future you might even befriend the next billboard<br />

you meet.<br />


AUS<br />

Melanoma Institute of Australia<br />

Stop the spread of melanoma<br />

To raise awareness of, and donations for,<br />

melanoma research, treatment and education,<br />

a custom-built digital Out-of-Home panel was<br />

created to display a visual representation of a<br />

slowly growing melanoma. When a donation was<br />

made using Tap and Go technology, the tumour<br />

shrank. When multiple people made a donation,<br />

the melanoma died away until it was barely there.<br />


Public Interest<br />

MEDIA<br />

Digital Street Furniture<br />

AGENCY<br />

Disciple<br />


Australia<br />

YEAR<br />

2015<br />


HKG<br />

Fortune Pharmacal<br />

What the ‘cough’?<br />

Based on the insight that most people are unaware<br />

of the different types of coughs they can suffer<br />

from, this campaign sought to highlight the<br />

distinction between wet, dry and tickly coughs<br />

by promoting, in an entertaining way, Fortune’s<br />

range of cough remedies: Excaugh, Decaugh and<br />

Decaugh II.<br />


Pharmaceuticals<br />

MEDIA<br />

Transit<br />

AGENCY<br />

Kymechow<br />


Hong Kong<br />

YEAR<br />

2015/16<br />


AUS<br />

ANZ<br />

#EqualFuture<br />

This campaign targeted the corporate traveller<br />

to increase awareness of pay inequality in the<br />

workplace. Digital billboards in airports around<br />

Australia were used to highlight ANZ’s stance on<br />

the issue – a campaign strategy that would not<br />

normally be associated with one of Australia’s<br />

biggest banks.<br />


Financial Services<br />

MEDIA<br />

Digital Transit<br />

AGENCY<br />

Dave Clark Design<br />


Australia<br />

YEAR<br />

2016<br />


AUS<br />

Mars<br />

Work. Rest. Play.<br />

Mars used digital and non-digital billboards<br />

to entice consumers. The bold creative made<br />

it appear as though the Mars Bar was leaping<br />

out. Located adjacent to the famous Melbourne<br />

Cricket Ground, at the start of the Australian<br />

Football League season, it was the perfect<br />

placement to capture the attention of avid sports<br />

fans, who may be looking for a quick snack.<br />


Confectionery and Snacks<br />

MEDIA<br />

Billboard, Digital Billboard<br />

AGENCY<br />

Clemenger BBDO<br />

Melbourne<br />


Australia<br />

YEAR<br />


AUS<br />

mda<br />

#CreateWelcome<br />

As it is around the globe, the plight of refugees<br />

has been a highly debated issue in Australia, and<br />

has at times divided the nation. #CreateWelcome<br />

was a social movement that used digital billboards<br />

to share people’s messages of welcome for refugees<br />

and people seeking asylum, with those messages<br />

also shared on Instagram.<br />


Public Interest<br />

MEDIA<br />

Digital Billboard<br />

AGENCY<br />

goa in-house<br />


Australia<br />

YEAR<br />

2016<br />


AUS<br />

Lexus<br />

This is the new Lexus<br />

Lexus used a digital billboard embedded with<br />

technology that identified the brand, model and<br />

colour of passing competitor vehicles, triggering<br />

a personal and playful message to drivers such<br />

as “Hey white Evoque, it’s never too late to cross<br />

over. This is the New Lexus NX.” The technology<br />

also tailored tactical messages based on other<br />

variables such as time of day, weather and traffic<br />

conditions, to generate messages such as “Hey<br />

black Merc, the heavens have opened. This is the<br />

new Lexus NX.”<br />


Automotive<br />

MEDIA<br />

Digital Billboard<br />

AGENCY<br />

M&C Saatchi<br />


Australia<br />

YEAR<br />

2015<br />


AUS<br />

Prostate Cancer Foundation of Australia<br />

Big Aussie barbie<br />

Harnessing the irresistible smell of sizzling<br />

sausages and onions – an Australian BBQ staple<br />

– this unique Out-of-Home campaign was an<br />

Australian-media first, rewarding passers-by<br />

who donated to Prostate Cancer Foundation of<br />

Australia, via the Tap and Go payment system,<br />

with the scent of fried onions and sausages,<br />

complete with sizzling sounds and glowing<br />

hot embers.<br />


Charity<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

JCDecaux Australia<br />

in-house<br />


Australia<br />

YEAR<br />

2016<br />


NZ<br />

Wither Hills<br />

Made beautifully<br />

Wither Hills winery – located in one of<br />

New Zealand’s most famous and stunning wine<br />

producing regions, Marlborough – promoted both<br />

its ability to produce a variety of fine wines as<br />

well as the beauty of its bucolic surrounds. Digital<br />

billboards featured iconic images of Marlborough<br />

alongside wines from the Wither Hills range<br />

that changed according to the time of day – from<br />

sauvignon blanc in the day, rosé in the evening to<br />

pinot noir at night.<br />


Alcoholic Beverages<br />

MEDIA<br />

Digital Billboards<br />

AGENCY<br />

DDB New Zealand<br />


New Zealand<br />

YEAR<br />

2016<br />


AUS<br />

JCDecaux Australia<br />

Day in the life of a Sydneysider<br />

To showcase the potential of its new digital<br />

screen network, JCDecaux Australia launched<br />

a campaign that told the story of a day in the life<br />

of a typical Sydneysider. Passers-by were able to<br />

share his journey in real time – shaving, riding<br />

his bike to work, going on a date and sleeping<br />

– through the use of more than 5,700 images,<br />

changing every 10 seconds.<br />


Media Company<br />

MEDIA<br />

Digital Street Furniture<br />

AGENCY<br />

Alphabet Studio<br />


Australia<br />

YEAR<br />

2016<br />


AUS<br />

Streets<br />

Cooler snack<br />

This clever, tongue-in-cheek campaign was<br />

located in high pedestrian areas to promote the<br />

range of Streets ice creams over the summer<br />

months. Its humour combined with clean and<br />

bright creative made it particularly eye-catching<br />

and memorable.<br />


Confectionery and Snacks<br />

MEDIA<br />

Billboard, Digital Billboard,<br />

Street Furniture<br />

AGENCY<br />

DDB Worldwide<br />


Australia<br />

YEAR<br />

2016<br />


Canada & USA

Canada & USA<br />


Canada<br />


Canada<br />


United States of America<br />


United States of America<br />

GOOGLE<br />

United States of America<br />


United States of America<br />


United States of America<br />


United States of America<br />



United States of America<br />

KUHN & KUHN<br />

United States of America<br />


Canada<br />


United States of America<br />


United States of America<br />

APPLE TV<br />

United States of America<br />


Canada<br />


Canada<br />


Canada<br />


Canada & USA<br />


Canada<br />


United States of America<br />

BC HYDRO<br />

Canada<br />


United States of America<br />


Canada<br />

MAZDA<br />

Canada<br />


Canada<br />


United States of America<br />


HONDA<br />

Canada<br />

MARK’S<br />

Canada<br />


Canada<br />


Canada<br />


United States of America<br />



United States of America<br />


Canada<br />



United States of America<br />




“In many ways, Out-of-Home has become the TV<br />

of the digital age. It’s a powerful way to guarantee<br />

numerous eyeballs see your brand on a mass scale.”<br />

Zak Mroueh<br />

Chief Creative Officer and Founder, Zulu Alpha Kilo<br />

It’s not easy to get my attention. So for years,<br />

my wife has suspected I must have Attention<br />

Deficit Disorder. My guess is most creatives do.<br />

But what’s more difficult than getting a<br />

creative person to focus? Trying to get a consumer<br />

to give you their full attention. With today’s<br />

media onslaught, all consumers suffer from an<br />

affliction I call Advertising Deficit Disorder (or<br />

‘Ad’ for short). ‘Ad’ is not something to take lightly,<br />

especially if you’re a client spending millions of<br />

dollars on advertising.<br />

Whether through traditional media or the<br />

latest digital platform, most advertising simply<br />

fails to gain consumers’ collective attention.<br />

Out-of-Home (OOH) is the ultimate quick fix<br />

for this problem. It has to work in an instant and<br />

requires minimal brainpower on the audience’s<br />

part.<br />

When I was a copywriter, I always found<br />

OOH offered instant creative gratification. Even<br />

as just a scribble on a notepad, you knew whether<br />

it was good or not. With TV or video, factors like<br />

casting, direction or budget can affect the final<br />

outcome. With OOH, you can imagine it produced<br />

as soon as you come up with the idea.<br />

As a creative director I love reviewing OOH<br />

campaigns. Although it may seem counterintuitive,<br />

I insist our teams don’t explain the<br />

concept to me or set it up. I figure, since the<br />

consumer doesn’t get an explanation, why should<br />

the creative director? As a result, creative reviews<br />

happen quicker than any other medium – which<br />

pleases my assistant no end.<br />

As much as I enjoy the medium, my biggest<br />

pet peeve with OOH is poorly crafted typography<br />

that can’t be read from a distance. Years ago, I saw<br />

an execution that impressed me with its clarity<br />

and readability. Every day, I would drive past this<br />

billboard and notice its seemingly perfect font<br />

size. One day, I decided to calculate its character<br />

count. The magic number? 22. Ever since, I’ve<br />

imposed this simple formula in our studio. For<br />

a standard 10 x 20 ft. billboard, if you count a<br />

maximum of 22 characters across from left to<br />

right, including spaces, it will always be readable.<br />

All the better if even shrtr headlines and BIGGER<br />

type are used.<br />

If mathematics isn’t your strong suit, there’s<br />

another technique that never fails: whatever the<br />

art director designs, make it 25% bigger. Seriously.<br />

Works every time.<br />

Despite being one of the oldest forms of<br />

media, it’s shocking so few practitioners can<br />

execute OOH effectively. It’s too often a creative<br />

afterthought. The basics of the craft seem to<br />

have been lost as more young creatives gravitate<br />

towards digital media. This may explain why<br />

today we don’t see enough brilliant executions<br />

in our cities.<br />

There are other factors we inherently know,<br />

but conveniently ignore, that can also ruin a great<br />

OOH execution. Like art directors who design<br />

billboards as if they were print ads, complex<br />

visuals that don’t register from 300 feet away, and<br />

creative briefs with a long list of mandatories that<br />

are all expected to appear on one billboard.<br />

However, these barriers to great work create<br />

an incredible opportunity for marketers. When<br />

crafted flawlessly, OOH can be a potent marketing<br />

tool and a brand can rise above a sea of billboard<br />

mediocrity. Brands and agencies that become<br />

masters of the medium and its basic rules can<br />

enjoy an incredible return on investment.<br />

With so much media fragmentation today,<br />

how often have we all worked on substantial<br />

media campaigns that we never see because<br />

we’re not the ‘target’? But with OOH, everybody<br />

is exposed to the work. Once we’ve taken off the<br />

latest Virtual Reality headgear, put down our<br />

video game controllers and iPads, eventually all<br />

of us have to go outside for some fresh air. Or to<br />

buy groceries. Or walk the dog.<br />

This means the original mass medium has,<br />

once again, become one of the best ways to reach<br />

pretty much everyone. At Zulu Alpha Kilo, we’ve<br />

had many clients who built their brands using<br />

OOH versus other traditional media channels to<br />

gain mass reach. And long after the campaign has<br />

run, consumers surveyed in post research often<br />

swear they saw the brand on TV – even when we<br />

didn’t run any commercials.<br />

In many ways, OOH has become the TV of<br />

the digital age. It’s a powerful way to guarantee<br />

numerous eyeballs see your brand on a mass scale.<br />

As a creative person, there’s no greater joy<br />

than passing a brilliant, larger-than-life OOH idea<br />

in the real world. Seeing great work in a book such<br />

as this just can’t match the breathtaking impact<br />

of experiencing brilliant OOH advertising in the<br />

flesh. We just need to see more of it out there.<br />

After all, a brilliant idea can leave an<br />

indelible, impossible-to-ignore mark on our<br />

collective consciousness – even among those<br />

of us with low attention spans. Which these days<br />

is pretty much everyone.<br />


CAN<br />

Universal Music Canada<br />

VIEWS<br />

Universal Music Canada and its agency, October’s<br />

Very Own, used Out-of-Home to promote the<br />

release of Drake’s new album, VIEWS, while also<br />

showing the love Drake has for his home town<br />

Toronto, which he has dubbed “The 6ix”.<br />

A simple, eye-catching black and white graphic<br />

was used with Drake himself posting Instagram<br />

shots of the campaign as soon as it went live.<br />

In seven days the campaign created over<br />

127.2 million earned media impressions.<br />


Entertainment<br />

MEDIA<br />

Billboard, Shopping<br />

Centre, Transit<br />

AGENCY<br />

October’s Very Own<br />


Canada<br />

YEAR<br />

2016<br />


USA<br />

Google<br />

Androidify<br />

Google leveraged New York’s instantly<br />

recognisable epicentre of entertainment, Times<br />

Square, to launch the new Androidify app. The<br />

public was invited to create characters via the<br />

website or app and then – standing on a purposebuilt<br />

platform fitted with motion sensors – play<br />

them against each other on the biggest digital<br />

screen in the USA.<br />


Information Technology<br />

MEDIA<br />

Digital Billboard<br />

AGENCY<br />

Google Creative Lab<br />


United States of America<br />

YEAR<br />

2014<br />


CAN<br />

Heineken<br />

Imagine<br />

High-impact Out-of-Home locations were used<br />

in conjunction with eye-catching creative to drive<br />

awareness and affinity for the Heineken brand.<br />


Alcoholic Beverages<br />

MEDIA<br />

Billboard, Street Furniture,<br />

Transit<br />

AGENCY<br />

Sandbox<br />


Canada<br />

YEAR<br />

2015<br />


USA<br />

Denver Water<br />

You can’t make this stuff<br />

Despite the city’s unusually wet year, Denver<br />

Water wanted to remind citizens it won’t always<br />

rain, so water conservation should remain top<br />

of mind. To do so, the campaign used items that<br />

could be used to make ‘stuff’, such as Lego, clay,<br />

string and pencils, to produce Out-of-Home ads<br />

promoting water consumption awareness.<br />


Professional Services<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Sukle Advertising & Design<br />


United States of America<br />

YEAR<br />

2015<br />


USA<br />

Sonic Drive-In<br />

Big slushes<br />

Fast food chain, Sonic, turned billboards<br />

into giant slushes complete with custom-built<br />

3D straws.<br />


Food<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Adams Outdoor<br />

Advertising in-house<br />


United States of America<br />

YEAR<br />

2014<br />


USA<br />

Seattle Aquarium<br />

Amazing facts<br />

The Seattle Aquarium used Out-of-Home to<br />

target families with five to 14 year-old children<br />

through messages that combined eye-catching<br />

creative with fun facts about marine life.<br />


Recreation and Leisure<br />

MEDIA<br />

Billboard, Transit<br />

AGENCY<br />

Copacino+Fujikado<br />


United States of America<br />

YEAR<br />

2014<br />


USA<br />

McDonald’s<br />

Before/after<br />

McDonald’s took advantage of this unique<br />

location – two billboards that flank both sides<br />

of a highway – and featured the iconic McDonald’s<br />

French fry arched down and arched up. The<br />

juxtaposed creative of a ‘sad face’ and ‘happy face’<br />

encouraged travellers to find some ‘before and<br />

after’ happiness.


Food<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Tombras<br />


United States of America<br />

YEAR<br />




Gerry Graf<br />

Founder and Chief Creative Officer, Barton F. Graf 9000<br />

“The internet has swallowed everything. It swallowed<br />

TV, it swallowed print, it swallowed newspapers,<br />

music and books. But it didn’t and it won’t ever<br />

swallow Out-of-Home.”<br />

Last year I spent some time down in Florida<br />

speaking at the annual USA Out-of-Home (OOH)<br />

media conference and judging the OBIE<br />

Awards. The speaking part was fun. The<br />

judging is always hard. You have to sift through<br />

all the bad work, and worse, all the mediocre<br />

work. The bad at least gets the blood flowing.<br />

You notice the bad. The mediocre is mindnumbing<br />

– a slow punch to the face that makes<br />

you want to quit advertising. But then you get<br />

to the great.<br />

I really hate it when other people do great<br />

work. When I see great ideas I get really mad<br />

and really jealous. It makes me feel like a failure.<br />

Thankfully, low self-esteem has always been a<br />

great motivator for me.<br />

After my ego has been completely destroyed,<br />

the good part starts. I get to talk about the work<br />

with talented creative people. We just sit around<br />

at lunch and discuss what we liked and why we<br />

liked it. I love those times; it’s like going to school<br />

with very talented teachers. And I see things<br />

I didn’t even know were possible in advertising.<br />

My creative mind expands and I feel like a kid in<br />

a brand new playground with new toys and rides.<br />

I saw work that combined an OOH digital<br />

screen, motion sensors, and some really crafty use<br />

of data, and I started laughing. It dawned on me<br />

that OOH is the oldest form of marketing. I think<br />

it was Jeff Goodby – Co-Chairman and Partner<br />

of Goodby Silverstein & Partners – who said that<br />

cave paintings were the first OOH ads. ‘We Got<br />

The Best Mammoth Just 5 Miles Ahead. Exit 5’<br />

to translate the Lascaux Caves into modern-day<br />

language. This literal Neanderthal of a medium<br />

is now where many of the digital, mobile and<br />

technological breakthroughs are coming from.<br />

And it’s just the beginning. Pokémon GO was<br />

out for just a week before I started getting client<br />

requests to begin concepting Augmented Reality<br />

experiences out in the real world.<br />

The internet has swallowed everything.<br />

It swallowed TV, it swallowed print, it swallowed<br />

newspapers, music and books. But it didn’t and<br />

it won’t ever swallow OOH. I guess it’s hard<br />

to swallow the Earth. Unless you’re Galactus.<br />

But only Galactus is Galactus. You simply can’t<br />

replicate, on a small screen, the grandeur and<br />

real-life experience you get from great OOH<br />

advertising.<br />

OOH has always been a showcase for brilliant<br />

creative ideas. The best ideas are simple. And<br />

OOH forces you to think simply. When someone<br />

is walking down the street or driving by at 60 mph<br />

you need something that will grab their attention<br />

in a second. Now that OOH is connected, the<br />

creative possibilities are endless. And its impact<br />

is even more massive.<br />

Don’t get me wrong; there are still painfully<br />

mediocre OOH ads. But when creative minds<br />

work together with creative media people and<br />

creative technologists, using all the new and old<br />

tools to breakthrough, OOH does stuff you can’t<br />

do anywhere else. It lets you be contextual and<br />

interact with your location. It can be visually<br />

stunning and epic. The availability of real-time<br />

data has made for some incredible pieces. I saw<br />

some work from Canon that instructed amateur<br />

photographers (that would be all of us) on the<br />

best way to take photographs based on current<br />

weather conditions and time of day. Everything<br />

is integrated now. Everything is multiplatform.<br />

OOH has embraced this. It’s a creative person’s<br />

playground.<br />

But let’s not forget the good old-fashioned<br />

poster takeovers. My old boss, Lee Clow, would<br />

love to talk about ‘owning a city’. He would always<br />

launch a new campaign with OOH. He’d buy<br />

up all the key OOH locations and have the whole<br />

town talking about his campaign. Apple continued<br />

that tradition this year with the fantastic Apple<br />

TV (p. 86–87) and iPhone 6 work (p. 10–19).<br />

I actually saw someone taking a picture with their<br />

iPhone of an iPhone ad that was about pictures of<br />

things people shot with their iPhones. Brilliant!<br />

All major marketers now understand<br />

that creativity and breakthrough are the most<br />

important parts of a marketing plan. Five years<br />

ago I decided to start an agency because I noticed<br />

a trend. I was working at a big global network at<br />

the time and saw huge marketers like Procter<br />

& Gamble and General Mills pushing for more<br />

‘creative’ work. This was not always the case.<br />

Traditionally, these two powerhouses were<br />

about as conservative as they come. But they<br />

were now giving assignments to agencies with<br />

great creative reputations. Old Spice was moved<br />

to Wieden and we all know what happened with<br />

that. Conservative brands had finally figured<br />

out that no one had to look at their advertising<br />

anymore. There were a million ways to skip their<br />

commercials, ignore their free standing inserts<br />

and block their banners. They realised that you<br />

had to create advertising that people wanted<br />

to watch, click and share. ‘Creativity’ – the<br />

ability to make people actively want to engage<br />

with advertising – was now more valuable than<br />

anything else an advertising agency could offer.<br />

The desire for creative work and the creative<br />

opportunities OOH now offers excites me. I can’t<br />

wait to be even more mad, jealous and depressed<br />

at this year’s show.<br />


USA<br />

Coca-Cola<br />

Share a Coke<br />

Coca-Cola’s Share a Coke campaign streamlined<br />

user-generated content, farmed from social<br />

media, to create personalised messages using<br />

digital Out-of-Home formats. The campaign<br />

allowed people to write their name, using a<br />

touchscreen, which was then displayed onto<br />

a giant Coca-Cola bottle.<br />


Beverages<br />

MEDIA<br />

Digital Billboard, Digital<br />

Street Furniture<br />

AGENCY<br />

Ogilvy<br />


United States of America<br />

YEAR<br />

2015<br />


USA<br />

Spotify<br />

Thanks 2016, it’s been weird<br />

Spotify kicked off its largest ever global campaign<br />

with a major, data-driven Out-of-Home (OOH)<br />

push. Rolled out across 14 global markets, the<br />

OOH ads featured quirky, amusing, hyperlocalised<br />

facts and figures sourced from Spotify<br />

user data.<br />


Entertainment<br />

MEDIA<br />

Digital Billboard<br />

AGENCY<br />

Spotify in-house<br />


United States of America<br />

YEAR<br />


USA<br />

Snapchat<br />

Ghostface Chillah<br />

Snapchat used its iconic yellow branding and<br />

simple, bold visuals in an Out-of-Home campaign<br />

aimed at garnering the attention of passers-by,<br />

especially those who may not use Snapchat but<br />

are curious about the platform’s rising popularity.<br />

The striking campaign took over iconic, hightraffic<br />

locations in New York, Los Angeles,<br />

San Francisco and Seattle.<br />


Information Technology<br />

MEDIA<br />

Billboard, Digital Billboard,<br />

Street Furniture<br />

AGENCY<br />

Snapchat in-house<br />


United States of America<br />

YEAR<br />

2015<br />


CAN<br />

Loto-Québec<br />

#YouShouldPlay649<br />

Loto-Québec wanted to remind people that<br />

luck is a part of everyday life by using a digital<br />

billboard to promote their 6/49 lotto draw, only<br />

broadcasting its message at times of the day that<br />

included lucky numbers eg. 11:11 am.<br />


Gambling<br />

MEDIA<br />

Digital Billboard<br />

AGENCY<br />

Sid Lee<br />


Canada<br />

YEAR<br />

2015/16<br />


USA<br />

Kuhn & Kuhn<br />

OOPS<br />

A bit of light heartedness and fun was brought<br />

to an often tense situation by showcasing how we<br />

can all make mistakes in life in this campaign for<br />

divorce attorneys, Kuhn & Kuhn.<br />


Professional Services<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Adams Outdoor Advertising<br />

in-house<br />


United States of America<br />

YEAR<br />

2014<br />


USA<br />

Apple TV<br />

Color bars<br />

Apple TV used billboards in an eye-catching play<br />

on the famous SMPTE colour bar pattern used to<br />

calibrate TV since the 1970s.<br />


Information Technology<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

TBWA\Media Arts Lab<br />


United States of America<br />

YEAR<br />

2015<br />


CAN<br />

Labatt Breweries of Canada<br />

Corona summer<br />

Playful, contextually relevant messages were<br />

featured on various Out-of-Home formats in<br />

order to build an engaging narrative that would<br />

establish Corona as an essential part of summer,<br />

wherever and whenever Canadians were most<br />

in need of an escape.<br />


Alcoholic Beverages<br />

MEDIA<br />

Billboard, Digital Billboard,<br />

Transit<br />

AGENCY<br />

Zulu Alpha Kilo<br />


Canada<br />

YEAR<br />

2015/16<br />



CAN<br />

Mercedes-Benz<br />

E-Class launch<br />

The 2017 E-Class is Mercedes-Benz’s most<br />

intelligent and technologically advanced car yet.<br />

To announce its arrival, Mercedes-Benz took over<br />

the largest and busiest Out-of-Home environment<br />

where technology prevails – Canada’s Toronto<br />

Pearson International Airport.<br />


Automotive<br />

MEDIA<br />

Billboard, Digital Billboard,<br />

Airport<br />

AGENCY<br />

BBDO Toronto<br />


Canada<br />

YEAR<br />

2016<br />




“There’s never been a better time than right now to<br />

be creative, to be a game-changer, and to reinvent<br />

the [Out-of-Home] industry.”<br />

Philippe Meunier<br />

Chief Creative Officer, Senior Partner and Co-Founder, Sid Lee<br />

It’s no secret marketers are desperately trying<br />

to reach the largest and most digitally savvy<br />

consumer generation in history. As of 2017,<br />

Millennials are expected to spend more than<br />

US$200 billion annually, and the generation<br />

after, Gen Z, is not far behind. However, just<br />

because they’re always connected does not<br />

mean they’re always paying attention. They<br />

live in a world with information and content<br />

continuously flying at them from all directions,<br />

and, in order to cut through the clutter,<br />

marketers need to get rid of the noise and<br />

move towards new and innovative forms of<br />

communication.<br />

So what does that mean for more<br />

conventional types of marketing – specifically<br />

Out-of-Home (OOH) marketing – which has<br />

traditionally been a one-way dialogue type of<br />

communication? Well, the brutal truth is, unless<br />

OOH transforms to reflect the growing need<br />

for Millennials and Gen Zers to connect, it is<br />

in serious danger of becoming extinct. These<br />

generations belong to the ‘experience economy’.<br />

They want marketing that ignites conversation<br />

and engages in a meaningful dialogue. If you’re<br />

not creating an experience there’s a big chance<br />

you’ll get wiped out. The only way brands will<br />

survive is if they are prepared to adapt. However,<br />

this shift isn’t something to be afraid of, it should<br />

be seen as a creative opportunity. Right now is<br />

the perfect time to adjust current ways of doing<br />

things and realign objectives to meet this evolving<br />

reality.<br />

At Sid Lee, one of our core beliefs is<br />

‘Transformation or Extinction’. You need<br />

to provoke new ways of thinking and doing to<br />

navigate creative solutions through constantly<br />

changing competitive environments. As the next<br />

generation becomes the primary powerhouse<br />

of consumers, the only way anyone will survive<br />

in marketing is if they’re willing to drastically<br />

change their business model. Transition is the<br />

key. It’s about recognising the consumer as the<br />

medium and moving from exposure to experience.<br />

And it has to be in conversation.<br />

When you embrace the fact that a billboard<br />

is no longer just about exposure but about<br />

connecting on a deeper level, you can really<br />

start to get creative. We’re seeing more and<br />

more OOH canvasses for rent: bus benches, bus<br />

shelters, highway billboards and trash cans. You<br />

can use geo-location, live-feed cams and push<br />

notifications. You can send alerts for nearby<br />

relevant businesses or adapt content depending<br />

on the weather.<br />

However, context is everything. The<br />

consumer mind is in a constant state of flux and<br />

it’s crucial that OOH is adaptable and flexible in<br />

its messaging and dialogue. Let’s say, when you’re<br />

in your personal headspace waiting for the bus<br />

in the morning, you’re not thinking the same way<br />

you would if you were heading to a trendy area<br />

of town on a Saturday afternoon – when you’re<br />

thinking about shopping, exploring, or dining.<br />

It’s all about connectivity. In order to survive,<br />

traditional brands need to evolve in a way that<br />

uses digital communication in the right context.<br />

For example, one particularly chilly winter,<br />

Mark’s, one of Canada’s leading apparel and<br />

footwear retailers, sought to entice consumers to<br />

leave the comfort of their warm homes and head<br />

to its stores. They looked to Sid Lee and media<br />

partner Touché! PHD, to devise a fully integrated,<br />

weather-triggered campaign. Thus, The colder<br />

it gets (p. 112) was born – a fully integrated<br />

solution that used real-time local weather feeds<br />

to automatically activate media actions in OOH,<br />

digital, Facebook, mobile and web executions<br />

across the country. The concept was simple –<br />

the lower the temperature dropped, the higher<br />

the discount of Mark’s products – resulting in<br />

communication that spanned multi-platform<br />

media in a context that was relevant to all targets.<br />

In another case, hardware superstore<br />

Réno-Dépôt created Sky swatches (p. 98–99).<br />

This ground-breaking billboard’s real-time<br />

orchestration was a pivotal shift in OOH<br />

technology, while at the same time being a<br />

celebration of a truly unconventional canvas.<br />

To showcase its range of paint products<br />

Réno-Dépôt chose the sky as the medium.<br />

New technology was then developed by Sid Lee<br />

Studio that could precisely match the changing<br />

hues of the horizon with signature shades from<br />

Réno-Dépôt’s paint catalogue, showcasing the<br />

range of options and an ever-changing colour<br />

palette. Not only did this open a dialogue with the<br />

brand, but the wow factor had people from around<br />

the world talking.<br />

The next step in catering to this growing<br />

demand for connection is thinking beyond the<br />

traditional advertising team and gathering a<br />

multidisciplinary crew of planners, strategists,<br />

data-creative techs and architects. Of course,<br />

art directors and copywriters will always be<br />

necessary, but you need different creative minds<br />

to come together as a collective to envision an<br />

OOH result that will be interesting, captivating<br />

and immersive.<br />

It’s a really exciting time to be in marketing<br />

as there is huge opportunity for brands. The reality<br />

is, when you’re not threatened, you’re not evolving.<br />

When there’s a threat of extinction, it’s a creative<br />

opportunity. It’s exhilarating. There’s never been<br />

a better time than right now to be creative, to be<br />

a game-changer, and to reinvent the industry.<br />


USA<br />

Various institutions<br />

Art Everywhere US<br />

Art Everywhere US aimed to boost national<br />

pride and spotlight the nation’s diversity, while<br />

acknowledging America’s many great artists<br />

and celebrating the history of American art.<br />

In the lead-up to the campaign, the five<br />

partnering museums submitted 100 artworks,<br />

which were posted online. The top 50 pieces,<br />

as voted for by the American public, featured<br />

on Out-of-Home sites across the country.<br />


Art Institute of Chicago,<br />

Dallas Museum of Art, Los<br />

Angeles County Museum of<br />

Art, National Gallery of Art<br />

and The Whitney<br />


Public Interest<br />

MEDIA<br />

Billboard, Digital Billboard,<br />

Transit, Street Furniture<br />

AGENCY<br />

101 London and Extra<br />

Credit Projects<br />


United States of America<br />

YEAR<br />

2014<br />



CAN<br />

Yellow Pages<br />

Local market attack<br />

Despite transforming itself from a print directory<br />

to an online and mobile resource, Yellow Pages<br />

is still seen as a dusty old phone book. To help<br />

combat this perception and promote itself to a<br />

new generation of consumers, the Local market<br />

attack campaign was created to demonstrate<br />

Yellow Pages’ local neighbourhood expertise<br />

in the Toronto, Vancouver, Montreal and Calgary<br />

markets, with Out-of-Home formats used to<br />

showcase facts about local businesses.<br />


Professional Services<br />

MEDIA<br />

Billboard, Street Furniture,<br />

Transit<br />

AGENCY<br />

Leo Burnett<br />


Canada<br />

YEAR<br />

2015<br />


CAN<br />

Toronto Zoo<br />

Name our cubs<br />

Toronto Zoo partnered with the Out-of-Home<br />

Marketing Association of Canada and its members<br />

to develop a campaign to promote the recent birth<br />

of Canada’s first giant panda cubs. A number<br />

of fun and engaging Out-of-Home ads ran across<br />

Canada, inviting Canadians to vote for their<br />

favourite set of names. Residents of Québec also<br />

had the unique opportunity to instantly vote for<br />

names at 80 interactive transit shelters.<br />


Recreation and Leisure<br />

MEDIA<br />

Digital Billboard, Digital<br />

Street Furniture, Digital<br />

Shopping Centre, Digital<br />

Transit, Transit<br />

AGENCY<br />

Toronto Zoo in-house<br />


Canada<br />

YEAR<br />

2016<br />


CAN<br />

Réno-Dépôt<br />

Sky swatches<br />

In order to demonstrate Réno-Dépôt’s expertise,<br />

especially in relation to paint products, a brand<br />

new technology for digital Out-of-Home was<br />

developed that allowed a billboard to identify<br />

the precise colour of the sky, in real time, and<br />

compare it to a large database of more than 1,000<br />

varieties of paint colours available at Réno-Dépôt.


House and Garden<br />

MEDIA<br />

Digital Billboard<br />

AGENCY<br />

Sid Lee<br />


Canada<br />

YEAR<br />


USA<br />

Facebook<br />

Facebook Messenger<br />

The Facebook Messenger campaign used lineof-sight<br />

Out-of-Home placements targeted to<br />

commuters who are likely to be bored, or waiting,<br />

and who want to reach out to friends.<br />


Information Technology<br />

MEDIA<br />

Billboard, Transit<br />

AGENCY<br />

Wieden+Kennedy<br />


United States of America<br />

YEAR<br />

2014<br />


CAN<br />

Mazda<br />

CX-3 launch<br />

For the launch of its new CX-3, Mazda wanted to<br />

hit the Québec market with impact. The objective<br />

was clear: to be noticed by as many people as<br />

possible within a short period of time. To reach<br />

a high concentration of Québecers, Montreal<br />

Place-des-Arts became the obvious location<br />

to target festival-goers as well as local public<br />

transportation users.<br />


Automotive<br />

MEDIA<br />

Transit<br />

AGENCY<br />

J. Walter Thompson<br />


Canada<br />

YEAR<br />


CAN<br />

BC Hydro<br />

Offtober<br />

As part of BC Hydro’s month-long power<br />

conservation campaign Offtober, simple, everyday<br />

power-saving advice was promoted on bus<br />

shelters through clever special builds, helping<br />

British Columbians save power and money.<br />


Professional Services<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Taxi Vancouver<br />


Canada<br />

YEAR<br />

2015<br />


CAN<br />

Buckley’s<br />

Relief you can swallow<br />

Buckley’s used Out-of-Home to reach commuters<br />

and drive awareness of its liquid gel capsules,<br />

designed for those who can’t stand the taste of<br />

Buckley’s liquid cough syrup, but believe it works<br />

to effectively relieve cold and flu symptoms.<br />


Pharmaceuticals<br />

MEDIA<br />

Billboard, Street Furniture<br />

AGENCY<br />

Saatchi & Saatchi Canada<br />


Canada<br />

YEAR<br />

2014/15<br />


USA<br />

Sony Pictures<br />

The Angry Birds Movie<br />

Sony Pictures used Out-of-Home to bring<br />

The Angry Birds Movie to life. In a media first,<br />

double decker buses were embellished with<br />

3D illuminated wraps, creating the centrepiece<br />

for the campaign, while billboards and bus<br />

shelters showcased the movie’s characters with<br />

bright, eye-catching and humorous creative.<br />


Entertainment<br />

MEDIA<br />

Billboard, Digital Billboard,<br />

Street Furniture, Shopping<br />

Centre, Transit<br />

AGENCY<br />

Rapport and Universal<br />

McCann<br />


United States of America<br />

YEAR<br />

2016<br />





Mark Tutssel<br />

Global Chief Creative Officer, Leo Burnett Worldwide<br />

and Creative Chairman, Publicis Communications<br />

“So what makes a brilliant, powerful poster? Posters<br />

are about distillation. Every great campaign can be<br />

distilled to a poster; it is the barometer of the power<br />

of the idea.”<br />

Who would have thought that in today’s<br />

technology and mobile-driven world, the oldest<br />

form of information exchange, the poster, would<br />

become the media channel of the future?<br />

Out-of-Home (OOH) advertising is more<br />

powerful than ever. It is one of the purest forms<br />

of communication. It reaches consumers on<br />

the path-to-purchase better than any other ad<br />

medium, transforming business and impacting<br />

society. As technology propels us further down<br />

this supercharged highway, OOH will become<br />

a creative canvas second to none.<br />

A study by ZenithOptimedia found that<br />

people are exposed to OOH for 107.2 minutes<br />

each day. Meanwhile, a Microsoft Corp. study<br />

found that a goldfish has an attention span of nine<br />

seconds while a human’s is only eight!<br />

What does this mean for communicators?<br />

To deliver a message effectively, we need potent<br />

graphic language, pure simplicity and a surprise<br />

element, usually driven by technology, to compete<br />

for that attention.<br />

So what makes a brilliant, powerful poster?<br />

Posters are about distillation. Every great<br />

campaign can be distilled to a poster; it is the<br />

barometer of the power of the idea.<br />

When done right, OOH grabs people by<br />

the eyeballs and stops them in their tracks; the<br />

message opens inside our minds, not on the space<br />

where it appears.<br />

Mercedes-Benz’s Skidmarks, winner of<br />

the Cannes Lions Grand Prix in 1997, was the<br />

godfather of the ‘visual solution’. It was a game<br />

changer as it was one of the very first ideas that<br />

credited the audience’s intelligence with a visual<br />

story they had to decode. The poster conveyed<br />

maximum meaning with minimal elements.<br />

OOH advertising presents infinite<br />

possibilities to create ‘theatre of the streets’<br />

and your goal is to earn a standing ovation.<br />

In recent years, McDonald’s used theatre<br />

to great effect with their award-winning work<br />

for Sundial, Fresh salads, and Fry lights.<br />

British Airways’ Magic of flying demonstrated<br />

how technology beautifully brought a 2D poster<br />

to life with full automation using real-time<br />

data. The billboard featured a child reacting in<br />

wonder to actual British Airways’ planes as they<br />

flew overhead, giving audiences on the streets a<br />

spectacle to behold.<br />

By combining technology and simple imagery<br />

for a strong emotional message, Ad Council’s Love<br />

has no labels received 40 million views in just two<br />

days after a video of the stunt was posted online.<br />

After just three weeks it became the second most<br />

viewed public service announcement in history.<br />

I’ve always believed that greater participation<br />

yields a greater effect. These next two ideas are the<br />

best examples of rewarding people’s engagement<br />

by celebrating their lives.<br />

In 2013, Coca-Cola had an ambitious idea:<br />

to unite people from nations separated by conflict<br />

through shared experiences. Small world machines<br />

debuted in India and Pakistan and caught on<br />

worldwide. It set a new cultural benchmark for<br />

the company, earning them Creative Marketer<br />

of the Year honours at Cannes. This is the alchemy<br />

of creativity and technology, showing where the<br />

future lies in interactivity and the impact of<br />

advertising on society.<br />

For Shot on iPhone 6 (p. 10–19) Apple<br />

consolidated the best photographs submitted<br />

by 162 iPhone 6 users globally and transformed<br />

them into 10,000 installations in 73 cities in<br />

25 countries. It comes full circle to a paper poster<br />

but fuelled by participation that’s genuine,<br />

effective and memorable. Through the lens of the<br />

people, Apple celebrated its participation in the<br />

brand and the quality of the product.<br />

The 2016 Cannes Lions Outdoor Grand Prix<br />

solved a brand’s business problem: How do we<br />

sell more beer? DB Export’s Brewtroleum created<br />

a clean-burning, conflict-free fuel from the<br />

by-product of beer. Consumers were persuaded<br />

to drink DB Export and save the world. Tanker<br />

trucks carrying Brewtroleum and 62 gas stations<br />

across New Zealand became the campaign’s<br />

billboards. This unconventional OOH approach<br />

resulted in 8.6 million bottles of beer sold.<br />

Ever thought you could literally step into<br />

the world of Vincent van Gogh and experience<br />

it through his eyes? To promote a special exhibit<br />

at the Art Institute of Chicago, Van Gogh’s<br />

Bedrooms, a complete replica of the artist’s<br />

bedroom, was constructed and rented out on<br />

AirBnB. Bookings sold out in three minutes and<br />

resulted in the museum’s highest ticket sales<br />

in 15 years. This new-world idea won 14 Cannes<br />

Lions for its ingenuity.<br />

OOH will continue to change the landscape<br />

and we’ll see even more digital innovations that<br />

allow for integrated cross-channel campaigns.<br />

But, as always, the power of a poster to talk to mass<br />

audiences in a way that is accessible, memorable<br />

and rewarding will require brilliant ideas. It boils<br />

down to the power of creativity to transform<br />

business and impact society. And remember,<br />

you can’t adblock a world-class OOH poster.<br />


USA<br />

Kraken Rum Co.<br />

Ride the Kraken<br />

A play on the spiced rum’s mythological icon,<br />

Kraken Rum Co. unleashed its long-limbed,<br />

tentacle-wreathed and sucker-saturated specimen<br />

on the streets, transforming billboards, bus<br />

shelters and street benches.<br />


Alcoholic Beverages<br />

MEDIA<br />

Billboard, Street Furniture<br />

AGENCY<br />

Dead As We Know It<br />

& C2C Outdoor<br />


United States of America<br />

YEAR<br />

2015<br />



CAN<br />

Honda<br />

Honda Pilot<br />

Honda wanted to test the design and capability<br />

of Out-of-Home by literally tilting traditional<br />

billboards on their axes to showcase the Honda<br />

Pilot’s driving features – in particular, its hillstart<br />

assist feature.<br />


Automotive<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Grip Limited<br />


Canada<br />

YEAR<br />

2015<br />


USA<br />

Heinz History Center<br />

Troop train<br />

This World War II exhibit focused on the<br />

contributions of Pittsburghers, both overseas<br />

and stateside, during the war. Based on campaign<br />

research, one of the most iconic images from the<br />

home front was of soldiers leaving on trains for<br />

deployment. This ad recreated those moments.<br />


Recreation and Leisure<br />

MEDIA<br />

Transit<br />

AGENCY<br />

Garrison Hughes<br />


United States of America<br />

YEAR<br />

2015<br />


CAN<br />

Mark’s<br />

The colder it gets<br />

Acknowledging that the weather in Canada<br />

dictates how people dress each morning, Mark’s,<br />

a Canadian apparel and footwear retailer,<br />

launched a fully integrated weather-triggered<br />

campaign. Using real-time local weather feeds,<br />

Mark’s promoted in store discounts linked to that<br />

day’s temperature. The lower the temperature<br />

dropped, the better the store discount.<br />


Clothing and Accessories<br />

MEDIA<br />

Digital Billboard, Digital<br />

Street Furniture<br />

AGENCY<br />

Sid Lee<br />


Canada<br />

YEAR<br />

2015<br />


USA<br />

Outdoor Advertising Association of America<br />

Feel the real<br />

The Feel the real campaign, on behalf of the<br />

Outdoor Advertising Association of America,<br />

aimed to convince media buyers and planners<br />

to spend more of their marketing budgets on<br />

Out-of-Home (OOH) media. The campaign drew<br />

on research showing that media planners and<br />

buyers find it hard to keep up with the fastchanging<br />

digital marketplace, which they view as<br />

chaotic. The initiative involved more than 2,000<br />

OOH ads in more than 20 markets across America.<br />


Media Company<br />

MEDIA<br />

Billboard, Digital Billboard<br />

AGENCY<br />

PNYC<br />


United States of America<br />

YEAR<br />

2015<br />


CAN<br />

Interac Association<br />

Be in the black<br />

Interac Association, a Canadian not-for-profit<br />

interbank network, took direct aim at costly<br />

credit card fees in an effort to get consumers<br />

thinking twice about the way they pay for holiday<br />

purchases. Three custom built Out-of-Home ads<br />

featured humorous lines reminding consumers<br />

about the consequences of overspending on credit<br />

and encouraging them to pay with their own<br />

money using Interac Debit instead.<br />


Financial Services<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Zulu Alpha Kilo<br />


Canada<br />

YEAR<br />

2014<br />


CAN<br />

Tourism Nova Scotia<br />

If you only knew<br />

Nova Scotia is on many avid cultural explorers’<br />

travel lists, yet they don’t know exactly what to do<br />

when they get there. To help change this, Out-of-<br />

Home was used to showcase the unknown aspects<br />

of the province. Digital street furniture panels<br />

encouraged audiences to discover all of the great<br />

things Nova Scotia has to offer through video<br />

trailers displaying content related to cuisine,<br />

history, adventure, products and experiences.<br />


Travel and Tourism<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

DDB Toronto<br />


Canada<br />

YEAR<br />

2016<br />


CAN<br />

Canadian Museum of Nature<br />

Ultimate Dinosaurs<br />

Southern dinosaur specimens are uncommon<br />

sights in North America, so to announce the<br />

arrival of the Ultimate Dinosaurs exhibition –<br />

a showcase of dinosaur specimens from the<br />

ancient southern supercontinent of Gondwana<br />

– the Canadian Museum of Nature used Outof-Home<br />

and flash event marketing to bring<br />

life to these long extinct creatures, causing the<br />

campaign to go viral with over 3 million social<br />

media views.<br />


Recreation and Leisure<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Scott Thornley + Company<br />


Canada<br />

YEAR<br />

2016<br />


USA<br />

Boy Scouts of America Coastal<br />

Carolina Council<br />

Toilet paper<br />

The Boy Scouts of America Coastal Carolina<br />

Council used a billboard to educate campers<br />

and the broader community about the common<br />

mistake made when it comes to poison ivy, using<br />

humour to the make the point.<br />


Public Interest<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Adams Outdoor<br />

Advertising in-house<br />


United States of America<br />

YEAR<br />

2014<br />


Europe & UK

Europe & UK<br />


United Kingdom<br />


United Kingdom<br />


Germany<br />

IKEA<br />

Germany<br />


United Kingdom<br />

OREO<br />

United Kingdom<br />

MAGNUM<br />

United Kingdom<br />



United Kingdom<br />


United Kingdom<br />


Denmark<br />



United Kingdom<br />

DISNEY<br />

Germany<br />

SIXT<br />

Germany<br />

XBOX<br />

United Kingdom<br />


Portugal<br />


United Kingdom<br />


Ireland<br />


United Kingdom<br />




Dino Burbidge<br />

Director of Innovation and Technology, WCRS<br />

“The Look at me campaign won a bunch of awards and<br />

I was hooked on the world of Out-of-Home. It’s sort<br />

of like the internet back in 2000 – anything seems<br />

possible if you’re smart enough to join the dots.”<br />

Yes, I’m one of those creative agency types<br />

– only slightly weirder. I grew up around<br />

farms, know how to hotwire cars, trained as a<br />

designer, love to code, worked with Hollywood<br />

movie studios, created kids’ cartoons, ran<br />

digital marketing agencies, founded start-ups,<br />

and am now Director of Innovation and<br />

Technology at WCRS, one of the UK’s top five<br />

advertising agencies.<br />

One of the first projects I got my teeth into<br />

at WCRS was an interactive Out-of-Home (OOH)<br />

campaign for Women’s Aid, a charity working to<br />

end domestic abuse against women and children.<br />

It was a good one.<br />

Digital billboards featured an image<br />

of a woman who’d been beaten and bruised.<br />

As long as passers-by ignored her, the image<br />

remained the same. But when facial recognition<br />

technology detected people looking at the screen,<br />

the woman’s bruises would fade until she was<br />

completely healed.<br />

The Look at me campaign (p. 124–125) won<br />

a bunch of awards and I was hooked on the world<br />

of OOH. It’s sort of like the internet back in 2000<br />

– anything seems possible if you’re smart enough<br />

to join the dots. You want infrared cameras? Sure.<br />

You need a snow machine? Cool. Special build on<br />

the moon? I’ll call the media owner.<br />

In practice, it’s not always like that. I’d split<br />

the OOH world into three buckets: the special<br />

builds; the collars and cuffs; and the missed<br />

opportunities.<br />

The special builds are fun. Excitable creative<br />

teams at the agency regularly swing by my desk<br />

and ask, “Is this possible?” while offering up a<br />

series of ever-more bonkers ideas. Unfortunately,<br />

many are not physically possible, but they always<br />

lead to something better down the line. Charities<br />

and arts companies tend to be more adventurous<br />

than advertising clients and it’s this freedom that<br />

makes work for them more likely to win awards.<br />

When it comes to ‘second bucket’ work, the<br />

creatives don’t even bother asking what’s possible.<br />

The brief is prescriptive; they’re simply expected<br />

to make all formats sort of match – like collars and<br />

cuffs. Just take the key art or the 10-second TV<br />

cut-down and re-jig it until the media plan has a<br />

bunch of ticks in the delivery column. It’s about as<br />

exciting as sitting in a bath of cold baked beans.<br />

Then there are the missed opportunities.<br />

You have a pretty groovy media plan but only the<br />

basic dimensions are stated in the specifications.<br />

Rarely are there the magic details needed to<br />

deliver something that plays to the strengths of<br />

the format. How were you to know that the digital<br />

6 sheet also had Wi-Fi and a speaker? So it gets<br />

filled with a version of the print 6 sheet but with<br />

a snazzy swoosh animation across the logo. If only<br />

you knew the secret sauce.<br />

Too often the client, the agency, the media<br />

buyer and the media owner are circles in a Venn<br />

diagram that never quite overlap. The client briefs<br />

the agency and the media buyer separately. The<br />

agency comes up with the big idea and a bunch<br />

of ways it will work in everything from OOH<br />

to social media. Meanwhile, in a room three<br />

miles away, the media buyer expertly plans the<br />

media and books it based on the media owner’s<br />

capability to deliver to the media plan. This is then<br />

confirmed with the client and sent to the creative<br />

agency to deliver the correct formats. The media<br />

plan is a surprise to the creative agency whose<br />

ideas are based on interactive screens near train<br />

stations but have been given a long list of online<br />

banner sizes. Lots of unhappy campers.<br />

I’ve seen this too many times for it to be<br />

an accident; yet the solution is relatively simple –<br />

an old fashioned cliché: communication. Creative<br />

agencies, talk to the media buyers and suggest<br />

formats that will work with the creative concept.<br />

Media owners, talk to creative agencies regularly<br />

about what your formats can offer, how to get the<br />

most from them, and why you’re different from<br />

the competition. And media buyers, talk to the<br />

agency after the campaign and share the stats.<br />

What worked? What didn’t? And why? Only then<br />

can we make the next one better.<br />

Unrealistic? Not in my experience. At WCRS<br />

we actively make time to nurture genuinely<br />

fruitful relationships with media owners. I know<br />

their first names. They tell us about exciting new<br />

formats. I host innovation sessions. Technology<br />

providers pop in for a coffee. We brainstorm with<br />

media buyers to identify the exciting, effective<br />

formats to focus on. And amazingly, they often get<br />

bought. This gives us a competitive advantage.<br />

If you do one thing, have a monthly coffee<br />

with your counterpart in that Venn diagram.<br />

Swap telephone numbers. Ask, “Is this possible?”<br />

Share what excites you. Seriously, do it. I dare you.<br />


UK<br />

Women’s Aid<br />

Look at me<br />

One of the most highly awarded campaigns<br />

in 2015, Look at me was a world first interactive<br />

campaign that demonstrated how people can<br />

make tangible changes in the fight against<br />

domestic violence. Coinciding with International<br />

Women’s Day, the campaign used gaze-tracking<br />

technology to capture the attention of people<br />

looking at the digital screens, triggering an<br />

immediate change in the creative. The more<br />

a person looked at the bruised woman, the<br />

faster her bruises disappeared, ending with her<br />

thanking the viewer for helping to make her<br />

life better.<br />


Public Interest<br />

MEDIA<br />

Digital Billboard<br />

AGENCY<br />

WCRS<br />


United Kingdom<br />

YEAR<br />

2015<br />


UK<br />

Maybelline<br />

Falsie push up drama<br />

Maybelline’s eye-catching campaign for the<br />

launch of its Falsie push up drama mascara<br />

used a unique digital Out-of-Home format ‘The<br />

Birmingham Media Eyes’ to captivate and grab<br />

the attention of passers-by. The campaign’s full<br />

motion creative was specifically designed for the<br />

three unique eye shaped screens.<br />


Health and Beauty<br />

MEDIA<br />

Digital Billboard<br />

AGENCY<br />

Maxus<br />


United Kingdom<br />

YEAR<br />


UK<br />

Oreo<br />

Oreo eclipse<br />

In March 2015, the world was looking to the skies<br />

for the longest solar eclipse in over a decade. In<br />

the UK, Oreo took advantage of this – in a moment<br />

when Brits were all looking in the same direction<br />

– by using its famous cookies to re-create the<br />

eclipse, in real-time, on multiple digital Out-of-<br />

Home locations across the country.<br />


Confectionery and Snacks<br />

MEDIA<br />

Digital Billboard<br />

AGENCY<br />

Talon<br />


United Kingdom<br />

YEAR<br />

2015<br />


UK<br />

20th Century Fox<br />

The Martian<br />

20th Century Fox wrapped an underground<br />

corridor in Waterloo Station, London, turning it<br />

into a Martian landscape, to promote the release<br />

of the film The Martian.<br />


Entertainment<br />

MEDIA<br />

Transit<br />

AGENCY<br />

Hoo-ha.ltd<br />


United Kingdom<br />

YEAR<br />

2016<br />


UK<br />

Magnum<br />

Release the beast<br />

Magnum wrapped London’s iconic double decker<br />

buses with lenticular 3D display technology, to<br />

promote its new Magnum Double range of ice<br />

creams. This technology allowed the image to<br />

appear as though it was changing and moving<br />

when viewed from different angles.<br />


Confectionery and Snacks<br />

MEDIA<br />

Transit<br />

AGENCY<br />

LOLA MullenLowe<br />


United Kingdom<br />

YEAR<br />

2016<br />


GER<br />

Adam Opel AG<br />

Das neue Oh!<br />

To promote the new Opel Corsa, bright<br />

creative was used in conjunction with the<br />

message “Das neue Oh!” (“The new Oh!”)<br />

in a fun play on the OOH environment where<br />

the campaign was featured.<br />


Automotive<br />

MEDIA<br />

Street Furniture, Transit<br />

AGENCY<br />

André Kemper and Scholz<br />

& Friends<br />


Germany<br />

YEAR<br />

2015<br />


UK<br />

London LGBT Community<br />

Pride/Pride in London<br />

#NoFilter<br />

Out-of-Home locations across London were used<br />

to feature a broad spectrum of people from the<br />

LGBT+ community. Posting their photos with<br />

the tag #NoFilter, the LGBT+ community and<br />

its straight allies encouraged everyone to stand<br />

together and promote equality and harmony,<br />

giving everyone the chance to live authentic,<br />

unfiltered lives.<br />


Public Interest<br />

MEDIA<br />

Digital Billboard<br />

AGENCY<br />

WCRS<br />


United Kingdom<br />

YEAR<br />

2016<br />


GER<br />

IKEA<br />

Assembly fail<br />

People around the world are familiar with the<br />

frustrating struggle of assembling flat pack<br />

furniture. To promote its assembly service,<br />

IKEA created a clever and funny Out-of-Home<br />

campaign with posters installed the wrong way<br />

around – reflecting the experience people might<br />

have when assembling their own furniture.<br />


Retail<br />

MEDIA<br />

Transit<br />

AGENCY<br />

thjnk Hamburg<br />


Germany<br />

YEAR<br />

2014<br />


UK<br />

Clinique<br />

Pop matte makeover<br />

Beauty brand Clinique used Out-of-Home<br />

to promote its new Pop matte makeover range,<br />

adding a ‘pop’ of colour and twist to what could<br />

otherwise be a monotonous, everyday work<br />

commute.<br />


Health and Beauty<br />

MEDIA<br />

Transit<br />

AGENCY<br />

Splashdown<br />


United Kingdom<br />

YEAR<br />


DEN<br />

Warner Bros.<br />

Batman v Superman: Dawn<br />

of Justice<br />

Giant Batman and Superman models were<br />

placed on top of a bus shelter in the centre of<br />

Copenhagen, Denmark, to promote the release<br />

of the movie Batman v Superman: Dawn of<br />

Justice. Digital panels also complemented this<br />

special build, allowing commuters to turn into<br />

their favourite superhero and then share their<br />

superhero selfies on social media.<br />


Entertainment<br />

MEDIA<br />

Digital Street Furniture<br />

AGENCY<br />

Dentsu Aegis Network,<br />

Posterscope and Grand<br />

Visual<br />


Denmark<br />

YEAR<br />

2016<br />


UK<br />

Lucozade<br />

Find your flow<br />

Lucozade energy drink encouraged people to<br />

“find your flow” at busy stations across the UK.<br />

A special wrap within the tunnels of London’s<br />

busy Oxford Circus underground station created<br />

different ‘flow lanes’ and ‘slow lanes’ for people<br />

wanting to move at different speeds.<br />


Beverages<br />

MEDIA<br />

Transit<br />

AGENCY<br />

Grey London<br />


United Kingdom<br />

YEAR<br />

2015<br />


POR<br />

McDonald’s<br />

Pictogram<br />

Showcasing the influence great Out-of-Home<br />

advertising can have, McDonald’s used a series<br />

of posters featuring simple, brightly coloured<br />

pictograms of its most recognisable products:<br />

a Big Mac, a cheeseburger, French fries, a sundae,<br />

chicken nuggets and a Filet-O-Fish.<br />


Food<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

TBWA\Lisboa<br />


Portugal<br />

YEAR<br />

2015<br />


UK<br />

Disney<br />

Captain America: Civil War<br />

To promote the release of Disney’s Captain<br />

America: Civil War, eye-catching visuals<br />

inspired by the film were used alongside the tag<br />

#TeamCap, encouraging would-be movie goers<br />

to pick their side via social media.<br />


Entertainment<br />

MEDIA<br />

Digital Billboard<br />

AGENCY<br />

Feref<br />


United Kingdom<br />

YEAR<br />

2016<br />


GER<br />

Paramount Pictures<br />

Terminator: Genisys<br />

To promote the release of the fifth instalment in<br />

the Terminator film series, Terminator: Genisys,<br />

a special build of the world-famous Cyborg T800<br />

was produced in the busy Potsdamer Platz, Berlin.<br />

Its silver, shining metal skull was internally lit<br />

with red LED lights to create a realistic effect.<br />


Entertainment<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Herr Schmidt<br />

Werbeagentur GmbH<br />


Germany<br />

YEAR<br />

2015<br />


GER<br />

Sixt<br />

Better than Sixt? Nothing to see<br />

Sixt, a car rental service providing luxury cars<br />

at low prices, created a unique Out-of-Home<br />

campaign with a non-digital billboard that<br />

appeared to be moving. The pupils of the eyes<br />

appeared to be permanently moving back and<br />

forth, looking into the distance to spot something<br />

better than the service Sixt provides.<br />


Professional Services<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

19:13 Werbeagentur GmbH<br />


Germany<br />

YEAR<br />

2015<br />



“ A great site in a premium environment with<br />

brilliant creative carries wonderful emotional<br />

value.”<br />

Neil Morris<br />

Founder and CEO, Grand Visual<br />

One of the unique things about Out-of-Home<br />

(OOH) advertising is the profound, real-world<br />

connection that a physical advertising site and<br />

location can generate with an audience. A great<br />

site in a premium environment with brilliant<br />

creative carries wonderful emotional value;<br />

comparatively, people rarely remember which<br />

TV channel they saw a great advertisement on.<br />

In 2005, I witnessed the world’s first digital<br />

escalator panels being installed at Tottenham<br />

Court Road tube station in London and saw the<br />

potential of a digital canvas combined with a<br />

premium location and a sophisticated audience.<br />

For Grand Visual, this moment marked the<br />

start of a journey in creative thinking, technology<br />

expertise and production techniques for Digital<br />

OOH (DOOH). Since then, the medium’s creative<br />

evolution has come in phases. Looking back,<br />

it is possible to see inflection points and the<br />

campaigns that drove new modes of working and<br />

greater creativity.<br />

Our first foray into technology-driven<br />

creativity featured the adoption of motion creative<br />

as a rich storytelling device for the release of<br />

the film Rocky Balboa. The creative mimicked<br />

the film’s iconic sequence where Rocky runs to<br />

the top of the stairs of the Philadelphia Museum<br />

of Art. It took 22 separate panel executions to<br />

create the impression that he was running up the<br />

escalators and delivered a compelling narrative in<br />

an immersive, emotive way.<br />

As the platforms advanced, a handful of<br />

media owners started to facilitate dynamic<br />

content delivery. But with little standardisation,<br />

each platform required different processes from<br />

format specification through to file delivery,<br />

limiting the ability to run multi-network, national<br />

or international dynamic campaigns.<br />

That’s why we developed OpenLoop: the first<br />

dynamic DOOH campaign management platform<br />

to allow advertisers to update creative across<br />

multiple formats in one pass. Its road test came<br />

during the 2010 World Cup with Nike’s Write<br />

the future campaign, which tracked England’s<br />

progress during the tournament. The activity<br />

saw Nike’s brand team publish live post-match<br />

commentary to multiple networks, targeting fans<br />

on their way home from the game.<br />

Instead of different networks and formats<br />

working in silos, DOOH could now react in real<br />

time with relevant copy to a broadcast audience<br />

— an important milestone for the industry.<br />

The next phase of creative development for<br />

DOOH featured greater interaction. Smarter<br />

technology allowed brands to surprise and delight<br />

consumers in immersive experiences using a<br />

range of techniques such as touch, gesture, face<br />

and gender detection, Augmented Reality (AR),<br />

near-field communications and beacons.<br />

In 2011, Lynx’s Angel Ambush featured<br />

members of the public using AR to interact with<br />

virtual angels that miraculously fell from the<br />

sky. The effect in situ was huge; but the real<br />

audience came when online footage of the angel<br />

encounters went viral. A one-off event was turned<br />

into a campaign with global reach and generated<br />

significant earned media worldwide.<br />

Then came DOOH plus mobile – the perfect<br />

marriage that works on so many levels – mobile as<br />

remote control, user-generated content conduit,<br />

integration via beacons, WiFi – the list goes on.<br />

For the release of the film Despicable Me 2 in<br />

2013, a mobile-controlled DOOH campaign was<br />

rolled out that was personalised, geo-targeted<br />

and multi-market. Passers-by interacted with onscreen<br />

Minions by texting commands to see them<br />

dance, wrestle, or play. The Minions instantly<br />

carried out their orders and users received a<br />

special on-screen thank you message as well as<br />

a text linking them to a copy of their Minion minifilm<br />

– DOOH integrated with mobile, social and<br />

online.<br />

The next stage of creativity was invariably<br />

going to be dynamic creative optimisation<br />

for DOOH. From a creative perspective, we<br />

can access an enormous amount of data to<br />

contextualise copy. There’s location data, thirdparty<br />

data and brand-owned data including<br />

pricing, stock levels and retail stores. Through<br />

these layers of data, we can exploit the ‘Context<br />

Effect’, providing dynamic, data-driven and<br />

locally relevant information.<br />

In 2014, Google launched its landmark<br />

campaign, Google Outside, which reflected<br />

Google's Search App to display a range of geotargeted<br />

search results for local attractions,<br />

restaurants and points of interest. The data<br />

feeds were tailored to the exact location of each<br />

screen. But Google quickly took this one step<br />

further, when it experimented with its own<br />

advertising technology, to buy and automate the<br />

entire campaign workflow alongside OpenLoop<br />

for creative fulfilment. And while it’s not<br />

surprising that Google is pioneering this area<br />

of programmatic DOOH, the same benefits can<br />

be had by any brand. It’s about being useful,<br />

contextual and relevant.<br />

Today, the DOOH landscape continues<br />

to offer fantastic creative potential but the<br />

engagement has to be relevant, emotional and<br />

remarkable and the creative technology solutions<br />

must work to support this goal. The hardware,<br />

software and appetite is now there to ensure<br />

DOOH continues its stirring creative evolution.<br />

I can’t wait to see what the next 10 years bring.<br />


IRE<br />

Jameson<br />

Jameson Ginger & Lime<br />

To promote Jameson’s new ginger and lime range,<br />

cool, clean creative, where the brand was the star,<br />

was placed in locations across Ireland, delivering<br />

high-impact, awareness and cut-through.<br />


Alcoholic Beverages<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Pernod-Ricard in-house<br />


Ireland<br />

YEAR<br />

2015/16<br />


UK<br />

XBOX<br />

Survival of the grittiest<br />

To promote Xbox’s Rise of the Tomb Raider,<br />

eight gamers took part in a grit, endurance and<br />

inner strength test while strapped to a billboard.<br />

The contestants, who made up the billboard’s<br />

headline, faced blizzards, downpours, harsh<br />

winds and intense heat – all controlled digitally<br />

by the public via a live stream – in an attempt<br />

to win a holiday inspired by the game.<br />


Games and Toys<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

McCann London<br />


United Kingdom<br />

YEAR<br />

2015<br />


UK<br />

Tanqueray<br />

Tonight we Tanqueray<br />

One of the world’s most awarded gins, Tanqueray<br />

London Dry Gin, launched a major global Outof-Home<br />

campaign, Tonight we Tanqueray,<br />

positioning Tanqueray as the drink to set the tone<br />

of an evening.<br />


Alcoholic Beverages<br />

MEDIA<br />

Transit<br />

AGENCY<br />

Mother Ltd<br />


United Kingdom<br />

YEAR<br />

2015<br />



Contributors<br />

All books are a collective effort and this book<br />

is no exception, with myriad individuals and<br />

organisations making significant contributions.<br />

<strong>OPEN</strong> 3 was produced in collaboration with<br />

Federation Publicité Exterieur International,<br />

Outdoor Advertising Association of America,<br />

Outdoor Media Association Australia, Out-of-<br />

Home Marketing Association of Canada and<br />

Outsmart UK.<br />

John Ellery<br />

Federation Publicité Exterieur International<br />

John is the Executive Director of Federation<br />

Publicité Exterieur International, the global<br />

Out-of-Home (OOH) association, representing<br />

80 OOH member companies and an annual<br />

congress that attracts 400 attendees from<br />

40 countries.<br />

John has played a key role in the development<br />

of the OOH industry worldwide. He began his<br />

career in 1968 working for the OOH contractor<br />

London and Provincial (L+P) before joining the<br />

team at British Posters, the UK’s first national<br />

OOH sales and marketing operation. John then<br />

returned to L+P as a director and joined the Board<br />

of street furniture pioneer, Adshel. In 1981, John<br />

began a 14-year tenure with Portland Outdoor<br />

Advertising before moving on to develop the<br />

international division at Poster Publicity which,<br />

in 2004, merged with Portland Outdoor to<br />

form Kinetic.<br />

“I have been fortunate enough to play a part<br />

in the OOH industry as it has gone from a<br />

fragmented and sometimes unregarded<br />

medium, to becoming a major global force.<br />

<strong>OPEN</strong> 3 will be an important factor in the<br />

industry’s further growth.”<br />

Nancy Fletcher<br />

Outdoor Advertising Association of America<br />

Nancy has been President and CEO of the<br />

Outdoor Advertising Association of America<br />

(OAAA) for 25 years. She is an attorney and<br />

industry authority with nearly 40 years’<br />

experience in Out-of-Home (OOH) advertising.<br />

Before joining OAAA, she served as an officer<br />

for Patrick Media Group, the largest OOH<br />

media company in the USA at that time. She<br />

also spent more than a decade with Naegele<br />

Outdoor Advertising in various capacities<br />

including president and general manager of the<br />

Minneapolis/St. Paul division and general counsel<br />

for the parent corporation.<br />

Nancy currently serves on the Board of<br />

Directors of OAAA, the Ad Council, and Geopath.<br />

She is the former Board Chair for the National<br />

Cathedral School and current President of the<br />

Fletcher Family Foundation.<br />

“The OAAA works closely with its international<br />

counterparts to unify the global OOH industry.<br />

This collaboration highlights the medium’s<br />

powerful creative impact and effectiveness<br />

across all cultures and communities.”<br />


Charmaine Moldrich<br />

Outdoor Media Association<br />

Charmaine is the CEO of both the Outdoor<br />

Media Association (OMA) and Measurement<br />

of Outdoor Visibility and Exposure (MOVE)<br />

in Australia. Charmaine has over 30 years’<br />

experience in leadership, management,<br />

marketing, communications and business<br />

development across a variety of sectors. She sees<br />

her role at the OMA as one that leads industry<br />

growth in a rapidly changing, technology-driven<br />

world and strives to see the Out-of-Home (OOH)<br />

media channel embraced as an integral part of<br />

every media plan.<br />

“If OOH is the ultimate creative stage, then<br />

<strong>OPEN</strong> 3 is the ultimate global representation<br />

of this. OOH is big, bold, simple, clever and<br />

controversial. It cannot be missed, switched off<br />

or skipped. It is truly the last undisrupted media<br />

channel. It is the original tweet.”<br />

Rosanne Caron<br />

Out-of-Home Marketing Association of Canada<br />

Rosanne has served as President of Out-of-<br />

Home Marketing Association of Canada (OMAC)<br />

for 11 years and in 2015 assumed an additional<br />

role as President of Canadian Out-of-Home<br />

Measurement Bureau (COMB).<br />

Rosanne’s professional experience spans<br />

a wide variety of media and senior roles. Her<br />

passion for Out-of-Home (OOH) advertising<br />

began with Mediacom, now known as<br />

OUTFRONT, where she held several positions<br />

before taking on the role of vice president,<br />

marketing and research. Her research into<br />

the advantages and effectiveness of OOH was<br />

published in the Journal of Advertising Research<br />

and presented internationally in the UK, Australia<br />

and the USA.<br />

“The collaboration with our global partners<br />

to produce <strong>OPEN</strong> 3 provides the opportunity<br />

to capture and celebrate the imagination and<br />

creativity of OOH campaigns around the world.”<br />

Justin Cochrane<br />

Outsmart UK<br />

Justin is the CEO of Clear Channel UK and<br />

Chairman of Outsmart, the trade body for UK<br />

Out-of-Home. Justin has a degree in engineering<br />

from the University of Oxford and is a certified<br />

Chartered Accountant. After a brief spell in<br />

financial services (Bank One/JP Morgan), Justin<br />

escaped to the world of media, joining Clear<br />

Channel at the end of 2001 as group accountant<br />

in the international group. By 2007, he was group<br />

finance director for the same division and then<br />

moved to Clear Channel UK in 2010 as chief<br />

financial officer. In 2013, Justin was appointed<br />

chief operating officer and in 2015 took up the role<br />

of Chief Executive Officer.<br />

“ OPE N 3 is the perfect opportunity for us to<br />

highlight the very best campaigns that have<br />

taken place around the globe. We are very<br />

proud to showcase our work alongside our<br />

global partners, all of whom play a significant<br />

part in transforming our industry and helping<br />

advertisers benefit from the huge opportunities<br />

offered by the medium. Collaboration across<br />

borders is always especially relevant in times<br />

of global change.”<br />


Index<br />


#CreateWelcome, 51<br />

#Huetown, 33<br />

#EqualFuture, 48–49<br />

#NoFilter, 134–135<br />

#YouShouldPlay649, 84<br />

101 London, 94–95<br />

19:13 Werbeagentur GmbH, 145<br />

20th Century Fox, 128–129<br />

A<br />

Ad Council, 107<br />

Adam Opel AG, 132–133<br />

Adams Outdoor Advertising, 74, 85, 117<br />

Alphabet Studio, 55<br />

Amazing facts, 75<br />

Androidify, 7, 68–69<br />

Angel Ambush, 147<br />

Angry Birds Movie, The, 104–105<br />

ANZ, 48–49<br />

Apple, 10–19, 79, 107<br />

Apple TV, 79, 86–87<br />

Art Everywhere US, 94–95<br />

Art Institute of Chicago, 94–95, 107<br />

Assembly fail, 136<br />

B<br />

Bashful, 38–39<br />

Barton F. Graf 9000, 79<br />

Batman v Superman: Dawn of Justice, 138–139<br />

BBDO Toronto, 90–91<br />

BC Hydro, 102<br />

BCG2, 31<br />

BCM, 43<br />

Bedrooms, 107<br />

Before/after, 76–77<br />

Better than Sixt? Nothing to see, 145<br />

Be in the black, 114<br />

Big Aussie barbie, 53<br />

Big slushes, 74<br />

BMF, 25<br />

Bonds, 34–35<br />

Boy Scouts of America Coastal Carolina<br />

Council, 117<br />

Brewtroleum, 107<br />

Britain’s favourite old flame, 25<br />

British Airways, 107<br />

Brown, Warren, 24–25<br />

Buckley’s, 103<br />

Burbidge, Dino, 122–123<br />

Burhop, Jane, 44–45<br />

C<br />

C2C Outdoor, 108–109<br />

Canadian Museum of Nature, 116<br />

Cannes Lions International Festival of<br />

Creativity, 7<br />

Canon, 79<br />

Caron, Rosanne, 155<br />

Captain America: Civil War, 142–143<br />

Clean up Australia day, 32<br />

Clean Up Australia Limited, 32<br />

Clemenger BBDO Melbourne, 34–35, 50<br />

Clinique, 137<br />

Clow, Lee, 79<br />

Coca-Cola, 80–81, 107<br />

Cochrane, Justin, 155<br />

Color bars, 86–87<br />

Common Ventures, 45<br />

Connect to the music you love, 28–29<br />

Cooler snack, 56–57<br />

Copacino+Fujikado, 75<br />

Corona summer, 88–89<br />

CreateWelcome, 51<br />

Crouch, Bruce, 25<br />

Cummins&Partners Sydney, 32<br />

CX-3 launch, 101<br />

D<br />

Dallas Museum of Art, 94–95<br />

Das neue Oh!, 132–133<br />

Dave Clark Design, 48–49<br />

David Jones, 26–27<br />

Day in the life of a Sydneysider, 55<br />

DB Export, 107<br />

DDB New Zealand, 54<br />

DDB Toronto, 115<br />

DDB Worldwide, 56–57<br />

Dead As We Know It, 108–109<br />

Dearden, Matthew, 4–5<br />

Dentsu Aegis Network, 138–139<br />

Denver Water, 72–73<br />

Despicable Me 2, 147<br />

Digital OOH (DOOH), 5, 147<br />

Disciple, 46<br />

Disney, 142–143<br />

E<br />

E-Class launch, 90–91<br />

Ellery, John, 154<br />

EqualFuture, 48–49<br />

Extra Credit Projects, 94–95<br />

F<br />

Facebook, 100<br />

Facebook Messenger, 100<br />

Falsie push up drama, 126<br />

Federation Publicité Exterieur (FEPE)<br />

International, 5, 154<br />

Feel the real, 7, 113<br />

Feref, 142–143<br />

Find your flow, 140<br />

Fletcher, Nancy, 154<br />

Ford, 28–29<br />

Fortune Pharmacal, 47<br />

Foster’s, 25<br />

Fresh salads, 107<br />

Fry lights, 107<br />

G<br />

Garrison Hughes, 111<br />

Ghostface Chillah, 83<br />

goa, 51<br />

Google, 7, 68–69, 147<br />

Google Creative Lab, 68–69<br />

Google Labs, 5<br />

Google Outside, 147<br />

Graf, Gerry, 78–79<br />

Grand Visual, 138–139, 146–147<br />

Grey London, 140<br />

Grip Limited, 110<br />

GTB Australia, 28–29<br />


H<br />

Heineken, 70–71<br />

Heinz History Center, 111<br />

Herr Schmidt Werbeagentur GmbH, 144<br />

History Channel, 45<br />

Honda, 110<br />

Honda Pilot, 110<br />

Hoo-ha.ltd, 128–129<br />

Huetown, 33<br />

I<br />

ICONIC, The, 30<br />

If you only knew, 115<br />

IKEA, 136<br />

Imagine, 70–71<br />

Interac Association, 114<br />

iPhone 6, 10–19, 25, 79, 107<br />

Iris Sydney, 33<br />

J<br />

J. Walter Thompson, 101<br />

Jameson, 148<br />

Jameson Ginger & Lime, 148<br />

JCDecaux Australia, 53, 55<br />

K<br />

Kemper, André, 132–133<br />

Kraken Rum Co., 108–109<br />

Kuhn & Kuhn, 85<br />

Kymechow, 47<br />

L<br />

Labatt Breweries of Canada, 88–89<br />

Lawrence Creative Strategy, 36–37<br />

Leo Burnett, 96<br />

Leo Burnett Melbourne, 40–41<br />

Leo Burnett Worldwide, 107<br />

Lexus, 45, 52<br />

Local market attack, 96<br />

LOLA MullenLowe, 130–131<br />

London LGBT Community Pride, 134–135<br />

Look at me, 123, 124–125<br />

Los Angeles County Museum of Art, 94–95<br />

Loto-Québec, 84<br />

Love has no labels, 107<br />

Love your condom: Gear up series, 31<br />

Lucozade, 140<br />

Lynx, 147<br />

M<br />

M&C Saatchi, 52<br />

Made beautifully, 54<br />

Magic of flying, 107<br />

Magnum, 130–131<br />

Mark’s, 93, 112<br />

Mars, 50<br />

Martian, The, 128–129<br />

Maxus, 126<br />

Maybelline, 126<br />

Mazda, 101<br />

McCann London, 149<br />

McDonald’s, 76–77, 107, 141<br />

mda, 51<br />

Melanoma Institute of Australia, 46<br />

Mercedes-Benz, 90–91, 107<br />

Meunier, Philippe, 92–93<br />

Minions, 147<br />

Moldrich, Charmaine, 155<br />

Morris, Neil, 146–147<br />

Mother Ltd, 150–151<br />

Mroueh, Zak, 1,64–65<br />

N<br />

Name our cubs, 97<br />

National Gallery of Art, 94–95<br />

New Zealand Aids Foundation, 31<br />

Nike, 147<br />

NoFilter, 134–135<br />

Nova Scotia, 115<br />

O<br />

October’s Very Own, 66–67<br />

Offtober, 102<br />

Ogilvy, 80–81<br />

One name: Endless possibilities, 26–27<br />

OOPS, 85<br />

Oreo, 127<br />

Oreo eclipse, 127<br />

Out-of-Home (OOH), 5, 7, 25, 45, 65, 79, 93, 107,<br />

123, 147<br />

Out-of-Home Marketing Association of Canada<br />

(OMAC), 155<br />

Outdoor Advertising Association of America<br />

(OAAA), 7, 113, 154<br />

Outdoor Media Association (OMA), 155<br />

Outsmart UK, 155<br />

P<br />

Procter & Gamble, 5<br />

Paramount Pictures, 144<br />

Pernod-Ricard, 148<br />

Peters Ice Cream, 40–41<br />

Philips, 33<br />

Pictogram, 141<br />

PNYC, 113<br />

Pop matte makeover, 137<br />

Posterscope, 138–139<br />

Pride in London, 134–135<br />

Prostate Cancer Foundation of Australia, 53<br />

Proud & Punch, 40–41<br />

Publicis Communications, 107<br />

Q<br />

Qantas, 7, 36–37<br />

R<br />

Rapport, 104–105<br />

Release the beast, 130–131<br />

Relief you can swallow, 103<br />

Réno-Dépôt, 93, 98–99<br />

Ride the Kraken, 108–109<br />

Rise of the Tomb Raider, 149<br />

Rocky Balboa, 147<br />

S<br />

Saatchi & Saatchi Canada, 103<br />

Sandbox, 70–71<br />

Savage, Terry, 6–7<br />

Scholz & Friends, 132–133<br />

Science superlab, 42<br />

Scott Thornley + Company, 116<br />

Seattle Aquarium, 75<br />

Shades of you, 38–39<br />

Share a Coke, 80–81<br />

Shot on iPhone 6, 10–19, 25, 79, 107<br />


Index (continued)<br />

Image credits<br />

Sid Lee, 84, 93, 98–99, 112<br />

Sixt, 145<br />

Skidmarks, 107<br />

Sky swatches, 93, 98–99<br />

Small world machines, 107<br />

Snapchat, 83<br />

Sonic Drive-In, 74<br />

Sony Pictures, 104–105<br />

Splashdown, 137<br />

Spotify, 82<br />

Stop the spread of melanoma, 46<br />

Streets, 56–57<br />

Sukle Advertising & Design, 72–73<br />

Sundial, 107<br />

Sunglass Hut, 38–39<br />

Survival of the grittiest, 7, 149<br />

Swan Vestas, 25<br />

T<br />

Talon, 127<br />

Tanqueray, 150–151<br />

Taxi Vancouver, 102<br />

TBWA\Lisboa, 141<br />

TBWA\Media Arts Lab, 10–19, 86–87<br />

Terminator: Genisys, 144<br />

Thanks 2016, it’s been weird, 82<br />

The best of 40 years, 25<br />

The boys, 34–35<br />

The colder it gets, 93, 112<br />

The ICONIC SPORT, 30<br />

thjnk Hamburg, 136<br />

This is the new Lexus, 45, 52<br />

Times Square, 7, 68<br />

Toilet paper, 117<br />

Tomb Raider, 7<br />

Tombras, 76–77<br />

Tonight we Tanqueray, 150–151<br />

Toronto Zoo, 97<br />

Touché! PHD, 93<br />

Tourism Nova Scotia, 115<br />

Troop train, 111<br />

Tutssel, Mark, 106–107<br />

U<br />

Ultimate Dinosaurs, 116<br />

Unforgotten soldiers, 45<br />

Universal McCann, 104–105<br />

Universal Music Canada, 66–67<br />

University of Technology Sydney (UTS), 42<br />

V<br />

Van Gogh, Vincent, 107<br />

VIEWS, 66–67<br />

Vranakis, Steve, 5<br />

W<br />

Walking Wounded, 43<br />

Warner Bros., 138–139<br />

WCRS, 123, 124–125, 134–135<br />

Welcome home, 7, 36–37<br />

What the ‘cough’, 47<br />

Whitney, The, 94–95<br />

Whybin\TBWA Sydney, 26–27<br />

Wieden+Kennedy, 100<br />

Wither Hills, 54<br />

Women’s Aid, 123, 124–125<br />

Work. Rest. Play., 50<br />

Write the future, 147<br />

X<br />

XBOX, 7, 149<br />

Y<br />

Yellow Pages, 96<br />

You can’t make this stuff, 72–73<br />

YouShouldPlay649, 84<br />

Z<br />

Zulu Alpha Kilo, 65, 88–89, 114<br />

PAGES 1, 8, 152, 159<br />

Apple, Shot on iPhone 6<br />

PAGE 20<br />

Fortune Pharmacal, What the ‘cough’?<br />

PAGE 58<br />

American Gothic by Grant Wood,<br />

Art Everywhere US<br />

PAGE 118<br />

Magnum, Release the beast<br />



Acknowledgements<br />

The last two volumes of <strong>OPEN</strong> were published<br />

by the Outdoor Media Association (OMA)<br />

in Australia. <strong>OPEN</strong> 3 is our first foray into<br />

publishing this book as a global partnership,<br />

and is the end result of the effort and<br />

contribution of myriad individuals and<br />

organisations.<br />

First and foremost, thank you to the OMA’s<br />

Communications Manager, Ti-Ahna Firth, who<br />

orchestrated everyone, kept to the schedule and<br />

budget, and delivered the book on time. No mean<br />

feat working with so many different people across<br />

so many different time zones.<br />

She couldn’t have done it without our great<br />

international partners. A very special thank you<br />

to John Ellery, Federation Publicité Exterieur<br />

(FEPE) International; Nancy Fletcher, Outdoor<br />

Advertising Association of America (OAAA);<br />

Rosanne Caron, Out-of-Home Marketing<br />

Association of Canada (OMAC); Justin Cochrane,<br />

Outsmart UK, and to the Boards and companies<br />

of the global associations who have supported and<br />

funded this project. Your contributions have made<br />

this truly a global book.<br />

Special thanks to all of the contributing<br />

writers – some of the most formidable advertising<br />

industry leaders the world has to offer – for<br />

taking time from their busy schedules to stop,<br />

pause and reflect on what advertising, and more<br />

importantly, Out-of-Home (OOH) advertising,<br />

means to them. In particular, our warmest thanks<br />

to Warren Brown, Creative Founder, BMF; Dino<br />

Burbidge, Director of Innovation and Technology,<br />

WCRS; Jane Burhop, Creative Director, Common<br />

Ventures; Matthew Dearden, President, FEPE<br />

International; Gerry Graf, Founder and Chief<br />

Creative Officer, Barton F. Graf 9000; Philippe<br />

Meunier, Chief Creative Officer, Senior Partner<br />

and Co-Founder, Sid Lee; Neil Morris, Founder<br />

and CEO, Grand Visual; Zak Mroueh, Chief<br />

Creative Officer and Founder, Zulu Alpha Kilo;<br />

and Mark Tutssel, Global Chief Creative Officer,<br />

Leo Burnett Worldwide and Creative Chairman,<br />

Publicis Communications.<br />

We were also privileged to work with the<br />

famed and reputable Terry Savage, Chairman,<br />

Cannes Lions International Festival of Creativity.<br />

A warm thanks to Terry for his insightful<br />

foreword and for his support on this project from<br />

the outset.<br />

Thanks also to the project sub-committee:<br />

Mark Flys and Richard Saturley, FEPE<br />

International; Kate Flaherty and Stephen Freitas,<br />

OAAA; Alice Goyau and Jacques Major, OMAC;<br />

Ti-Ahna Firth, OMA and Katherine Ashmore,<br />

Outsmart UK.<br />

Huge thanks to the design teams, Thursday<br />

Design and Spitting Image, for their unwavering<br />

commitment – proof of their hard work now sits<br />

in your hands. And our gratitude to our alert<br />

editor David Hely who, yet again, did wonders<br />

with our words, BP Imaging; Emma Summerton,<br />

CLM for David Jones, www.clm-agency.com;<br />

Dan Gray, Graynoise; Jake Brusha, Leo Burnett<br />

Worldwide; Thanh Pham, Sid Lee and Zachary<br />

Madrigal, Zack Madrigal Photography for their<br />

photography contributions, and Katherine<br />

Webster for the unenviable task<br />

of indexing.<br />

Getting this quality of publication is not an<br />

easy task but one made easier by the wonderful<br />

printing prowess of Imago Printing. In this fast<br />

paced digital world there are some of us who<br />

still relish the joys of a book that is immaculately<br />

printed.<br />

A massive thank you to TBWA\Media Arts<br />

Lab for providing us with access to the fantastic<br />

pieces of creative from Apple's Shot on iPhone 6<br />

campaign. We were heartened by their generosity<br />

and willingness to collaborate. Without this<br />

support we simply would not have been able to<br />

show off the remarkable calibre and diversity of<br />

creative work in OOH the world over.<br />

Thank you also to Brendon Cook, CEO of<br />

oOh!media, long-standing member of the OMA’s<br />

Board, and the International Vice-President of<br />

FEPE International, whose idea it was to go global<br />

with this publication.<br />

And finally, thank you to you, the reader,<br />

for turning each page. We hope this book inspires<br />

and encourages you to embrace the power of OOH<br />

with all your creative might.<br />

As you can see from around the globe, the<br />

OOH poster, be it traditional or digital, is big,<br />

bold and unmissable.<br />

Charmaine Moldrich, CEO, OMA Australia<br />



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