OPEN 3

OPEN 3

OPEN 3

“Seeing great work in a book such as this just can’t match
the breathtaking impact of experiencing brilliant Out-of-Home
advertising in the flesh. We just need to see more of it out there
in the real world.”
...
Zak Mroueh

Published in Australia by:
Outdoor Media Association (OMA)
Australia on behalf of Federation Publicité
Exterieur (FEPE) International, Outdoor
Advertising Association of America
(OAAA), Out-of-Home Marketing
Association of Canada (OMAC) and
Outsmart UK.
Suite 504, 80 William Street
East Sydney NSW 2011 Australia
ABN: 59 004 233 489
www.oma.org.au
The OMA is the peak national industry body
representing most of Australia’s Out-of-
Home (OOH) media display companies and
production facilities, as well as some media
display asset owners.
OMA operates nationally and, prior to July
2005, traded as the Outdoor Advertising
Association of Australia. It was first
incorporated in 1939.
OMA media display members advertise
third party products on both digital and
non-digital signs across a variety of OOH
formats and locations: airports, bicycle
stations, billboards, buses, bus stations,
cafes, doctors’ surgeries, free-standing
advertisement panels, medical centres,
office buildings and lifts, pedestrian
bridges, railway stations, shopping centres,
trains, trams, universities as well as street
furniture (bus/tram shelters, public toilets,
telephone booths and kiosks).
© 2017 Outdoor Media Association Inc.
This book is subject to copyright. Apart
from any fair dealing for purposes
permitted in the Copyright Act 1968, no
part of this publication may be reproduced
or communicated by any process without
written permission.
OPEN 3
ISBN: 978-0-9874105-3-5
Outdoor Media Association
Editorial Overview: Ti-Ahna Firth
and Charmaine Moldrich.
Project Manager: Ti-Ahna Firth.
Project Sub-Committee: Mark Flys and
Richard Saturley, FEPE International; Kate
Flaherty and Stephen Freitas, OAAA; Alice
Goyau and Jacques Major, OMAC;
Ti-Ahna Firth, OMA and Katherine
Ashmore, Outsmart UK.
Image Research: Katherine Ashmore,
Alli Collier, Megan Evan-Hughes, Ti-Ahna
Firth, Kate Flaherty, Stephen Freitas and
Alice Goyau.
Image Contributors: Local and
international advertising agencies, clients
and OOH operators.
Design: Thursday Design, Sydney.
Copy Editor/Contributor: David Hely.
Photography: BP Imaging; Emma
Summerton, CLM for David Jones;
Dan Gray, Graynoise; Jake Brusha, Leo
Burnett Worldwide; Thanh Pham, Sid Lee
and Zachary Madrigal, Zack Madrigal
Photography.
Indexer: Katherine Webster.
Pre-Press: Spitting Image, Sydney.
Printer: Imago Group, Australia and
Hong Kong.
COVER
OPEN 3
Campaign: Women’s Aid, Look at me.
Domestic violence affects one in four
women, yet we continually turn a blind
eye to the issue. This innovative billboard
healed a woman’s bruises when people
actually took notice. Despite the shocking
nature of these images, the campaign
ended with the model thanking those who
stopped, paid attention and helped heal
her. The resulting coverage was seen by
326.9 million people worldwide and the
campaign won a Gold Lion at the Cannes
Lions International Festival of Creativity.
DISCLAIMER
Every effort has been made to ensure that the
information contained in this book is accurate
at the time of printing. However, to the full
extent permitted by law, this book is supplied
‘as is’ without express or implied warranty.
The OMA welcomes suggestions for
improvement but cannot accept responsibility
for any errors or omissions and makes no
representations about the content or the
suitability of the information for any purpose.
Except as required by law, the OMA will not
be liable for any damages whatsoever (whether
direct, indirect, special, consequential or
otherwise) arising out of the use of, or in
connection with or reliance on, the information
contained in this book.
OPEN 3

UP FRONT INTRODUCTION 4
— Matthew Dearden
President, Federation Publicité Exterieur International
FOREWORD 6
— Terry Savage
Chairman, Cannes Lions International Festival of Creativity
GLOBAL GLOBAL 8
— Apple
Shot on iPhone 6
SECTIONS AUSTRALASIA 20
— Warren Brown 24
Creative Founder, BMF
— Jane Burhop 44
Creative Director, Common Ventures
CANADA & USA 58
— Zak Mroueh 64
Chief Creative Officer and Founder, Zulu Alpha Kilo
— Gerry Graf 78
Founder and Chief Creative Officer, Barton F. Graf 9000
— Philippe Meunier 92
Chief Creative Officer, Senior Partner and Co-Founder, Sid Lee
— Mark Tutssel 106
Global Chief Creative Officer, Leo Burnett Worldwide
and Creative Chairman, Publicis Communications
EUROPE & UK 118
— Dino Burbidge 122
Director of Innovation and Technology, WCRS
— Neil Morris 146
Founder and CEO, Grand Visual
REFERENCE CONTRIBUTORS 154
INDEX 156
ACKNOWLEDGEMENTS 160

Introduction

INTRODUCTION
Matthew Dearden
President, Federation Publicité Exterieur International
“The power of posters to communicate big ideas, and
therefore build brands and activate sales, is further
unleashed as the digital revolution moves offline into
the physical world.”
Seventeen thousand years ago, the leading
creatives of their generation painted cuttingedge
works of art 15 metres underground by
the light of small lamps burning animal fat that
gave off more putrid smell than illumination.
Their paints were local soils and minerals
laboriously hand-mixed with water, or yet,
more animal fat. Their airbrushing took
particular commitment, blowing the foul paint
from the artist’s mouth through a tube.
Today, the art of the Lascaux Caves still
captivates and communicates powerfully. The
vibrant images of animals tell of the survival
and hunting skills of the artists. In the Hall of
the Bulls, pride of place goes to a 5.2m billboardsized
beast. These intermingle with depictions
of humanity as well as abstract signs – the
forerunner of the logo.
The greatest communicators and brandbuilders
of our age also recognise the power
of big ideas displayed in public. The biggest
brands consistently use posters more than their
competitors to build their business. From Apple
to McDonald’s, Wall’s to Google, successful global
mega-brands across all categories know that
Out-of-Home (OOH) advertising builds the fame,
recollection and affection needed to keep ahead
of the rest.
What many know instinctively is also
demonstrated by a compelling body of evidence.
The need for a medium that creates fame among
a target group, but also the wider population,
is now well understood. Highly targeted ads
have their role and have become increasingly
fashionable online. But while they can be effective
at short-term sales activation, they don’t build
long-term profitable brands. The very public
move by the world’s biggest advertiser, Procter
& Gamble, to reduce its use of narrow online
targeting, due to lack of sustained sales response,
is a high-profile example of a growing trend.
This big audience is matched by posters
offering a big canvas, both literally and
metaphorically. Numerous neuroscience studies
have demonstrated that, compared to smaller
media, a large poster creates a bigger impression
on the brain and improves recall.
To be effective, these big creative ideas need
to be simple, relevant to the brand and built on
powerful human insight. There is nowhere to hide
in OOH; a weak creative idea can’t be glossed up
with slick production values or clever tech tricks.
The work lives or dies on its merits.
The best creatives know that these factors
combine to make posters the ultimate showcase
for their talents. Indeed, the Executive Creative
Director of Google Labs, Steve Vranakis, requires
his teams to show him the poster that would
promote any new idea. To make a compelling
poster, the idea must be distilled to its essence
and still be powerfully motivating. Pitches that
fail to do so are because they are unfinished, too
complex, or simply not remarkable enough to be
appealing, whereas ideas that pass the test are
ready to develop into products, or cross-media
creative and, of course, will particularly benefit
from the big canvas of OOH.
The power of posters to communicate big
ideas, and therefore build brands and activate
sales, is further unleashed as the digital
revolution moves offline into the physical world.
Once confined to special builds, Digital OOH
(DOOH) creative is now scaling without losing its
new-found smarts. There is already fabulous new
creative on our screens; less visible, but arguably
more powerful, is the new power of DOOH media
planning. With the flexibility of airtime and
greater responsiveness than any other medium,
DOOH’s timing and triggers give brands exactly
what they need: ice cream advertising in hot
weather; hay fever remedies during high pollen
counts; music stars synchronising ads to their
radio airplay; supermarkets responding on the
same day to their competitors’ price moves – all
of this creative potential is live today, though far
from being fully exploited.
All of this builds to the purpose of
advertising: to change people’s behaviour.
In our desire to do this better and more cheaply,
we’ve created immense complexity and mystique
in advertising, which brings great advantages to
all involved. But, even at its best, this complexity
often obscures the fundamental truth that all
advertising is built on brilliant creative ideas that
can change hearts and minds. Ultimately, the role
of any media channel is to allow brands to engage
with people by showcasing this great creativity.
OOH is a fabulous showcase for the best
creative ideas. If you wanted to see state-of-theart
creative 173 centuries ago you had to take
a dim light deep into the caves of Lascaux. Now,
you hold in your hand a bright beacon of fabulous
creative. It will inspire you about the potential of
OOH and provide you with powerful insight from
some of the leading thinkers in their field about
how to deliver on that potential. Enjoy the work,
use the insight, and continue the spirit of Lascaux
in telling the stories of our age.
5

FOREWORD
Terry Savage
Chairman, Cannes Lions International Festival of Creativity
“The very nature of what we now think of as
Out-of-Home has expanded and become harder
to define – it is branded communication that can
happen almost anywhere and be virtually anything
– and that makes it the ultimate opportunist.”
While the forces of fragmentation have turned
the screws on press, radio and TV, spend on
Out-of-Home (OOH) advertising is on the up,
with consistent revenue growth over the past
three years and healthy projected increases
until at least 2020.
What has challenged other channels has
only served to energise OOH. In the past decade,
it’s arguably become the most dynamic of media
channels, nimbly adapting and reinventing itself
over time to take advantage of these industry
shifts.
OOH campaigns that in the past would have
passively lain in wait for eyeballs now aggressively
pursue visibility and engender engagement by
leveraging the flux in technology, the physical
environment and culture. Instead of competing
against the juggernauts of change like digital and
data, OOH has been able to work with them and
wind up richer and more diverse for it. As a result,
the very nature of what we now think of as OOH
has expanded and become harder to define – it is
branded communication that can happen almost
anywhere and be virtually anything – and that
makes it the ultimate opportunist.
OPEN 3 celebrates this versatility, gathering
stand-out OOH work of the past few years from
Australia and around the world – inspiring
examples that range from eye-popping executions
in iconic locations to small-scale specialist
solutions.
An example of the former, Google’s
Androidify (p. 68–69), leveraged New York’s
instantly recognisable epicentre of entertainment,
Times Square, to launch a game. Creating what
Gizmodo called a “gargantuan visual spectacle”,
the campaign befitted the most expensive and
visible OOH real estate in the world. It allowed
the public to create characters via the Androidify
website or app and then – standing on a purposebuilt
platform fitted with motion sensors – play
them against each other on the biggest digital
screen in the USA. It wasn’t just the sheer size
that created cut-through in this congested
environment, it was also the unprecedented
interactivity and live nature of the content that
drew the crowds in.
This campaign used innovation to deliver
an OOH component, but others have used it to
seamlessly integrate OOH with other media and
create a theatrical experience.
To herald the UK arrival of the latest
in the Tomb Raider franchise, Xbox’s Survival
of the grittiest billboard (p. 149) relied on
technology to allow global participation in a
‘human billboard’. Eight contestants, chosen
from thousands of applicants, stood on a platform
and were subjected to the harshest simulated
weather conditions as voted for online by the
public. The last one standing won a trip, while the
brand netted hours of content, millions of views,
thousands of comments and a dwell time that was
hundreds of times higher than average.
What’s also been interesting in the past
12 months is seeing a significant body of work that
has rejected the benefits offered by technology,
opting instead to return to the roots of OOH and
celebrate its power as a pure and potent graphic
language.
Qantas’ Welcome home campaign (p. 36–37)
demonstrated how powerful a poster can be at
generating an emotional response with a simple,
flawlessly executed idea. As you headed to or
from the airport and saw the candid image of
loved ones being reunited, a chord was struck that
linked that feeling to the brand and reminded you
of the very personal role Qantas plays in people’s
lives. The campaign also complemented and
amplified Qantas’ Feels like home TV campaign,
illustrating how effectively different channels can
work together.
The Outdoor Advertising Association
of America similarly chose to keep it simple.
Feel the real (p. 113) used little more than clever
location choices and bold, text-based executions
with personalised messages to demonstrate
the advantages and effectiveness of OOH over
digital, at a time when there is growing concern
about the visibility of online advertising and its
susceptibility to artificially inflated views. The
constant in these campaigns, big or small, high
or low tech, is creativity.
Creativity is at the heart of the success of
OOH. And its importance will only increase
through further changes to the industry because
the inherent, unavoidable intrusiveness of OOH –
and its ongoing advance into new and unexpected
places – creates an increased obligation to be
entertaining, relevant, original and wanted.
As we saw with broadcast, a lack of tolerance for
bland or interruptive advertising gives rise to the
desire and then the means to circumvent it. And
while, as an individual, you can’t block a billboard,
perceived visual pollution could jeopardise the
industry’s future access to public spaces.
Curating outstanding OOH work for OPEN 3
is important because these campaigns showcase
the channel at its most creative and inspire
the industry to do great things. The following
examples have succeeded in adding value to both
the communications and physical landscapes
through thoughtful creativity – work that treats
the environs in which it’s executed as a living
organism, leveraging its unique traits to bring
an idea to life in a way that is harmonious and
authentic to the brand.
7

Global

Apple
Shot on iPhone 6
GLOBAL CAMPAIGN
One of the most awarded international campaigns
in 2015, Apple’s Shot on iPhone 6 featured
photographs taken by iPhone 6 users, turning
them into works of art displayed on various Outof-Home
advertising formats. Featured across
70 cities in 24 countries around the world, it was
one of the largest mobile photo galleries ever
assembled. Images for the campaign were sourced
through social media platforms, which involved
combing through tens of thousands of usergenerated
photographs to select the best ones
for the campaign. This section features examples
of the campaign from Australia, Canada, China,
Germany, Hong Kong, Japan, Malaysia, United
Kingdom and United States of America.
PRODUCT
Information Technology
MEDIA
Billboard, Digital Billboard,
Street Furniture, Transit
AGENCY
TBWA\Media Arts Lab
COUNTRY PICTURED
United States of America
YEAR
2015
10

11

12

Apple
Shot on iPhone 6
GLOBAL CAMPAIGN
COUNTRIES PICTURED
(LEFT TO RIGHT FROM TOP)
United Kingdom
Australia
Japan
Australia
13

Apple
Shot on iPhone 6
GLOBAL CAMPAIGN
COUNTRIES PICTURED
(LEFT TO RIGHT FROM TOP)
United Kingdom
China
Germany
Canada
14

15

Apple
Shot on iPhone 6
GLOBAL CAMPAIGN
COUNTRIES PICTURED
(LEFT TO RIGHT FROM TOP)
Australia
Malaysia
United States of America
Hong Kong (overleaf)
16

17

Australasia

Australasia
DAVID JONES
Australia
THE ICONIC
Australia
PHILIPS
Australia
SUNGLASS HUT
Australia
FORD
Australia
NEW ZEALAND AIDS
FOUNDATION
New Zealand
CLEAN UP AUSTRALIA LIMITED
Australia
BONDS
Australia
QANTAS
Australia
PETERS ICE CREAM
Australia
UNIVERSITY OF TECHNOLOGY
SYDNEY
Australia
22

WALKING WOUNDED
Australia
ANZ
Australia
LEXUS
Australia
JCDECAUX AUSTRALIA
Australia
MELANOMA INSTITUTE OF
AUSTRALIA
Australia
FORTUNE PHARMACAL
Hong Kong
MARS
Australia
MDA
Australia
PROSTATE CANCER FOUNDATION
OF AUSTRALIA
Australia
WITHER HILLS
New Zealand
STREETS
Australia
23

THE POWER OF A GREAT IDEA
Warren Brown
Creative Founder, BMF
“Creating great Out-of-Home teaches you to let things
go. Knowing what’s important is the key to creative
success and without a doubt the best training ground
for achieving that success is Out-of-Home.”
There’s definitely something magical about
a great poster. A great poster or Out-of-Home
(OOH) idea embodies a unique advertising
alchemy – a combination of elements that
capture the essence of a brand, impart a potent
nugget of information and make you feel an
emotion that will stick to your soul for years,
if not forever. And it does all this in the blink
of an eye. No other medium can do that. This is
why OOH remains as relevant and powerful
as ever.
I owe my career to a poster. Back in 1979,
while still a student, I created a wall poster that
featured a loudly dressed and demented-looking
loony with wild rainbow-coloured hair and a
speech bubble that said, “Suppose I’m fairly
conservative really.” It was silly. But I managed
to sell it to the greeting card company, Valentine
International, for enough money to buy a one-way
ticket to London where I figured the best work
was being done. And I wasn’t wrong. London
was nirvana for OOH. The amount of real estate
dedicated to advertising was mind boggling,
as was the standard of creativity. Wonderfully
surreal images without words, words combining
seamlessly with brilliantly crafted images and
special builds adorned the city – like a car stuck
to a poster hoarding. Getting your hands on a
poster brief was an opportunity to mix it with the
creative gods of the time and the best training you
could get to hone your skills for coming up with
ideas that were fast and memorable.
As a junior creative I managed to get a poster
brief for a new beer brand launching in the UK.
That brand was Foster’s. Not new to me of course,
but getting the Poms to drink an Aussie beer was
always going to be a challenge. I borrowed an
idea from an Australian political cartoonist who’d
drawn an eye and ear on a map of Australia with
the Gulf of Carpentaria as its mouth. All I did was
have a pint of Foster’s pouring into it with the
tagline, ‘Foster’s, the Australian for lager’.
The poster went on to win Poster of the
Year at the Campaign Poster Awards, along with
several category awards. It was the true beginning
of my love affair with posters and putting into
practise the creative discipline required for OOH
ideas – that is – if you’re going to cut through the
crap, it’s fundamental that you start with a singleminded
idea.
A couple of years later I had the opportunity
to work on a campaign for Swan Vestas matches
with advertising legend Bruce Crouch. Swan
Vestas had been part of English popular culture
since Victorian times and had a great advertising
poster pedigree, so there was already something
to work with. After only a couple of days, we hit on
the idea of Britain’s favourite old flame, featuring
black and white photographs of movie stars from
the golden era of Hollywood. From a library of
several thousand original images held in the
famous Kobal Collection, I chose a select few
and retouched the subjects’ hands so they were
holding Swan Vestas’ iconic red, green and yellow
box. It looked striking against the black and white.
The posters brought some old-school glamour to
the streets of London and were liked well enough
to win a heap of awards including D&AD Yellow
Pencils for best poster and poster campaign. They
were also included in D&AD’s book, The best of
40 years.
Many years down the track, I still employ the
same single-minded approach to solving creative
problems. You have to know which bit will stick
to your audience long enough to communicate
your idea. Once that essence, or nugget, has been
created, what you then do with it will determine
how memorable it becomes. It’s amazing how
much you can change the execution of an idea
without ruining the idea itself. Great ideas have a
way of surviving all manner of interference, but to
ensure people see them at their best they need
a champion, particularly when it comes to OOH –
a media channel where there is nowhere to hide.
Applying a poster and OOH mentality to
any creative task forces you to resist the urge
to decorate or dilute your idea, whatever the
intended channel. OOH trains you to constantly
ask yourself, “What can I take out?” It’s what you
leave out rather than put in that will make an idea
great.
I love the iPhone 6 poster campaign that
is simply a stunning shot with the words,
‘Shot on iPhone 6’ (p. 10–19). Nothing about hitech
features, battery life etc.; just a reminder
that the thingy that connects you to the world
and contains most of your life is also brilliant at
capturing emotions and the beauty of the world
we live in. Who’s not going to love that?
An idea isn’t an opportunity to show off by
smothering your creative nugget with your own
– or worse, someone else’s – style. For me, it’s best
not to have a personal style to fall back on. That’s
a lazy approach. What is critically important
though is having a standard. And the best way
to achieve that standard is to understand the
importance of the word EDIT – which to me also
means Every Detail Is Tested.
If something is not empowering your idea,
chuck it out, no matter how much love you may
have lavished upon it. Creating great OOH teaches
you to let things go. Knowing what’s important is
the key to creative success and, without a doubt
the best training ground for achieving that success
is OOH.
25

AUS
David Jones
One name: Endless possibilities
David Jones, one of Australia’s largest and most
prestigious department stores, used digital
billboards to promote the launch of its Spring/
Summer 2016 season. The illumination of the
screen enhanced the creative, producing a
dramatic and impactful image.
PRODUCT
Clothing and Accessories
MEDIA
Digital Billboard
AGENCY
Whybin\TBWA Sydney
COUNTRY
Australia
YEAR
2016
26

AUS
Ford
Connect to the music you love
Ford used one of Sydney’s busiest train stations
to promote its SYNC voice activation car feature,
using floor to ceiling decals and large format
digital screens.
PRODUCT
Automotive
MEDIA
Digital Billboard, Transit
AGENCY
GTB Australia
COUNTRY
Australia
YEAR
2016
29

AUS
The ICONIC
The ICONIC SPORT
The ICONIC, an Australian online fashion
and sportswear retailer, dominated one of
Sydney’s busiest train station’s stairways with
motivational messages and a branded running
track encouraging commuters to race to the top,
increasing brand awareness of the variety of
brands the online store offers.
PRODUCT
Clothing and Accessories
MEDIA
Transit
AGENCY
The ICONIC in-house
COUNTRY
Australia
YEAR
2016
30

NZ
New Zealand Aids Foundation
Love your condom: Gear up series
To encourage condom use, while avoiding
the usual messages about the health risks
of unprotected sex, the New Zealand Aids
Foundation promoted the notion that condom
use is actually a fun and acceptable thing
for gay men with this humorous and playful
Out-of-Home campaign.
PRODUCT
Public Interest
MEDIA
Billboard, Street Furniture
AGENCY
BCG2
COUNTRY
New Zealand
YEAR
2015

AUS
Clean Up Australia Limited
Clean up Australia day
Clean Up Australia Limited is a not-for-profit
Australian environmental conservation
organisation whose campaigns have traditionally
focused on the negative impact of garbage on the
environment. To inspire people to get involved
on Clean up Australia day, a simple, striking
Out-of-Home campaign was used to showcase
what happens after the clean-up, when nature
again manages to get a foothold where the
garbage once was.
PRODUCT
Public Interest
MEDIA
Street Furniture
AGENCY
Cummins&Partners Sydney
COUNTRY
Australia
YEAR
2016
32

AUS
Philips
#Huetown
Philips transformed a Sydney bus shelter into
an interactive light and music showcase, designed
to engage commuters and promote Philips Hue,
a connected home lighting and entertainment
system. Philips donated the products used in the
activation to local community groups after the
campaign.
PRODUCT
House and Garden
MEDIA
Street Furniture
AGENCY
Iris Sydney
COUNTRY
Australia
YEAR
2015
33

AUS
Bonds
The boys
One of the most awarded campaigns in Australia
in 2016, The boys used laconic Australian humour
to encourage Australian men to choose Bonds’
range of comfortable men’s underwear. A variety
of media, including digital and non-digital Outof-Home
were used, the most innovative being a
24-metre-high digital billboard which streamed
a live weather feed to which ‘the boys’ responded,
as boys do – if it was cold the boys went up, if it
was warm they went down, and if it was windy
they swung from side to side.
PRODUCT
Clothing and Accessories
MEDIA
Billboard, Digital Billboard
AGENCY
Clemenger BBDO
Melbourne
COUNTRY
Australia
YEAR
2016
35

AUS
Qantas
Welcome home
Qantas, Australia’s domestic and international
carrier, is known for its patriotic campaigns, with
the Welcome home campaign being one of the most
loved and talked about campaigns of 2015. It was
designed to pull at the heartstrings of travellers
and their families reuniting at the airport. The
large format billboards, strategically placed on
the way to major airports, complemented the
TV campaign and linked a strong emotion to
the brand.
PRODUCT
Travel and Tourism
MEDIA
Billboard
AGENCY
Lawrence Creative
Strategy
COUNTRY
Australia
YEAR
2015
36

AUS
Sunglass Hut
Shades of you
Sunglass Hut dominated several Out-of-Home
formats in a multi-city takeover to promote its
latest range of eyewear. The vibrant creative
evoked a sense of cool during the long, hot and
sunny Australian summer.
PRODUCT
Clothing and Accessories
MEDIA
Transit
AGENCY
Bashful
COUNTRY
Australia
YEAR
2016
39

AUS
Peters Ice Cream
Proud & Punch
To accentuate the freshness of the latest range
from Peters Ice Cream, this campaign used a
vertical garden integrated into the bus shelter
panels to create a bold and colourful display.
PRODUCT
Confectionery and Snacks
MEDIA
Street Furniture
AGENCY
Leo Burnett Melbourne
COUNTRY
Australia
YEAR
2016
41

AUS
University of Technology Sydney
Science superlab
To increase enrolments in its 2017 science
programs, one of Sydney’s largest and most
diverse educational institutions, the University
of Technology Sydney (UTS), took its state-ofthe-art
science laboratory outside. Wrapping a
bus with an image of the lab, the creative was
designed to pique the interest of students.
PRODUCT
Education
MEDIA
Transit
AGENCY
UTS in-house
COUNTRY
Australia
YEAR
2016
42

AUS
Walking Wounded
Walking Wounded
The Walking Wounded campaign featured real
stories of Australian soldiers who took their own
lives. Armed with powerful, statistical truths, the
Out-of-Home campaign doubled brand awareness
of Walking Wounded and raised valuable
funds to enable the organisation to support the
psychological recovery of returning Australian
soldiers. The campaign also sparked a national
conversation in press and social media resulting in
Post-Traumatic Stress Disorder, among Australia’s
armed forces, becoming a key campaign initiative
in the federal election.
PRODUCT
Public Interest
MEDIA
Billboard, Digital Billboard,
Shopping Centre
AGENCY
BCM
COUNTRY
Australia
YEAR
2016
43

THE EVOLUTION OF OUTDOOR
Jane Burhop
Creative Director, Common Ventures
“Out-of-Home is no longer limited to those who pass
by; if it makes a good impression, the campaign is
picked up by the masses and quickly finds its way into
the news and popular culture.”
Growing up in rural Australia, my first
exposure to Out-of-Home (OOH) advertising
was the ‘55 kms to Macca’s’ billboard that stood
crookedly on the side of the highway near my
house. But instead of leading me to a Big Mac
and fries, this sign subconsciously kick-started
my career in advertising.
Over the course of the past decade, as
advancing technology has overtaken our
competency and started ruling our lives, the
advertising industry has adapted and morphed
into a faster, shinier, better version of itself.
Advertising elements can no longer afford
to stand alone as just smart or loud messages.
The best campaigns these days are made up
of several components that work cohesively and
contribute to a broader conversation. The most
effective campaigns creep into your life and turn
you into a brand advocate/lover/stage-5-clinger.
More and more brands are using a mix of
channels to create cultural impact and shift
behaviours. The stand-out work of the past couple
of years tends to fall into one of two categories:
emotion or function. The decision to opt for
storytelling over functionality, or vice versa, is
dividing lovemarks and defining companies that
storm in and disrupt the industry.
Thought-provoking OOH campaigns can
make you feel strongly about certain issues, while
Virtual Reality (VR) and Artificial Intelligence
(AI) OOH campaigns now offer a functional or
entertaining experience through interaction
with the physical site or space. As OOH continues
to develop into highly interactive experiences,
creatives need to acknowledge that OOH is a
media channel that can, and should, be pushed to
its limits.
Marathons have been hijacked by activists
calling for attention on more pressing developing
world water issues. Street posters have been built
into chairs. Telephone dead zones have become
pop-up diners designed to encourage the dying
art of face-to-face conversation. We need to stop
thinking of OOH as a stand-alone billboard or a
bus shelter poster and start thinking of how it can
interact with and engage its audiences.
History Channel’s Unforgotten soldiers
brought a black and white World War I
photograph to life on one of Auckland’s busiest
streets by recreating a real-life trench. Complete
with surround sound effects and soldiers in
uniforms, the eight-hour performance echoed a
typical day in the trenches. The campaign, which
used traditional media channels, was screened
on the History Channel and shared socially, using
the hashtag #UnforgottenSoldiers.
The digital billboard for Lexus’ This is the
New Lexus campaign (p. 52) used cameras and an
image-recognition database to identify the brand,
model and colour of passing competitor vehicles
to deliver personal messages to their drivers,
such as, “Hey white Evoque , it’s time to cross
over. This is the New Lexus NX.” The format also
tailored these messages based on other variables
such as time of day, weather, or traffic conditions
to generate messages such as, “Hey blue Merc, the
heavens have opened. This is the new Lexus NX.”
These campaigns demonstrate how OOH
continues to push the boundaries and capabilities
of placement, connectivity and expectations.
The once static, looming billboard is now being
snapped, shared and tweeted across the globe.
OOH is no longer limited to those who pass by; if it
makes a good impression, the campaign is picked
up by the masses and quickly finds its way into the
news and popular culture.
As the wallpaper of our streets and social
feeds, you don’t need much imagination to peek
into the future and see what’s ahead for OOH.
From real-time data pulls, hypertargeting
and reactive messaging, further technological
integration will make way for much more
sophisticated, useful and meaningful interactions.
Billboards will do more than recognise
the colour and brand of the car you’re driving;
they’ll use facial recognition systems to greet you
by name. Light projections will offer platform
information and accurate transit updates so you
don’t miss your train. You’ll be able to explore
VR stores from the comfort of your living room,
thereby mitigating the need for bricks and mortar
outlets. AI integration will act as your qualified
doctor and deliver the most effective prescribed
products – with payment. All this will not only
change the use and purpose of OOH, but it will
challenge and evolve the way brands operate and
interact with society.
Functional, adaptable and future proof,
OOH is constantly adapting to its environment
and advancing with technology faster than you
can say, ‘Find out more at www …’ It’s stopped
screaming out sale prices and will soon be
smart enough to help you sell your second-hand
furniture. Who knows, in the not-too-distant
future you might even befriend the next billboard
you meet.
45

AUS
Melanoma Institute of Australia
Stop the spread of melanoma
To raise awareness of, and donations for,
melanoma research, treatment and education,
a custom-built digital Out-of-Home panel was
created to display a visual representation of a
slowly growing melanoma. When a donation was
made using Tap and Go technology, the tumour
shrank. When multiple people made a donation,
the melanoma died away until it was barely there.
PRODUCT
Public Interest
MEDIA
Digital Street Furniture
AGENCY
Disciple
COUNTRY
Australia
YEAR
2015
46

HKG
Fortune Pharmacal
What the ‘cough’?
Based on the insight that most people are unaware
of the different types of coughs they can suffer
from, this campaign sought to highlight the
distinction between wet, dry and tickly coughs
by promoting, in an entertaining way, Fortune’s
range of cough remedies: Excaugh, Decaugh and
Decaugh II.
PRODUCT
Pharmaceuticals
MEDIA
Transit
AGENCY
Kymechow
COUNTRY
Hong Kong
YEAR
2015/16
47

AUS
ANZ
#EqualFuture
This campaign targeted the corporate traveller
to increase awareness of pay inequality in the
workplace. Digital billboards in airports around
Australia were used to highlight ANZ’s stance on
the issue – a campaign strategy that would not
normally be associated with one of Australia’s
biggest banks.
PRODUCT
Financial Services
MEDIA
Digital Transit
AGENCY
Dave Clark Design
COUNTRY
Australia
YEAR
2016
49

AUS
Mars
Work. Rest. Play.
Mars used digital and non-digital billboards
to entice consumers. The bold creative made
it appear as though the Mars Bar was leaping
out. Located adjacent to the famous Melbourne
Cricket Ground, at the start of the Australian
Football League season, it was the perfect
placement to capture the attention of avid sports
fans, who may be looking for a quick snack.
PRODUCT
Confectionery and Snacks
MEDIA
Billboard, Digital Billboard
AGENCY
Clemenger BBDO
Melbourne
COUNTRY
Australia
YEAR
2016

AUS
mda
#CreateWelcome
As it is around the globe, the plight of refugees
has been a highly debated issue in Australia, and
has at times divided the nation. #CreateWelcome
was a social movement that used digital billboards
to share people’s messages of welcome for refugees
and people seeking asylum, with those messages
also shared on Instagram.
PRODUCT
Public Interest
MEDIA
Digital Billboard
AGENCY
goa in-house
COUNTRY
Australia
YEAR
2016
51

AUS
Lexus
This is the new Lexus
Lexus used a digital billboard embedded with
technology that identified the brand, model and
colour of passing competitor vehicles, triggering
a personal and playful message to drivers such
as “Hey white Evoque, it’s never too late to cross
over. This is the New Lexus NX.” The technology
also tailored tactical messages based on other
variables such as time of day, weather and traffic
conditions, to generate messages such as “Hey
black Merc, the heavens have opened. This is the
new Lexus NX.”
PRODUCT
Automotive
MEDIA
Digital Billboard
AGENCY
M&C Saatchi
COUNTRY
Australia
YEAR
2015
52

AUS
Prostate Cancer Foundation of Australia
Big Aussie barbie
Harnessing the irresistible smell of sizzling
sausages and onions – an Australian BBQ staple
– this unique Out-of-Home campaign was an
Australian-media first, rewarding passers-by
who donated to Prostate Cancer Foundation of
Australia, via the Tap and Go payment system,
with the scent of fried onions and sausages,
complete with sizzling sounds and glowing
hot embers.
PRODUCT
Charity
MEDIA
Street Furniture
AGENCY
JCDecaux Australia
in-house
COUNTRY
Australia
YEAR
2016
53

NZ
Wither Hills
Made beautifully
Wither Hills winery – located in one of
New Zealand’s most famous and stunning wine
producing regions, Marlborough – promoted both
its ability to produce a variety of fine wines as
well as the beauty of its bucolic surrounds. Digital
billboards featured iconic images of Marlborough
alongside wines from the Wither Hills range
that changed according to the time of day – from
sauvignon blanc in the day, rosé in the evening to
pinot noir at night.
PRODUCT
Alcoholic Beverages
MEDIA
Digital Billboards
AGENCY
DDB New Zealand
COUNTRY
New Zealand
YEAR
2016
54

AUS
JCDecaux Australia
Day in the life of a Sydneysider
To showcase the potential of its new digital
screen network, JCDecaux Australia launched
a campaign that told the story of a day in the life
of a typical Sydneysider. Passers-by were able to
share his journey in real time – shaving, riding
his bike to work, going on a date and sleeping
– through the use of more than 5,700 images,
changing every 10 seconds.
PRODUCT
Media Company
MEDIA
Digital Street Furniture
AGENCY
Alphabet Studio
COUNTRY
Australia
YEAR
2016
55

AUS
Streets
Cooler snack
This clever, tongue-in-cheek campaign was
located in high pedestrian areas to promote the
range of Streets ice creams over the summer
months. Its humour combined with clean and
bright creative made it particularly eye-catching
and memorable.
PRODUCT
Confectionery and Snacks
MEDIA
Billboard, Digital Billboard,
Street Furniture
AGENCY
DDB Worldwide
COUNTRY
Australia
YEAR
2016
57

Canada & USA

Canada & USA
UNIVERSAL MUSIC CANADA
Canada
HEINEKEN
Canada
SONIC DRIVE-IN
United States of America
MCDONALD’S
United States of America
GOOGLE
United States of America
DENVER WATER
United States of America
SEATTLE AQUARIUM
United States of America
COCA-COLA
United States of America
60

SPOTIFY
United States of America
KUHN & KUHN
United States of America
LABATT BREWERIES OF CANADA
Canada
ART EVERYWHERE US
United States of America
SNAPCHAT
United States of America
APPLE TV
United States of America
MERCEDES-BENZ
Canada
YELLOW PAGES
Canada
LOTO-QUEBEC
Canada
61

Canada & USA
TORONTO ZOO
Canada
FACEBOOK
United States of America
BC HYDRO
Canada
SONY PICTURES
United States of America
RENO-DEPOT
Canada
MAZDA
Canada
BUCKLEY’S
Canada
KRAKEN RUM CO.
United States of America
62

HONDA
Canada
MARK’S
Canada
INTERAC ASSOCIATION
Canada
CANADIAN MUSEUM OF NATURE
Canada
HEINZ HISTORY CENTER
United States of America
OUTDOOR ADVERTISING
ASSOCIATION OF AMERICA
United States of America
TOURISM NOVA SCOTIA
Canada
BOY SCOUTS OF AMERICA
COASTAL CAROLINA COUNCIL
United States of America
63

Introduction

ATTENTION SEEKING OUT-OF-HOME
“In many ways, Out-of-Home has become the TV
of the digital age. It’s a powerful way to guarantee
numerous eyeballs see your brand on a mass scale.”
Zak Mroueh
Chief Creative Officer and Founder, Zulu Alpha Kilo
It’s not easy to get my attention. So for years,
my wife has suspected I must have Attention
Deficit Disorder. My guess is most creatives do.
But what’s more difficult than getting a
creative person to focus? Trying to get a consumer
to give you their full attention. With today’s
media onslaught, all consumers suffer from an
affliction I call Advertising Deficit Disorder (or
‘Ad’ for short). ‘Ad’ is not something to take lightly,
especially if you’re a client spending millions of
dollars on advertising.
Whether through traditional media or the
latest digital platform, most advertising simply
fails to gain consumers’ collective attention.
Out-of-Home (OOH) is the ultimate quick fix
for this problem. It has to work in an instant and
requires minimal brainpower on the audience’s
part.
When I was a copywriter, I always found
OOH offered instant creative gratification. Even
as just a scribble on a notepad, you knew whether
it was good or not. With TV or video, factors like
casting, direction or budget can affect the final
outcome. With OOH, you can imagine it produced
as soon as you come up with the idea.
As a creative director I love reviewing OOH
campaigns. Although it may seem counterintuitive,
I insist our teams don’t explain the
concept to me or set it up. I figure, since the
consumer doesn’t get an explanation, why should
the creative director? As a result, creative reviews
happen quicker than any other medium – which
pleases my assistant no end.
As much as I enjoy the medium, my biggest
pet peeve with OOH is poorly crafted typography
that can’t be read from a distance. Years ago, I saw
an execution that impressed me with its clarity
and readability. Every day, I would drive past this
billboard and notice its seemingly perfect font
size. One day, I decided to calculate its character
count. The magic number? 22. Ever since, I’ve
imposed this simple formula in our studio. For
a standard 10 x 20 ft. billboard, if you count a
maximum of 22 characters across from left to
right, including spaces, it will always be readable.
All the better if even shrtr headlines and BIGGER
type are used.
If mathematics isn’t your strong suit, there’s
another technique that never fails: whatever the
art director designs, make it 25% bigger. Seriously.
Works every time.
Despite being one of the oldest forms of
media, it’s shocking so few practitioners can
execute OOH effectively. It’s too often a creative
afterthought. The basics of the craft seem to
have been lost as more young creatives gravitate
towards digital media. This may explain why
today we don’t see enough brilliant executions
in our cities.
There are other factors we inherently know,
but conveniently ignore, that can also ruin a great
OOH execution. Like art directors who design
billboards as if they were print ads, complex
visuals that don’t register from 300 feet away, and
creative briefs with a long list of mandatories that
are all expected to appear on one billboard.
However, these barriers to great work create
an incredible opportunity for marketers. When
crafted flawlessly, OOH can be a potent marketing
tool and a brand can rise above a sea of billboard
mediocrity. Brands and agencies that become
masters of the medium and its basic rules can
enjoy an incredible return on investment.
With so much media fragmentation today,
how often have we all worked on substantial
media campaigns that we never see because
we’re not the ‘target’? But with OOH, everybody
is exposed to the work. Once we’ve taken off the
latest Virtual Reality headgear, put down our
video game controllers and iPads, eventually all
of us have to go outside for some fresh air. Or to
buy groceries. Or walk the dog.
This means the original mass medium has,
once again, become one of the best ways to reach
pretty much everyone. At Zulu Alpha Kilo, we’ve
had many clients who built their brands using
OOH versus other traditional media channels to
gain mass reach. And long after the campaign has
run, consumers surveyed in post research often
swear they saw the brand on TV – even when we
didn’t run any commercials.
In many ways, OOH has become the TV of
the digital age. It’s a powerful way to guarantee
numerous eyeballs see your brand on a mass scale.
As a creative person, there’s no greater joy
than passing a brilliant, larger-than-life OOH idea
in the real world. Seeing great work in a book such
as this just can’t match the breathtaking impact
of experiencing brilliant OOH advertising in the
flesh. We just need to see more of it out there.
After all, a brilliant idea can leave an
indelible, impossible-to-ignore mark on our
collective consciousness – even among those
of us with low attention spans. Which these days
is pretty much everyone.
65

CAN
Universal Music Canada
VIEWS
Universal Music Canada and its agency, October’s
Very Own, used Out-of-Home to promote the
release of Drake’s new album, VIEWS, while also
showing the love Drake has for his home town
Toronto, which he has dubbed “The 6ix”.
A simple, eye-catching black and white graphic
was used with Drake himself posting Instagram
shots of the campaign as soon as it went live.
In seven days the campaign created over
127.2 million earned media impressions.
PRODUCT
Entertainment
MEDIA
Billboard, Shopping
Centre, Transit
AGENCY
October’s Very Own
COUNTRY
Canada
YEAR
2016
66

USA
Google
Androidify
Google leveraged New York’s instantly
recognisable epicentre of entertainment, Times
Square, to launch the new Androidify app. The
public was invited to create characters via the
website or app and then – standing on a purposebuilt
platform fitted with motion sensors – play
them against each other on the biggest digital
screen in the USA.
PRODUCT
Information Technology
MEDIA
Digital Billboard
AGENCY
Google Creative Lab
COUNTRY
United States of America
YEAR
2014
68

CAN
Heineken
Imagine
High-impact Out-of-Home locations were used
in conjunction with eye-catching creative to drive
awareness and affinity for the Heineken brand.
PRODUCT
Alcoholic Beverages
MEDIA
Billboard, Street Furniture,
Transit
AGENCY
Sandbox
COUNTRY
Canada
YEAR
2015
71

USA
Denver Water
You can’t make this stuff
Despite the city’s unusually wet year, Denver
Water wanted to remind citizens it won’t always
rain, so water conservation should remain top
of mind. To do so, the campaign used items that
could be used to make ‘stuff’, such as Lego, clay,
string and pencils, to produce Out-of-Home ads
promoting water consumption awareness.
PRODUCT
Professional Services
MEDIA
Street Furniture
AGENCY
Sukle Advertising & Design
COUNTRY
United States of America
YEAR
2015
72

USA
Sonic Drive-In
Big slushes
Fast food chain, Sonic, turned billboards
into giant slushes complete with custom-built
3D straws.
PRODUCT
Food
MEDIA
Billboard
AGENCY
Adams Outdoor
Advertising in-house
COUNTRY
United States of America
YEAR
2014
74

USA
Seattle Aquarium
Amazing facts
The Seattle Aquarium used Out-of-Home to
target families with five to 14 year-old children
through messages that combined eye-catching
creative with fun facts about marine life.
PRODUCT
Recreation and Leisure
MEDIA
Billboard, Transit
AGENCY
Copacino+Fujikado
COUNTRY
United States of America
YEAR
2014
75

USA
McDonald’s
Before/after
McDonald’s took advantage of this unique
location – two billboards that flank both sides
of a highway – and featured the iconic McDonald’s
French fry arched down and arched up. The
juxtaposed creative of a ‘sad face’ and ‘happy face’
encouraged travellers to find some ‘before and
after’ happiness.

PRODUCT
Food
MEDIA
Billboard
AGENCY
Tombras
COUNTRY
United States of America
YEAR
2015

Introduction

THE EXCITEMENT OF CREATIVE
Gerry Graf
Founder and Chief Creative Officer, Barton F. Graf 9000
“The internet has swallowed everything. It swallowed
TV, it swallowed print, it swallowed newspapers,
music and books. But it didn’t and it won’t ever
swallow Out-of-Home.”
Last year I spent some time down in Florida
speaking at the annual USA Out-of-Home (OOH)
media conference and judging the OBIE
Awards. The speaking part was fun. The
judging is always hard. You have to sift through
all the bad work, and worse, all the mediocre
work. The bad at least gets the blood flowing.
You notice the bad. The mediocre is mindnumbing
– a slow punch to the face that makes
you want to quit advertising. But then you get
to the great.
I really hate it when other people do great
work. When I see great ideas I get really mad
and really jealous. It makes me feel like a failure.
Thankfully, low self-esteem has always been a
great motivator for me.
After my ego has been completely destroyed,
the good part starts. I get to talk about the work
with talented creative people. We just sit around
at lunch and discuss what we liked and why we
liked it. I love those times; it’s like going to school
with very talented teachers. And I see things
I didn’t even know were possible in advertising.
My creative mind expands and I feel like a kid in
a brand new playground with new toys and rides.
I saw work that combined an OOH digital
screen, motion sensors, and some really crafty use
of data, and I started laughing. It dawned on me
that OOH is the oldest form of marketing. I think
it was Jeff Goodby – Co-Chairman and Partner
of Goodby Silverstein & Partners – who said that
cave paintings were the first OOH ads. ‘We Got
The Best Mammoth Just 5 Miles Ahead. Exit 5’
to translate the Lascaux Caves into modern-day
language. This literal Neanderthal of a medium
is now where many of the digital, mobile and
technological breakthroughs are coming from.
And it’s just the beginning. Pokémon GO was
out for just a week before I started getting client
requests to begin concepting Augmented Reality
experiences out in the real world.
The internet has swallowed everything.
It swallowed TV, it swallowed print, it swallowed
newspapers, music and books. But it didn’t and
it won’t ever swallow OOH. I guess it’s hard
to swallow the Earth. Unless you’re Galactus.
But only Galactus is Galactus. You simply can’t
replicate, on a small screen, the grandeur and
real-life experience you get from great OOH
advertising.
OOH has always been a showcase for brilliant
creative ideas. The best ideas are simple. And
OOH forces you to think simply. When someone
is walking down the street or driving by at 60 mph
you need something that will grab their attention
in a second. Now that OOH is connected, the
creative possibilities are endless. And its impact
is even more massive.
Don’t get me wrong; there are still painfully
mediocre OOH ads. But when creative minds
work together with creative media people and
creative technologists, using all the new and old
tools to breakthrough, OOH does stuff you can’t
do anywhere else. It lets you be contextual and
interact with your location. It can be visually
stunning and epic. The availability of real-time
data has made for some incredible pieces. I saw
some work from Canon that instructed amateur
photographers (that would be all of us) on the
best way to take photographs based on current
weather conditions and time of day. Everything
is integrated now. Everything is multiplatform.
OOH has embraced this. It’s a creative person’s
playground.
But let’s not forget the good old-fashioned
poster takeovers. My old boss, Lee Clow, would
love to talk about ‘owning a city’. He would always
launch a new campaign with OOH. He’d buy
up all the key OOH locations and have the whole
town talking about his campaign. Apple continued
that tradition this year with the fantastic Apple
TV (p. 86–87) and iPhone 6 work (p. 10–19).
I actually saw someone taking a picture with their
iPhone of an iPhone ad that was about pictures of
things people shot with their iPhones. Brilliant!
All major marketers now understand
that creativity and breakthrough are the most
important parts of a marketing plan. Five years
ago I decided to start an agency because I noticed
a trend. I was working at a big global network at
the time and saw huge marketers like Procter
& Gamble and General Mills pushing for more
‘creative’ work. This was not always the case.
Traditionally, these two powerhouses were
about as conservative as they come. But they
were now giving assignments to agencies with
great creative reputations. Old Spice was moved
to Wieden and we all know what happened with
that. Conservative brands had finally figured
out that no one had to look at their advertising
anymore. There were a million ways to skip their
commercials, ignore their free standing inserts
and block their banners. They realised that you
had to create advertising that people wanted
to watch, click and share. ‘Creativity’ – the
ability to make people actively want to engage
with advertising – was now more valuable than
anything else an advertising agency could offer.
The desire for creative work and the creative
opportunities OOH now offers excites me. I can’t
wait to be even more mad, jealous and depressed
at this year’s show.
79

USA
Coca-Cola
Share a Coke
Coca-Cola’s Share a Coke campaign streamlined
user-generated content, farmed from social
media, to create personalised messages using
digital Out-of-Home formats. The campaign
allowed people to write their name, using a
touchscreen, which was then displayed onto
a giant Coca-Cola bottle.
PRODUCT
Beverages
MEDIA
Digital Billboard, Digital
Street Furniture
AGENCY
Ogilvy
COUNTRY
United States of America
YEAR
2015
80

USA
Spotify
Thanks 2016, it’s been weird
Spotify kicked off its largest ever global campaign
with a major, data-driven Out-of-Home (OOH)
push. Rolled out across 14 global markets, the
OOH ads featured quirky, amusing, hyperlocalised
facts and figures sourced from Spotify
user data.
PRODUCT
Entertainment
MEDIA
Digital Billboard
AGENCY
Spotify in-house
COUNTRY
United States of America
YEAR
2016

USA
Snapchat
Ghostface Chillah
Snapchat used its iconic yellow branding and
simple, bold visuals in an Out-of-Home campaign
aimed at garnering the attention of passers-by,
especially those who may not use Snapchat but
are curious about the platform’s rising popularity.
The striking campaign took over iconic, hightraffic
locations in New York, Los Angeles,
San Francisco and Seattle.
PRODUCT
Information Technology
MEDIA
Billboard, Digital Billboard,
Street Furniture
AGENCY
Snapchat in-house
COUNTRY
United States of America
YEAR
2015
83

CAN
Loto-Québec
#YouShouldPlay649
Loto-Québec wanted to remind people that
luck is a part of everyday life by using a digital
billboard to promote their 6/49 lotto draw, only
broadcasting its message at times of the day that
included lucky numbers eg. 11:11 am.
PRODUCT
Gambling
MEDIA
Digital Billboard
AGENCY
Sid Lee
COUNTRY
Canada
YEAR
2015/16
84

USA
Kuhn & Kuhn
OOPS
A bit of light heartedness and fun was brought
to an often tense situation by showcasing how we
can all make mistakes in life in this campaign for
divorce attorneys, Kuhn & Kuhn.
PRODUCT
Professional Services
MEDIA
Billboard
AGENCY
Adams Outdoor Advertising
in-house
COUNTRY
United States of America
YEAR
2014
85

USA
Apple TV
Color bars
Apple TV used billboards in an eye-catching play
on the famous SMPTE colour bar pattern used to
calibrate TV since the 1970s.
PRODUCT
Information Technology
MEDIA
Billboard
AGENCY
TBWA\Media Arts Lab
COUNTRY
United States of America
YEAR
2015
87

CAN
Labatt Breweries of Canada
Corona summer
Playful, contextually relevant messages were
featured on various Out-of-Home formats in
order to build an engaging narrative that would
establish Corona as an essential part of summer,
wherever and whenever Canadians were most
in need of an escape.
PRODUCT
Alcoholic Beverages
MEDIA
Billboard, Digital Billboard,
Transit
AGENCY
Zulu Alpha Kilo
COUNTRY
Canada
YEAR
2015/16
88

89

CAN
Mercedes-Benz
E-Class launch
The 2017 E-Class is Mercedes-Benz’s most
intelligent and technologically advanced car yet.
To announce its arrival, Mercedes-Benz took over
the largest and busiest Out-of-Home environment
where technology prevails – Canada’s Toronto
Pearson International Airport.
PRODUCT
Automotive
MEDIA
Billboard, Digital Billboard,
Airport
AGENCY
BBDO Toronto
COUNTRY
Canada
YEAR
2016
90

Introduction

BEYOND THE TRADITIONAL
“There’s never been a better time than right now to
be creative, to be a game-changer, and to reinvent
the [Out-of-Home] industry.”
Philippe Meunier
Chief Creative Officer, Senior Partner and Co-Founder, Sid Lee
It’s no secret marketers are desperately trying
to reach the largest and most digitally savvy
consumer generation in history. As of 2017,
Millennials are expected to spend more than
US$200 billion annually, and the generation
after, Gen Z, is not far behind. However, just
because they’re always connected does not
mean they’re always paying attention. They
live in a world with information and content
continuously flying at them from all directions,
and, in order to cut through the clutter,
marketers need to get rid of the noise and
move towards new and innovative forms of
communication.
So what does that mean for more
conventional types of marketing – specifically
Out-of-Home (OOH) marketing – which has
traditionally been a one-way dialogue type of
communication? Well, the brutal truth is, unless
OOH transforms to reflect the growing need
for Millennials and Gen Zers to connect, it is
in serious danger of becoming extinct. These
generations belong to the ‘experience economy’.
They want marketing that ignites conversation
and engages in a meaningful dialogue. If you’re
not creating an experience there’s a big chance
you’ll get wiped out. The only way brands will
survive is if they are prepared to adapt. However,
this shift isn’t something to be afraid of, it should
be seen as a creative opportunity. Right now is
the perfect time to adjust current ways of doing
things and realign objectives to meet this evolving
reality.
At Sid Lee, one of our core beliefs is
‘Transformation or Extinction’. You need
to provoke new ways of thinking and doing to
navigate creative solutions through constantly
changing competitive environments. As the next
generation becomes the primary powerhouse
of consumers, the only way anyone will survive
in marketing is if they’re willing to drastically
change their business model. Transition is the
key. It’s about recognising the consumer as the
medium and moving from exposure to experience.
And it has to be in conversation.
When you embrace the fact that a billboard
is no longer just about exposure but about
connecting on a deeper level, you can really
start to get creative. We’re seeing more and
more OOH canvasses for rent: bus benches, bus
shelters, highway billboards and trash cans. You
can use geo-location, live-feed cams and push
notifications. You can send alerts for nearby
relevant businesses or adapt content depending
on the weather.
However, context is everything. The
consumer mind is in a constant state of flux and
it’s crucial that OOH is adaptable and flexible in
its messaging and dialogue. Let’s say, when you’re
in your personal headspace waiting for the bus
in the morning, you’re not thinking the same way
you would if you were heading to a trendy area
of town on a Saturday afternoon – when you’re
thinking about shopping, exploring, or dining.
It’s all about connectivity. In order to survive,
traditional brands need to evolve in a way that
uses digital communication in the right context.
For example, one particularly chilly winter,
Mark’s, one of Canada’s leading apparel and
footwear retailers, sought to entice consumers to
leave the comfort of their warm homes and head
to its stores. They looked to Sid Lee and media
partner Touché! PHD, to devise a fully integrated,
weather-triggered campaign. Thus, The colder
it gets (p. 112) was born – a fully integrated
solution that used real-time local weather feeds
to automatically activate media actions in OOH,
digital, Facebook, mobile and web executions
across the country. The concept was simple –
the lower the temperature dropped, the higher
the discount of Mark’s products – resulting in
communication that spanned multi-platform
media in a context that was relevant to all targets.
In another case, hardware superstore
Réno-Dépôt created Sky swatches (p. 98–99).
This ground-breaking billboard’s real-time
orchestration was a pivotal shift in OOH
technology, while at the same time being a
celebration of a truly unconventional canvas.
To showcase its range of paint products
Réno-Dépôt chose the sky as the medium.
New technology was then developed by Sid Lee
Studio that could precisely match the changing
hues of the horizon with signature shades from
Réno-Dépôt’s paint catalogue, showcasing the
range of options and an ever-changing colour
palette. Not only did this open a dialogue with the
brand, but the wow factor had people from around
the world talking.
The next step in catering to this growing
demand for connection is thinking beyond the
traditional advertising team and gathering a
multidisciplinary crew of planners, strategists,
data-creative techs and architects. Of course,
art directors and copywriters will always be
necessary, but you need different creative minds
to come together as a collective to envision an
OOH result that will be interesting, captivating
and immersive.
It’s a really exciting time to be in marketing
as there is huge opportunity for brands. The reality
is, when you’re not threatened, you’re not evolving.
When there’s a threat of extinction, it’s a creative
opportunity. It’s exhilarating. There’s never been
a better time than right now to be creative, to be
a game-changer, and to reinvent the industry.
93

USA
Various institutions
Art Everywhere US
Art Everywhere US aimed to boost national
pride and spotlight the nation’s diversity, while
acknowledging America’s many great artists
and celebrating the history of American art.
In the lead-up to the campaign, the five
partnering museums submitted 100 artworks,
which were posted online. The top 50 pieces,
as voted for by the American public, featured
on Out-of-Home sites across the country.
ADVERTISERS
Art Institute of Chicago,
Dallas Museum of Art, Los
Angeles County Museum of
Art, National Gallery of Art
and The Whitney
PRODUCT
Public Interest
MEDIA
Billboard, Digital Billboard,
Transit, Street Furniture
AGENCY
101 London and Extra
Credit Projects
COUNTRY
United States of America
YEAR
2014
94

95

CAN
Yellow Pages
Local market attack
Despite transforming itself from a print directory
to an online and mobile resource, Yellow Pages
is still seen as a dusty old phone book. To help
combat this perception and promote itself to a
new generation of consumers, the Local market
attack campaign was created to demonstrate
Yellow Pages’ local neighbourhood expertise
in the Toronto, Vancouver, Montreal and Calgary
markets, with Out-of-Home formats used to
showcase facts about local businesses.
PRODUCT
Professional Services
MEDIA
Billboard, Street Furniture,
Transit
AGENCY
Leo Burnett
COUNTRY
Canada
YEAR
2015
96

CAN
Toronto Zoo
Name our cubs
Toronto Zoo partnered with the Out-of-Home
Marketing Association of Canada and its members
to develop a campaign to promote the recent birth
of Canada’s first giant panda cubs. A number
of fun and engaging Out-of-Home ads ran across
Canada, inviting Canadians to vote for their
favourite set of names. Residents of Québec also
had the unique opportunity to instantly vote for
names at 80 interactive transit shelters.
PRODUCT
Recreation and Leisure
MEDIA
Digital Billboard, Digital
Street Furniture, Digital
Shopping Centre, Digital
Transit, Transit
AGENCY
Toronto Zoo in-house
COUNTRY
Canada
YEAR
2016
97

CAN
Réno-Dépôt
Sky swatches
In order to demonstrate Réno-Dépôt’s expertise,
especially in relation to paint products, a brand
new technology for digital Out-of-Home was
developed that allowed a billboard to identify
the precise colour of the sky, in real time, and
compare it to a large database of more than 1,000
varieties of paint colours available at Réno-Dépôt.

PRODUCT
House and Garden
MEDIA
Digital Billboard
AGENCY
Sid Lee
COUNTRY
Canada
YEAR
2014

USA
Facebook
Facebook Messenger
The Facebook Messenger campaign used lineof-sight
Out-of-Home placements targeted to
commuters who are likely to be bored, or waiting,
and who want to reach out to friends.
PRODUCT
Information Technology
MEDIA
Billboard, Transit
AGENCY
Wieden+Kennedy
COUNTRY
United States of America
YEAR
2014
100

CAN
Mazda
CX-3 launch
For the launch of its new CX-3, Mazda wanted to
hit the Québec market with impact. The objective
was clear: to be noticed by as many people as
possible within a short period of time. To reach
a high concentration of Québecers, Montreal
Place-des-Arts became the obvious location
to target festival-goers as well as local public
transportation users.
PRODUCT
Automotive
MEDIA
Transit
AGENCY
J. Walter Thompson
COUNTRY
Canada
YEAR
2016

CAN
BC Hydro
Offtober
As part of BC Hydro’s month-long power
conservation campaign Offtober, simple, everyday
power-saving advice was promoted on bus
shelters through clever special builds, helping
British Columbians save power and money.
PRODUCT
Professional Services
MEDIA
Street Furniture
AGENCY
Taxi Vancouver
COUNTRY
Canada
YEAR
2015
102

CAN
Buckley’s
Relief you can swallow
Buckley’s used Out-of-Home to reach commuters
and drive awareness of its liquid gel capsules,
designed for those who can’t stand the taste of
Buckley’s liquid cough syrup, but believe it works
to effectively relieve cold and flu symptoms.
PRODUCT
Pharmaceuticals
MEDIA
Billboard, Street Furniture
AGENCY
Saatchi & Saatchi Canada
COUNTRY
Canada
YEAR
2014/15
103

USA
Sony Pictures
The Angry Birds Movie
Sony Pictures used Out-of-Home to bring
The Angry Birds Movie to life. In a media first,
double decker buses were embellished with
3D illuminated wraps, creating the centrepiece
for the campaign, while billboards and bus
shelters showcased the movie’s characters with
bright, eye-catching and humorous creative.
PRODUCT
Entertainment
MEDIA
Billboard, Digital Billboard,
Street Furniture, Shopping
Centre, Transit
AGENCY
Rapport and Universal
McCann
COUNTRY
United States of America
YEAR
2016
104

105

Introduction

THE IMPORTANCE OF TECHNOLOGY
Mark Tutssel
Global Chief Creative Officer, Leo Burnett Worldwide
and Creative Chairman, Publicis Communications
“So what makes a brilliant, powerful poster? Posters
are about distillation. Every great campaign can be
distilled to a poster; it is the barometer of the power
of the idea.”
Who would have thought that in today’s
technology and mobile-driven world, the oldest
form of information exchange, the poster, would
become the media channel of the future?
Out-of-Home (OOH) advertising is more
powerful than ever. It is one of the purest forms
of communication. It reaches consumers on
the path-to-purchase better than any other ad
medium, transforming business and impacting
society. As technology propels us further down
this supercharged highway, OOH will become
a creative canvas second to none.
A study by ZenithOptimedia found that
people are exposed to OOH for 107.2 minutes
each day. Meanwhile, a Microsoft Corp. study
found that a goldfish has an attention span of nine
seconds while a human’s is only eight!
What does this mean for communicators?
To deliver a message effectively, we need potent
graphic language, pure simplicity and a surprise
element, usually driven by technology, to compete
for that attention.
So what makes a brilliant, powerful poster?
Posters are about distillation. Every great
campaign can be distilled to a poster; it is the
barometer of the power of the idea.
When done right, OOH grabs people by
the eyeballs and stops them in their tracks; the
message opens inside our minds, not on the space
where it appears.
Mercedes-Benz’s Skidmarks, winner of
the Cannes Lions Grand Prix in 1997, was the
godfather of the ‘visual solution’. It was a game
changer as it was one of the very first ideas that
credited the audience’s intelligence with a visual
story they had to decode. The poster conveyed
maximum meaning with minimal elements.
OOH advertising presents infinite
possibilities to create ‘theatre of the streets’
and your goal is to earn a standing ovation.
In recent years, McDonald’s used theatre
to great effect with their award-winning work
for Sundial, Fresh salads, and Fry lights.
British Airways’ Magic of flying demonstrated
how technology beautifully brought a 2D poster
to life with full automation using real-time
data. The billboard featured a child reacting in
wonder to actual British Airways’ planes as they
flew overhead, giving audiences on the streets a
spectacle to behold.
By combining technology and simple imagery
for a strong emotional message, Ad Council’s Love
has no labels received 40 million views in just two
days after a video of the stunt was posted online.
After just three weeks it became the second most
viewed public service announcement in history.
I’ve always believed that greater participation
yields a greater effect. These next two ideas are the
best examples of rewarding people’s engagement
by celebrating their lives.
In 2013, Coca-Cola had an ambitious idea:
to unite people from nations separated by conflict
through shared experiences. Small world machines
debuted in India and Pakistan and caught on
worldwide. It set a new cultural benchmark for
the company, earning them Creative Marketer
of the Year honours at Cannes. This is the alchemy
of creativity and technology, showing where the
future lies in interactivity and the impact of
advertising on society.
For Shot on iPhone 6 (p. 10–19) Apple
consolidated the best photographs submitted
by 162 iPhone 6 users globally and transformed
them into 10,000 installations in 73 cities in
25 countries. It comes full circle to a paper poster
but fuelled by participation that’s genuine,
effective and memorable. Through the lens of the
people, Apple celebrated its participation in the
brand and the quality of the product.
The 2016 Cannes Lions Outdoor Grand Prix
solved a brand’s business problem: How do we
sell more beer? DB Export’s Brewtroleum created
a clean-burning, conflict-free fuel from the
by-product of beer. Consumers were persuaded
to drink DB Export and save the world. Tanker
trucks carrying Brewtroleum and 62 gas stations
across New Zealand became the campaign’s
billboards. This unconventional OOH approach
resulted in 8.6 million bottles of beer sold.
Ever thought you could literally step into
the world of Vincent van Gogh and experience
it through his eyes? To promote a special exhibit
at the Art Institute of Chicago, Van Gogh’s
Bedrooms, a complete replica of the artist’s
bedroom, was constructed and rented out on
AirBnB. Bookings sold out in three minutes and
resulted in the museum’s highest ticket sales
in 15 years. This new-world idea won 14 Cannes
Lions for its ingenuity.
OOH will continue to change the landscape
and we’ll see even more digital innovations that
allow for integrated cross-channel campaigns.
But, as always, the power of a poster to talk to mass
audiences in a way that is accessible, memorable
and rewarding will require brilliant ideas. It boils
down to the power of creativity to transform
business and impact society. And remember,
you can’t adblock a world-class OOH poster.
107

USA
Kraken Rum Co.
Ride the Kraken
A play on the spiced rum’s mythological icon,
Kraken Rum Co. unleashed its long-limbed,
tentacle-wreathed and sucker-saturated specimen
on the streets, transforming billboards, bus
shelters and street benches.
PRODUCT
Alcoholic Beverages
MEDIA
Billboard, Street Furniture
AGENCY
Dead As We Know It
& C2C Outdoor
COUNTRY
United States of America
YEAR
2015
108

109

CAN
Honda
Honda Pilot
Honda wanted to test the design and capability
of Out-of-Home by literally tilting traditional
billboards on their axes to showcase the Honda
Pilot’s driving features – in particular, its hillstart
assist feature.
PRODUCT
Automotive
MEDIA
Billboard
AGENCY
Grip Limited
COUNTRY
Canada
YEAR
2015
110

USA
Heinz History Center
Troop train
This World War II exhibit focused on the
contributions of Pittsburghers, both overseas
and stateside, during the war. Based on campaign
research, one of the most iconic images from the
home front was of soldiers leaving on trains for
deployment. This ad recreated those moments.
PRODUCT
Recreation and Leisure
MEDIA
Transit
AGENCY
Garrison Hughes
COUNTRY
United States of America
YEAR
2015
111

CAN
Mark’s
The colder it gets
Acknowledging that the weather in Canada
dictates how people dress each morning, Mark’s,
a Canadian apparel and footwear retailer,
launched a fully integrated weather-triggered
campaign. Using real-time local weather feeds,
Mark’s promoted in store discounts linked to that
day’s temperature. The lower the temperature
dropped, the better the store discount.
PRODUCT
Clothing and Accessories
MEDIA
Digital Billboard, Digital
Street Furniture
AGENCY
Sid Lee
COUNTRY
Canada
YEAR
2015
112

USA
Outdoor Advertising Association of America
Feel the real
The Feel the real campaign, on behalf of the
Outdoor Advertising Association of America,
aimed to convince media buyers and planners
to spend more of their marketing budgets on
Out-of-Home (OOH) media. The campaign drew
on research showing that media planners and
buyers find it hard to keep up with the fastchanging
digital marketplace, which they view as
chaotic. The initiative involved more than 2,000
OOH ads in more than 20 markets across America.
PRODUCT
Media Company
MEDIA
Billboard, Digital Billboard
AGENCY
PNYC
COUNTRY
United States of America
YEAR
2015
113

CAN
Interac Association
Be in the black
Interac Association, a Canadian not-for-profit
interbank network, took direct aim at costly
credit card fees in an effort to get consumers
thinking twice about the way they pay for holiday
purchases. Three custom built Out-of-Home ads
featured humorous lines reminding consumers
about the consequences of overspending on credit
and encouraging them to pay with their own
money using Interac Debit instead.
PRODUCT
Financial Services
MEDIA
Street Furniture
AGENCY
Zulu Alpha Kilo
COUNTRY
Canada
YEAR
2014
114

CAN
Tourism Nova Scotia
If you only knew
Nova Scotia is on many avid cultural explorers’
travel lists, yet they don’t know exactly what to do
when they get there. To help change this, Out-of-
Home was used to showcase the unknown aspects
of the province. Digital street furniture panels
encouraged audiences to discover all of the great
things Nova Scotia has to offer through video
trailers displaying content related to cuisine,
history, adventure, products and experiences.
PRODUCT
Travel and Tourism
MEDIA
Street Furniture
AGENCY
DDB Toronto
COUNTRY
Canada
YEAR
2016
115

CAN
Canadian Museum of Nature
Ultimate Dinosaurs
Southern dinosaur specimens are uncommon
sights in North America, so to announce the
arrival of the Ultimate Dinosaurs exhibition –
a showcase of dinosaur specimens from the
ancient southern supercontinent of Gondwana
– the Canadian Museum of Nature used Outof-Home
and flash event marketing to bring
life to these long extinct creatures, causing the
campaign to go viral with over 3 million social
media views.
PRODUCT
Recreation and Leisure
MEDIA
Street Furniture
AGENCY
Scott Thornley + Company
COUNTRY
Canada
YEAR
2016
116

USA
Boy Scouts of America Coastal
Carolina Council
Toilet paper
The Boy Scouts of America Coastal Carolina
Council used a billboard to educate campers
and the broader community about the common
mistake made when it comes to poison ivy, using
humour to the make the point.
PRODUCT
Public Interest
MEDIA
Billboard
AGENCY
Adams Outdoor
Advertising in-house
COUNTRY
United States of America
YEAR
2014
117

Europe & UK

Europe & UK
WOMEN’S AID
United Kingdom
20TH CENTURY FOX
United Kingdom
ADAM OPEL AG
Germany
IKEA
Germany
MAYBELLINE
United Kingdom
OREO
United Kingdom
MAGNUM
United Kingdom
LONDON LGBT COMMUNITY
PRIDE/PRIDE IN LONDON
United Kingdom
CLINIQUE
United Kingdom
WARNER BROS.
Denmark
120

LUCOZADE
United Kingdom
DISNEY
Germany
SIXT
Germany
XBOX
United Kingdom
MCDONALD’S
Portugal
PARAMOUNT PICTURES
United Kingdom
JAMESON
Ireland
TANQUERAY
United Kingdom
121

Introduction

THINKING LATERALLY
Dino Burbidge
Director of Innovation and Technology, WCRS
“The Look at me campaign won a bunch of awards and
I was hooked on the world of Out-of-Home. It’s sort
of like the internet back in 2000 – anything seems
possible if you’re smart enough to join the dots.”
Yes, I’m one of those creative agency types
– only slightly weirder. I grew up around
farms, know how to hotwire cars, trained as a
designer, love to code, worked with Hollywood
movie studios, created kids’ cartoons, ran
digital marketing agencies, founded start-ups,
and am now Director of Innovation and
Technology at WCRS, one of the UK’s top five
advertising agencies.
One of the first projects I got my teeth into
at WCRS was an interactive Out-of-Home (OOH)
campaign for Women’s Aid, a charity working to
end domestic abuse against women and children.
It was a good one.
Digital billboards featured an image
of a woman who’d been beaten and bruised.
As long as passers-by ignored her, the image
remained the same. But when facial recognition
technology detected people looking at the screen,
the woman’s bruises would fade until she was
completely healed.
The Look at me campaign (p. 124–125) won
a bunch of awards and I was hooked on the world
of OOH. It’s sort of like the internet back in 2000
– anything seems possible if you’re smart enough
to join the dots. You want infrared cameras? Sure.
You need a snow machine? Cool. Special build on
the moon? I’ll call the media owner.
In practice, it’s not always like that. I’d split
the OOH world into three buckets: the special
builds; the collars and cuffs; and the missed
opportunities.
The special builds are fun. Excitable creative
teams at the agency regularly swing by my desk
and ask, “Is this possible?” while offering up a
series of ever-more bonkers ideas. Unfortunately,
many are not physically possible, but they always
lead to something better down the line. Charities
and arts companies tend to be more adventurous
than advertising clients and it’s this freedom that
makes work for them more likely to win awards.
When it comes to ‘second bucket’ work, the
creatives don’t even bother asking what’s possible.
The brief is prescriptive; they’re simply expected
to make all formats sort of match – like collars and
cuffs. Just take the key art or the 10-second TV
cut-down and re-jig it until the media plan has a
bunch of ticks in the delivery column. It’s about as
exciting as sitting in a bath of cold baked beans.
Then there are the missed opportunities.
You have a pretty groovy media plan but only the
basic dimensions are stated in the specifications.
Rarely are there the magic details needed to
deliver something that plays to the strengths of
the format. How were you to know that the digital
6 sheet also had Wi-Fi and a speaker? So it gets
filled with a version of the print 6 sheet but with
a snazzy swoosh animation across the logo. If only
you knew the secret sauce.
Too often the client, the agency, the media
buyer and the media owner are circles in a Venn
diagram that never quite overlap. The client briefs
the agency and the media buyer separately. The
agency comes up with the big idea and a bunch
of ways it will work in everything from OOH
to social media. Meanwhile, in a room three
miles away, the media buyer expertly plans the
media and books it based on the media owner’s
capability to deliver to the media plan. This is then
confirmed with the client and sent to the creative
agency to deliver the correct formats. The media
plan is a surprise to the creative agency whose
ideas are based on interactive screens near train
stations but have been given a long list of online
banner sizes. Lots of unhappy campers.
I’ve seen this too many times for it to be
an accident; yet the solution is relatively simple –
an old fashioned cliché: communication. Creative
agencies, talk to the media buyers and suggest
formats that will work with the creative concept.
Media owners, talk to creative agencies regularly
about what your formats can offer, how to get the
most from them, and why you’re different from
the competition. And media buyers, talk to the
agency after the campaign and share the stats.
What worked? What didn’t? And why? Only then
can we make the next one better.
Unrealistic? Not in my experience. At WCRS
we actively make time to nurture genuinely
fruitful relationships with media owners. I know
their first names. They tell us about exciting new
formats. I host innovation sessions. Technology
providers pop in for a coffee. We brainstorm with
media buyers to identify the exciting, effective
formats to focus on. And amazingly, they often get
bought. This gives us a competitive advantage.
If you do one thing, have a monthly coffee
with your counterpart in that Venn diagram.
Swap telephone numbers. Ask, “Is this possible?”
Share what excites you. Seriously, do it. I dare you.
123

UK
Women’s Aid
Look at me
One of the most highly awarded campaigns
in 2015, Look at me was a world first interactive
campaign that demonstrated how people can
make tangible changes in the fight against
domestic violence. Coinciding with International
Women’s Day, the campaign used gaze-tracking
technology to capture the attention of people
looking at the digital screens, triggering an
immediate change in the creative. The more
a person looked at the bruised woman, the
faster her bruises disappeared, ending with her
thanking the viewer for helping to make her
life better.
PRODUCT
Public Interest
MEDIA
Digital Billboard
AGENCY
WCRS
COUNTRY
United Kingdom
YEAR
2015
125

UK
Maybelline
Falsie push up drama
Maybelline’s eye-catching campaign for the
launch of its Falsie push up drama mascara
used a unique digital Out-of-Home format ‘The
Birmingham Media Eyes’ to captivate and grab
the attention of passers-by. The campaign’s full
motion creative was specifically designed for the
three unique eye shaped screens.
PRODUCT
Health and Beauty
MEDIA
Digital Billboard
AGENCY
Maxus
COUNTRY
United Kingdom
YEAR
2016

UK
Oreo
Oreo eclipse
In March 2015, the world was looking to the skies
for the longest solar eclipse in over a decade. In
the UK, Oreo took advantage of this – in a moment
when Brits were all looking in the same direction
– by using its famous cookies to re-create the
eclipse, in real-time, on multiple digital Out-of-
Home locations across the country.
PRODUCT
Confectionery and Snacks
MEDIA
Digital Billboard
AGENCY
Talon
COUNTRY
United Kingdom
YEAR
2015
127

UK
20th Century Fox
The Martian
20th Century Fox wrapped an underground
corridor in Waterloo Station, London, turning it
into a Martian landscape, to promote the release
of the film The Martian.
PRODUCT
Entertainment
MEDIA
Transit
AGENCY
Hoo-ha.ltd
COUNTRY
United Kingdom
YEAR
2016
128

UK
Magnum
Release the beast
Magnum wrapped London’s iconic double decker
buses with lenticular 3D display technology, to
promote its new Magnum Double range of ice
creams. This technology allowed the image to
appear as though it was changing and moving
when viewed from different angles.
PRODUCT
Confectionery and Snacks
MEDIA
Transit
AGENCY
LOLA MullenLowe
COUNTRY
United Kingdom
YEAR
2016
131

GER
Adam Opel AG
Das neue Oh!
To promote the new Opel Corsa, bright
creative was used in conjunction with the
message “Das neue Oh!” (“The new Oh!”)
in a fun play on the OOH environment where
the campaign was featured.
PRODUCT
Automotive
MEDIA
Street Furniture, Transit
AGENCY
André Kemper and Scholz
& Friends
COUNTRY
Germany
YEAR
2015
132

UK
London LGBT Community
Pride/Pride in London
#NoFilter
Out-of-Home locations across London were used
to feature a broad spectrum of people from the
LGBT+ community. Posting their photos with
the tag #NoFilter, the LGBT+ community and
its straight allies encouraged everyone to stand
together and promote equality and harmony,
giving everyone the chance to live authentic,
unfiltered lives.
PRODUCT
Public Interest
MEDIA
Digital Billboard
AGENCY
WCRS
COUNTRY
United Kingdom
YEAR
2016
134

GER
IKEA
Assembly fail
People around the world are familiar with the
frustrating struggle of assembling flat pack
furniture. To promote its assembly service,
IKEA created a clever and funny Out-of-Home
campaign with posters installed the wrong way
around – reflecting the experience people might
have when assembling their own furniture.
PRODUCT
Retail
MEDIA
Transit
AGENCY
thjnk Hamburg
COUNTRY
Germany
YEAR
2014
136

UK
Clinique
Pop matte makeover
Beauty brand Clinique used Out-of-Home
to promote its new Pop matte makeover range,
adding a ‘pop’ of colour and twist to what could
otherwise be a monotonous, everyday work
commute.
PRODUCT
Health and Beauty
MEDIA
Transit
AGENCY
Splashdown
COUNTRY
United Kingdom
YEAR
2016

DEN
Warner Bros.
Batman v Superman: Dawn
of Justice
Giant Batman and Superman models were
placed on top of a bus shelter in the centre of
Copenhagen, Denmark, to promote the release
of the movie Batman v Superman: Dawn of
Justice. Digital panels also complemented this
special build, allowing commuters to turn into
their favourite superhero and then share their
superhero selfies on social media.
PRODUCT
Entertainment
MEDIA
Digital Street Furniture
AGENCY
Dentsu Aegis Network,
Posterscope and Grand
Visual
COUNTRY
Denmark
YEAR
2016
139

UK
Lucozade
Find your flow
Lucozade energy drink encouraged people to
“find your flow” at busy stations across the UK.
A special wrap within the tunnels of London’s
busy Oxford Circus underground station created
different ‘flow lanes’ and ‘slow lanes’ for people
wanting to move at different speeds.
PRODUCT
Beverages
MEDIA
Transit
AGENCY
Grey London
COUNTRY
United Kingdom
YEAR
2015
140

POR
McDonald’s
Pictogram
Showcasing the influence great Out-of-Home
advertising can have, McDonald’s used a series
of posters featuring simple, brightly coloured
pictograms of its most recognisable products:
a Big Mac, a cheeseburger, French fries, a sundae,
chicken nuggets and a Filet-O-Fish.
PRODUCT
Food
MEDIA
Street Furniture
AGENCY
TBWA\Lisboa
COUNTRY
Portugal
YEAR
2015
141

UK
Disney
Captain America: Civil War
To promote the release of Disney’s Captain
America: Civil War, eye-catching visuals
inspired by the film were used alongside the tag
#TeamCap, encouraging would-be movie goers
to pick their side via social media.
PRODUCT
Entertainment
MEDIA
Digital Billboard
AGENCY
Feref
COUNTRY
United Kingdom
YEAR
2016
142

GER
Paramount Pictures
Terminator: Genisys
To promote the release of the fifth instalment in
the Terminator film series, Terminator: Genisys,
a special build of the world-famous Cyborg T800
was produced in the busy Potsdamer Platz, Berlin.
Its silver, shining metal skull was internally lit
with red LED lights to create a realistic effect.
PRODUCT
Entertainment
MEDIA
Street Furniture
AGENCY
Herr Schmidt
Werbeagentur GmbH
COUNTRY
Germany
YEAR
2015
144

GER
Sixt
Better than Sixt? Nothing to see
Sixt, a car rental service providing luxury cars
at low prices, created a unique Out-of-Home
campaign with a non-digital billboard that
appeared to be moving. The pupils of the eyes
appeared to be permanently moving back and
forth, looking into the distance to spot something
better than the service Sixt provides.
PRODUCT
Professional Services
MEDIA
Billboard
AGENCY
19:13 Werbeagentur GmbH
COUNTRY
Germany
YEAR
2015
145

DIGITAL OUT-OF-HOME CREATIVITY
“ A great site in a premium environment with
brilliant creative carries wonderful emotional
value.”
Neil Morris
Founder and CEO, Grand Visual
One of the unique things about Out-of-Home
(OOH) advertising is the profound, real-world
connection that a physical advertising site and
location can generate with an audience. A great
site in a premium environment with brilliant
creative carries wonderful emotional value;
comparatively, people rarely remember which
TV channel they saw a great advertisement on.
In 2005, I witnessed the world’s first digital
escalator panels being installed at Tottenham
Court Road tube station in London and saw the
potential of a digital canvas combined with a
premium location and a sophisticated audience.
For Grand Visual, this moment marked the
start of a journey in creative thinking, technology
expertise and production techniques for Digital
OOH (DOOH). Since then, the medium’s creative
evolution has come in phases. Looking back,
it is possible to see inflection points and the
campaigns that drove new modes of working and
greater creativity.
Our first foray into technology-driven
creativity featured the adoption of motion creative
as a rich storytelling device for the release of
the film Rocky Balboa. The creative mimicked
the film’s iconic sequence where Rocky runs to
the top of the stairs of the Philadelphia Museum
of Art. It took 22 separate panel executions to
create the impression that he was running up the
escalators and delivered a compelling narrative in
an immersive, emotive way.
As the platforms advanced, a handful of
media owners started to facilitate dynamic
content delivery. But with little standardisation,
each platform required different processes from
format specification through to file delivery,
limiting the ability to run multi-network, national
or international dynamic campaigns.
That’s why we developed OpenLoop: the first
dynamic DOOH campaign management platform
to allow advertisers to update creative across
multiple formats in one pass. Its road test came
during the 2010 World Cup with Nike’s Write
the future campaign, which tracked England’s
progress during the tournament. The activity
saw Nike’s brand team publish live post-match
commentary to multiple networks, targeting fans
on their way home from the game.
Instead of different networks and formats
working in silos, DOOH could now react in real
time with relevant copy to a broadcast audience
— an important milestone for the industry.
The next phase of creative development for
DOOH featured greater interaction. Smarter
technology allowed brands to surprise and delight
consumers in immersive experiences using a
range of techniques such as touch, gesture, face
and gender detection, Augmented Reality (AR),
near-field communications and beacons.
In 2011, Lynx’s Angel Ambush featured
members of the public using AR to interact with
virtual angels that miraculously fell from the
sky. The effect in situ was huge; but the real
audience came when online footage of the angel
encounters went viral. A one-off event was turned
into a campaign with global reach and generated
significant earned media worldwide.
Then came DOOH plus mobile – the perfect
marriage that works on so many levels – mobile as
remote control, user-generated content conduit,
integration via beacons, WiFi – the list goes on.
For the release of the film Despicable Me 2 in
2013, a mobile-controlled DOOH campaign was
rolled out that was personalised, geo-targeted
and multi-market. Passers-by interacted with onscreen
Minions by texting commands to see them
dance, wrestle, or play. The Minions instantly
carried out their orders and users received a
special on-screen thank you message as well as
a text linking them to a copy of their Minion minifilm
– DOOH integrated with mobile, social and
online.
The next stage of creativity was invariably
going to be dynamic creative optimisation
for DOOH. From a creative perspective, we
can access an enormous amount of data to
contextualise copy. There’s location data, thirdparty
data and brand-owned data including
pricing, stock levels and retail stores. Through
these layers of data, we can exploit the ‘Context
Effect’, providing dynamic, data-driven and
locally relevant information.
In 2014, Google launched its landmark
campaign, Google Outside, which reflected
Google's Search App to display a range of geotargeted
search results for local attractions,
restaurants and points of interest. The data
feeds were tailored to the exact location of each
screen. But Google quickly took this one step
further, when it experimented with its own
advertising technology, to buy and automate the
entire campaign workflow alongside OpenLoop
for creative fulfilment. And while it’s not
surprising that Google is pioneering this area
of programmatic DOOH, the same benefits can
be had by any brand. It’s about being useful,
contextual and relevant.
Today, the DOOH landscape continues
to offer fantastic creative potential but the
engagement has to be relevant, emotional and
remarkable and the creative technology solutions
must work to support this goal. The hardware,
software and appetite is now there to ensure
DOOH continues its stirring creative evolution.
I can’t wait to see what the next 10 years bring.
147

IRE
Jameson
Jameson Ginger & Lime
To promote Jameson’s new ginger and lime range,
cool, clean creative, where the brand was the star,
was placed in locations across Ireland, delivering
high-impact, awareness and cut-through.
PRODUCT
Alcoholic Beverages
MEDIA
Billboard
AGENCY
Pernod-Ricard in-house
COUNTRY
Ireland
YEAR
2015/16
148

UK
XBOX
Survival of the grittiest
To promote Xbox’s Rise of the Tomb Raider,
eight gamers took part in a grit, endurance and
inner strength test while strapped to a billboard.
The contestants, who made up the billboard’s
headline, faced blizzards, downpours, harsh
winds and intense heat – all controlled digitally
by the public via a live stream – in an attempt
to win a holiday inspired by the game.
PRODUCT
Games and Toys
MEDIA
Billboard
AGENCY
McCann London
COUNTRY
United Kingdom
YEAR
2015
149

UK
Tanqueray
Tonight we Tanqueray
One of the world’s most awarded gins, Tanqueray
London Dry Gin, launched a major global Outof-Home
campaign, Tonight we Tanqueray,
positioning Tanqueray as the drink to set the tone
of an evening.
PRODUCT
Alcoholic Beverages
MEDIA
Transit
AGENCY
Mother Ltd
COUNTRY
United Kingdom
YEAR
2015
150

Reference

Contributors
All books are a collective effort and this book
is no exception, with myriad individuals and
organisations making significant contributions.
OPEN 3 was produced in collaboration with
Federation Publicité Exterieur International,
Outdoor Advertising Association of America,
Outdoor Media Association Australia, Out-of-
Home Marketing Association of Canada and
Outsmart UK.
John Ellery
Federation Publicité Exterieur International
John is the Executive Director of Federation
Publicité Exterieur International, the global
Out-of-Home (OOH) association, representing
80 OOH member companies and an annual
congress that attracts 400 attendees from
40 countries.
John has played a key role in the development
of the OOH industry worldwide. He began his
career in 1968 working for the OOH contractor
London and Provincial (L+P) before joining the
team at British Posters, the UK’s first national
OOH sales and marketing operation. John then
returned to L+P as a director and joined the Board
of street furniture pioneer, Adshel. In 1981, John
began a 14-year tenure with Portland Outdoor
Advertising before moving on to develop the
international division at Poster Publicity which,
in 2004, merged with Portland Outdoor to
form Kinetic.
“I have been fortunate enough to play a part
in the OOH industry as it has gone from a
fragmented and sometimes unregarded
medium, to becoming a major global force.
OPEN 3 will be an important factor in the
industry’s further growth.”
Nancy Fletcher
Outdoor Advertising Association of America
Nancy has been President and CEO of the
Outdoor Advertising Association of America
(OAAA) for 25 years. She is an attorney and
industry authority with nearly 40 years’
experience in Out-of-Home (OOH) advertising.
Before joining OAAA, she served as an officer
for Patrick Media Group, the largest OOH
media company in the USA at that time. She
also spent more than a decade with Naegele
Outdoor Advertising in various capacities
including president and general manager of the
Minneapolis/St. Paul division and general counsel
for the parent corporation.
Nancy currently serves on the Board of
Directors of OAAA, the Ad Council, and Geopath.
She is the former Board Chair for the National
Cathedral School and current President of the
Fletcher Family Foundation.
“The OAAA works closely with its international
counterparts to unify the global OOH industry.
This collaboration highlights the medium’s
powerful creative impact and effectiveness
across all cultures and communities.”
154

Charmaine Moldrich
Outdoor Media Association
Charmaine is the CEO of both the Outdoor
Media Association (OMA) and Measurement
of Outdoor Visibility and Exposure (MOVE)
in Australia. Charmaine has over 30 years’
experience in leadership, management,
marketing, communications and business
development across a variety of sectors. She sees
her role at the OMA as one that leads industry
growth in a rapidly changing, technology-driven
world and strives to see the Out-of-Home (OOH)
media channel embraced as an integral part of
every media plan.
“If OOH is the ultimate creative stage, then
OPEN 3 is the ultimate global representation
of this. OOH is big, bold, simple, clever and
controversial. It cannot be missed, switched off
or skipped. It is truly the last undisrupted media
channel. It is the original tweet.”
Rosanne Caron
Out-of-Home Marketing Association of Canada
Rosanne has served as President of Out-of-
Home Marketing Association of Canada (OMAC)
for 11 years and in 2015 assumed an additional
role as President of Canadian Out-of-Home
Measurement Bureau (COMB).
Rosanne’s professional experience spans
a wide variety of media and senior roles. Her
passion for Out-of-Home (OOH) advertising
began with Mediacom, now known as
OUTFRONT, where she held several positions
before taking on the role of vice president,
marketing and research. Her research into
the advantages and effectiveness of OOH was
published in the Journal of Advertising Research
and presented internationally in the UK, Australia
and the USA.
“The collaboration with our global partners
to produce OPEN 3 provides the opportunity
to capture and celebrate the imagination and
creativity of OOH campaigns around the world.”
Justin Cochrane
Outsmart UK
Justin is the CEO of Clear Channel UK and
Chairman of Outsmart, the trade body for UK
Out-of-Home. Justin has a degree in engineering
from the University of Oxford and is a certified
Chartered Accountant. After a brief spell in
financial services (Bank One/JP Morgan), Justin
escaped to the world of media, joining Clear
Channel at the end of 2001 as group accountant
in the international group. By 2007, he was group
finance director for the same division and then
moved to Clear Channel UK in 2010 as chief
financial officer. In 2013, Justin was appointed
chief operating officer and in 2015 took up the role
of Chief Executive Officer.
“ OPE N 3 is the perfect opportunity for us to
highlight the very best campaigns that have
taken place around the globe. We are very
proud to showcase our work alongside our
global partners, all of whom play a significant
part in transforming our industry and helping
advertisers benefit from the huge opportunities
offered by the medium. Collaboration across
borders is always especially relevant in times
of global change.”
155

Index
NUMERIC
#CreateWelcome, 51
#Huetown, 33
#EqualFuture, 48–49
#NoFilter, 134–135
#YouShouldPlay649, 84
101 London, 94–95
19:13 Werbeagentur GmbH, 145
20th Century Fox, 128–129
A
Ad Council, 107
Adam Opel AG, 132–133
Adams Outdoor Advertising, 74, 85, 117
Alphabet Studio, 55
Amazing facts, 75
Androidify, 7, 68–69
Angel Ambush, 147
Angry Birds Movie, The, 104–105
ANZ, 48–49
Apple, 10–19, 79, 107
Apple TV, 79, 86–87
Art Everywhere US, 94–95
Art Institute of Chicago, 94–95, 107
Assembly fail, 136
B
Bashful, 38–39
Barton F. Graf 9000, 79
Batman v Superman: Dawn of Justice, 138–139
BBDO Toronto, 90–91
BC Hydro, 102
BCG2, 31
BCM, 43
Bedrooms, 107
Before/after, 76–77
Better than Sixt? Nothing to see, 145
Be in the black, 114
Big Aussie barbie, 53
Big slushes, 74
BMF, 25
Bonds, 34–35
Boy Scouts of America Coastal Carolina
Council, 117
Brewtroleum, 107
Britain’s favourite old flame, 25
British Airways, 107
Brown, Warren, 24–25
Buckley’s, 103
Burbidge, Dino, 122–123
Burhop, Jane, 44–45
C
C2C Outdoor, 108–109
Canadian Museum of Nature, 116
Cannes Lions International Festival of
Creativity, 7
Canon, 79
Caron, Rosanne, 155
Captain America: Civil War, 142–143
Clean up Australia day, 32
Clean Up Australia Limited, 32
Clemenger BBDO Melbourne, 34–35, 50
Clinique, 137
Clow, Lee, 79
Coca-Cola, 80–81, 107
Cochrane, Justin, 155
Color bars, 86–87
Common Ventures, 45
Connect to the music you love, 28–29
Cooler snack, 56–57
Copacino+Fujikado, 75
Corona summer, 88–89
CreateWelcome, 51
Crouch, Bruce, 25
Cummins&Partners Sydney, 32
CX-3 launch, 101
D
Dallas Museum of Art, 94–95
Das neue Oh!, 132–133
Dave Clark Design, 48–49
David Jones, 26–27
Day in the life of a Sydneysider, 55
DB Export, 107
DDB New Zealand, 54
DDB Toronto, 115
DDB Worldwide, 56–57
Dead As We Know It, 108–109
Dearden, Matthew, 4–5
Dentsu Aegis Network, 138–139
Denver Water, 72–73
Despicable Me 2, 147
Digital OOH (DOOH), 5, 147
Disciple, 46
Disney, 142–143
E
E-Class launch, 90–91
Ellery, John, 154
EqualFuture, 48–49
Extra Credit Projects, 94–95
F
Facebook, 100
Facebook Messenger, 100
Falsie push up drama, 126
Federation Publicité Exterieur (FEPE)
International, 5, 154
Feel the real, 7, 113
Feref, 142–143
Find your flow, 140
Fletcher, Nancy, 154
Ford, 28–29
Fortune Pharmacal, 47
Foster’s, 25
Fresh salads, 107
Fry lights, 107
G
Garrison Hughes, 111
Ghostface Chillah, 83
goa, 51
Google, 7, 68–69, 147
Google Creative Lab, 68–69
Google Labs, 5
Google Outside, 147
Graf, Gerry, 78–79
Grand Visual, 138–139, 146–147
Grey London, 140
Grip Limited, 110
GTB Australia, 28–29
156

H
Heineken, 70–71
Heinz History Center, 111
Herr Schmidt Werbeagentur GmbH, 144
History Channel, 45
Honda, 110
Honda Pilot, 110
Hoo-ha.ltd, 128–129
Huetown, 33
I
ICONIC, The, 30
If you only knew, 115
IKEA, 136
Imagine, 70–71
Interac Association, 114
iPhone 6, 10–19, 25, 79, 107
Iris Sydney, 33
J
J. Walter Thompson, 101
Jameson, 148
Jameson Ginger & Lime, 148
JCDecaux Australia, 53, 55
K
Kemper, André, 132–133
Kraken Rum Co., 108–109
Kuhn & Kuhn, 85
Kymechow, 47
L
Labatt Breweries of Canada, 88–89
Lawrence Creative Strategy, 36–37
Leo Burnett, 96
Leo Burnett Melbourne, 40–41
Leo Burnett Worldwide, 107
Lexus, 45, 52
Local market attack, 96
LOLA MullenLowe, 130–131
London LGBT Community Pride, 134–135
Look at me, 123, 124–125
Los Angeles County Museum of Art, 94–95
Loto-Québec, 84
Love has no labels, 107
Love your condom: Gear up series, 31
Lucozade, 140
Lynx, 147
M
M&C Saatchi, 52
Made beautifully, 54
Magic of flying, 107
Magnum, 130–131
Mark’s, 93, 112
Mars, 50
Martian, The, 128–129
Maxus, 126
Maybelline, 126
Mazda, 101
McCann London, 149
McDonald’s, 76–77, 107, 141
mda, 51
Melanoma Institute of Australia, 46
Mercedes-Benz, 90–91, 107
Meunier, Philippe, 92–93
Minions, 147
Moldrich, Charmaine, 155
Morris, Neil, 146–147
Mother Ltd, 150–151
Mroueh, Zak, 1,64–65
N
Name our cubs, 97
National Gallery of Art, 94–95
New Zealand Aids Foundation, 31
Nike, 147
NoFilter, 134–135
Nova Scotia, 115
O
October’s Very Own, 66–67
Offtober, 102
Ogilvy, 80–81
One name: Endless possibilities, 26–27
OOPS, 85
Oreo, 127
Oreo eclipse, 127
Out-of-Home (OOH), 5, 7, 25, 45, 65, 79, 93, 107,
123, 147
Out-of-Home Marketing Association of Canada
(OMAC), 155
Outdoor Advertising Association of America
(OAAA), 7, 113, 154
Outdoor Media Association (OMA), 155
Outsmart UK, 155
P
Procter & Gamble, 5
Paramount Pictures, 144
Pernod-Ricard, 148
Peters Ice Cream, 40–41
Philips, 33
Pictogram, 141
PNYC, 113
Pop matte makeover, 137
Posterscope, 138–139
Pride in London, 134–135
Prostate Cancer Foundation of Australia, 53
Proud & Punch, 40–41
Publicis Communications, 107
Q
Qantas, 7, 36–37
R
Rapport, 104–105
Release the beast, 130–131
Relief you can swallow, 103
Réno-Dépôt, 93, 98–99
Ride the Kraken, 108–109
Rise of the Tomb Raider, 149
Rocky Balboa, 147
S
Saatchi & Saatchi Canada, 103
Sandbox, 70–71
Savage, Terry, 6–7
Scholz & Friends, 132–133
Science superlab, 42
Scott Thornley + Company, 116
Seattle Aquarium, 75
Shades of you, 38–39
Share a Coke, 80–81
Shot on iPhone 6, 10–19, 25, 79, 107
157

Index (continued)
Image credits
Sid Lee, 84, 93, 98–99, 112
Sixt, 145
Skidmarks, 107
Sky swatches, 93, 98–99
Small world machines, 107
Snapchat, 83
Sonic Drive-In, 74
Sony Pictures, 104–105
Splashdown, 137
Spotify, 82
Stop the spread of melanoma, 46
Streets, 56–57
Sukle Advertising & Design, 72–73
Sundial, 107
Sunglass Hut, 38–39
Survival of the grittiest, 7, 149
Swan Vestas, 25
T
Talon, 127
Tanqueray, 150–151
Taxi Vancouver, 102
TBWA\Lisboa, 141
TBWA\Media Arts Lab, 10–19, 86–87
Terminator: Genisys, 144
Thanks 2016, it’s been weird, 82
The best of 40 years, 25
The boys, 34–35
The colder it gets, 93, 112
The ICONIC SPORT, 30
thjnk Hamburg, 136
This is the new Lexus, 45, 52
Times Square, 7, 68
Toilet paper, 117
Tomb Raider, 7
Tombras, 76–77
Tonight we Tanqueray, 150–151
Toronto Zoo, 97
Touché! PHD, 93
Tourism Nova Scotia, 115
Troop train, 111
Tutssel, Mark, 106–107
U
Ultimate Dinosaurs, 116
Unforgotten soldiers, 45
Universal McCann, 104–105
Universal Music Canada, 66–67
University of Technology Sydney (UTS), 42
V
Van Gogh, Vincent, 107
VIEWS, 66–67
Vranakis, Steve, 5
W
Walking Wounded, 43
Warner Bros., 138–139
WCRS, 123, 124–125, 134–135
Welcome home, 7, 36–37
What the ‘cough’, 47
Whitney, The, 94–95
Whybin\TBWA Sydney, 26–27
Wieden+Kennedy, 100
Wither Hills, 54
Women’s Aid, 123, 124–125
Work. Rest. Play., 50
Write the future, 147
X
XBOX, 7, 149
Y
Yellow Pages, 96
You can’t make this stuff, 72–73
YouShouldPlay649, 84
Z
Zulu Alpha Kilo, 65, 88–89, 114
PAGES 1, 8, 152, 159
Apple, Shot on iPhone 6
PAGE 20
Fortune Pharmacal, What the ‘cough’?
PAGE 58
American Gothic by Grant Wood,
Art Everywhere US
PAGE 118
Magnum, Release the beast
158

THANK YOU
Acknowledgements
The last two volumes of OPEN were published
by the Outdoor Media Association (OMA)
in Australia. OPEN 3 is our first foray into
publishing this book as a global partnership,
and is the end result of the effort and
contribution of myriad individuals and
organisations.
First and foremost, thank you to the OMA’s
Communications Manager, Ti-Ahna Firth, who
orchestrated everyone, kept to the schedule and
budget, and delivered the book on time. No mean
feat working with so many different people across
so many different time zones.
She couldn’t have done it without our great
international partners. A very special thank you
to John Ellery, Federation Publicité Exterieur
(FEPE) International; Nancy Fletcher, Outdoor
Advertising Association of America (OAAA);
Rosanne Caron, Out-of-Home Marketing
Association of Canada (OMAC); Justin Cochrane,
Outsmart UK, and to the Boards and companies
of the global associations who have supported and
funded this project. Your contributions have made
this truly a global book.
Special thanks to all of the contributing
writers – some of the most formidable advertising
industry leaders the world has to offer – for
taking time from their busy schedules to stop,
pause and reflect on what advertising, and more
importantly, Out-of-Home (OOH) advertising,
means to them. In particular, our warmest thanks
to Warren Brown, Creative Founder, BMF; Dino
Burbidge, Director of Innovation and Technology,
WCRS; Jane Burhop, Creative Director, Common
Ventures; Matthew Dearden, President, FEPE
International; Gerry Graf, Founder and Chief
Creative Officer, Barton F. Graf 9000; Philippe
Meunier, Chief Creative Officer, Senior Partner
and Co-Founder, Sid Lee; Neil Morris, Founder
and CEO, Grand Visual; Zak Mroueh, Chief
Creative Officer and Founder, Zulu Alpha Kilo;
and Mark Tutssel, Global Chief Creative Officer,
Leo Burnett Worldwide and Creative Chairman,
Publicis Communications.
We were also privileged to work with the
famed and reputable Terry Savage, Chairman,
Cannes Lions International Festival of Creativity.
A warm thanks to Terry for his insightful
foreword and for his support on this project from
the outset.
Thanks also to the project sub-committee:
Mark Flys and Richard Saturley, FEPE
International; Kate Flaherty and Stephen Freitas,
OAAA; Alice Goyau and Jacques Major, OMAC;
Ti-Ahna Firth, OMA and Katherine Ashmore,
Outsmart UK.
Huge thanks to the design teams, Thursday
Design and Spitting Image, for their unwavering
commitment – proof of their hard work now sits
in your hands. And our gratitude to our alert
editor David Hely who, yet again, did wonders
with our words, BP Imaging; Emma Summerton,
CLM for David Jones, www.clm-agency.com;
Dan Gray, Graynoise; Jake Brusha, Leo Burnett
Worldwide; Thanh Pham, Sid Lee and Zachary
Madrigal, Zack Madrigal Photography for their
photography contributions, and Katherine
Webster for the unenviable task
of indexing.
Getting this quality of publication is not an
easy task but one made easier by the wonderful
printing prowess of Imago Printing. In this fast
paced digital world there are some of us who
still relish the joys of a book that is immaculately
printed.
A massive thank you to TBWA\Media Arts
Lab for providing us with access to the fantastic
pieces of creative from Apple's Shot on iPhone 6
campaign. We were heartened by their generosity
and willingness to collaborate. Without this
support we simply would not have been able to
show off the remarkable calibre and diversity of
creative work in OOH the world over.
Thank you also to Brendon Cook, CEO of
oOh!media, long-standing member of the OMA’s
Board, and the International Vice-President of
FEPE International, whose idea it was to go global
with this publication.
And finally, thank you to you, the reader,
for turning each page. We hope this book inspires
and encourages you to embrace the power of OOH
with all your creative might.
As you can see from around the globe, the
OOH poster, be it traditional or digital, is big,
bold and unmissable.
Charmaine Moldrich, CEO, OMA Australia
160

164