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

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


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<strong>OPEN</strong> 2

<strong>OPEN</strong> 2<br />

—<br />

Outdoor Media Association 2014

“Selling stuff will never be a science. It’s all about persuasion.”<br />

...<br />

Sir John Hegarty<br />

5 /

Published by the Outdoor Media Association<br />

Suite 504, 80 William Street<br />

East Sydney NSW 2011 Australia<br />

ABN: 59 004 233 489<br />

www.oma.org.au<br />

The Outdoor Media Association (OMA) is the<br />

peak national industry body that represents most<br />

of Australia’s Out-of-Home (OOH) media display<br />

companies and production facilities as well<br />

as some media display asset owners.<br />

The OMA operates nationally and prior to<br />

July 2005 traded as the Outdoor Advertising<br />

Association of Australia (OAAA). It was first<br />

incorporated in 1939.<br />

OMA Members advertise third-party products<br />

across all categories in the OOH sector including:<br />

on buses, trams, taxis, pedestrian bridges,<br />

billboards and free-standing advertisement<br />

panels; on street furniture (eg bus/tram shelters,<br />

public toilets, bicycle stations, telephone booths<br />

and kiosks) and in bus stations, railway stations,<br />

shopping centres, university and airport precincts.<br />

© 2014 Outdoor Media Association Inc.<br />

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

any fair dealing for purposes permitted in the<br />

Copyright Act 1968, no part of this publication<br />

may be reproduced or communicated by any<br />

process without written permission.<br />


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

contained in this book is accurate at the time of printing.<br />

However, to the full extent permitted by law, this book<br />

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

The OMA welcomes suggestions for improvement but<br />

cannot accept responsibility for any errors or omissions<br />

and makes no representations about the content or the<br />

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

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

any damages whatsoever (whether direct, indirect, special,<br />

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

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

in this book.<br />

<strong>OPEN</strong> 2<br />

ISBN: 978–0–9874105–2–8<br />

Outdoor Media Association<br />

Editorial Overview: Julie Jensen<br />

and Charmaine Moldrich<br />

Project Manager: Ti-Ahna Firth<br />

Project Assistance: Xiao Houghton and<br />

Kate Windon<br />

Image Research: Ti-Ahna Firth<br />

Design: Thursday Design<br />

Copy Editor/Contributor: David Hely<br />

Indexer: Katherine Webster<br />

Pre-Press: Spitting Image Sydney<br />

Printer: Imago Group Australia and Hong Kong<br />

Project Sub-Committee: Matthew Byrne ROVA<br />

Media, Max Eburne JCDecaux, Nick Errey oOh!<br />

Media, Richard Herring APN Outdoor, Julie<br />

Jensen and Charmaine Moldrich Outdoor Media<br />

Association, Jane King Adshel, Charles Parry-<br />

Okeden Executive Channel.<br />

Image Contributors: Cannes Lions International<br />

Festival of Creativity, CLIO Awards, CBS<br />

Outdoor UK, Clear Channel Outdoor, OBIE<br />

Awards, Outdoor Media Association Members,<br />

Outdoor Media Association Ireland, Outdoor<br />

Media Centre UK, The Andy Awards, local and<br />

international advertising agencies and clients.<br />


Campaign: Sunlight ‘Clingy animals’<br />

by Lowe Thailand. Chief Creative Officer:<br />

Eric Yeo. Creative Director: Ruchi Sharma<br />

and Ricardo Turcios. Art Director: Katrina<br />

Encanto. Copywriter: EJ Galang, Sarah Ko<br />

and Gabi Espaldon.<br />

/ 6


— Charmaine Moldrich<br />

Chief Executive Officer, Outdoor Media Association<br />

FOREWORD 6<br />

— Dr Rebecca Huntley<br />

Executive Director, Ipsos Mind & Mood Report<br />


— Fiona Jolly 22<br />

Chief Executive Officer, Advertising Standards Bureau<br />

— Nigel Marsh 38<br />

Chairman, The Leading Edge<br />

— Jane Caro 44<br />

Writer, Lecturer and Media Commentator<br />


— Ben Colman 64<br />

Chief Executive Officer, 18 Feet & Rising<br />

— Ben Coulson 78<br />

Chief Creative Officer, GPY&R Australia and New Zealand<br />

03 TELL ME A STORY 94<br />

— Andy Lark 108<br />

Founder & Chief Executive Officer, Group Lark<br />

— Rob Atkinson 118<br />

Chief Executive Officer, Adshel<br />

— Ben Welsh 124<br />

Executive Creative Director, M&C Saatchi<br />

04 INTERACT WITH ME 134<br />

— John Purcell 146<br />

Commercial Director, Operations & Business Systems, oOh! Media<br />

— Leo Roberts 154<br />

Group Marketing Manager, Integrated Marketing Communications,<br />

Coca-Cola South Pacific<br />

— Luke Chess 162<br />

Creative Director, MJW Australia<br />


INDEX 172<br />


3 /


Charmaine Moldrich, Chief Executive Officer,<br />

Outdoor Media Association<br />

...<br />

When we published the first edition of <strong>OPEN</strong><br />

in 2012 the Out-of-Home (OOH) industry was<br />

tentatively dipping its toes into technologies<br />

such as Near Field Communication (NFC),<br />

facial recognition and consumer engagement<br />

using SMS, WiFi and GPS. The content for<br />

<strong>OPEN</strong> was predominantly selected with an<br />

artistic eye, rewarding the simple, the bold<br />

and, of course, the cheeky. In <strong>OPEN</strong>² the<br />

examples we’ve chosen of some of the best<br />

OOH from around the world represent how<br />

far the industry has evolved in just two years.<br />

At the 2014 Cannes Lions International<br />

Festival of Creativity, I was struck by how OOH<br />

is increasingly becoming reflective of culture<br />

and society. ANZ Bank’s GAYTMs campaign<br />

(p. 127) was not only a unique and creative<br />

promotion, it was also a contextually relevant<br />

social statement in support of the annual<br />

Sydney Gay and Lesbian Mardi Gras – not<br />

surprising that it took out the Grand Prix award<br />

for Outdoor.<br />

An unprecedented 5,600 entries for the<br />

OOH category were submitted to Cannes Lions<br />

in 2014, more than for any other category. This<br />

proves that OOH has well and truly arrived and<br />

creatives are excited about the potential of this<br />

‘ultimate creative stage.’<br />

<strong>OPEN</strong>² shows us not only how far we’ve<br />

come, it also hints at where we’re headed.<br />

It demonstrates a respect for the traditional,<br />

an eagerness for innovation, and an<br />

ongoing commitment to clear and effective<br />

communication – which is still what our<br />

industry is all about.<br />

Sir John Hegarty put it this way, “Selling<br />

stuff has never been a science. It’s all about<br />

persuasion.” And I would add to that, ‘emotion.’<br />

If you can make someone feel something,<br />

they are more likely to do something. Hegarty<br />

also noted that, “a brand is made not just by the<br />

people who buy it, but also by the people who<br />

know about it.” It is the combination of these<br />

two ideas that makes OOH so potent. It has<br />

the power to inspire (and persuade) and it is<br />

ubiquitous. Put simply: it gets the word out.<br />

In <strong>OPEN</strong>² we have divided OOH’s<br />

persuasion into four sections: Humour Me,<br />

Sell Me Something, Tell Me a Story and<br />

Interact with Me. Industry leaders were<br />

asked to provide insight into these sections<br />

– how the challenges of advertising have<br />

moulded careers, affected lives and ultimately<br />

changed perspectives. We are grateful<br />

for our contributors’ time and thoughtful<br />

consideration of the task. The results are truly<br />

inspiring.<br />

Dedicating a section to humour was<br />

an obvious choice for an industry that doesn’t<br />

take itself too seriously. In Humour Me, Jane<br />

Caro, writer, lecturer and media commentator,<br />

muses on the value of ‘shocking’ audiences<br />

and how similar we are in our reactions.<br />

Fiona Jolly, CEO of the Advertising Standards<br />

Bureau, writes about the important role of<br />

OOH regulation and how humour can be used<br />

to assuage conservative opinions. Nigel Marsh,<br />

author and Chairman of The Leading Edge,<br />

reminisces about his early days in advertising<br />

and the seminal campaigns that helped<br />

to shape his view of the world.<br />

In Sell Me Something, Ben Colman, CEO<br />

of 18 Feet & Rising, delves into the pop-culture<br />

history of advertising and explores the value<br />

of truth. Ben Coulson, CCO of GPY&R Australia<br />

and New Zealand, contemplates the dark art<br />

of selling juxtaposed with the reality of<br />

consumer desire.<br />

For Tell Me a Story, Andy Lark, former<br />

CMO of the Commonwealth Bank of Australia<br />

and now CEO of Group Lark, writes eloquently<br />

about the power of OOH and the factors that<br />

will make it even more crucial in the years<br />

ahead. Ben Welsh, Executive Creative Director<br />

at M&C Saatchi, tells of his experience judging<br />

the Cannes Lions and notes that OOH is now<br />

part of our culture, each country uniquely<br />

represented through its advertising. Rob<br />

Atkinson, CEO of Adshel, rounds out this<br />

section, sharing his experiences and excitement<br />

of working in OOH, “for more years than I care<br />

to mention,” witnessing the sudden arrival of<br />

huge change and opportunity.<br />

The contributors for Interact with Me<br />

write about the break-through campaigns that<br />

are inspiring younger generations, such as<br />

Coca-Cola’s Small world machines campaign<br />

(pp. 156–157). Luke Chess, Creative Director,<br />

MJW Australia, encourages advertisers<br />

and marketers to strive for “meaningful<br />

interaction” in all campaigns. John Purcell,<br />

Commercial Director, Operations & Business<br />

Systems for oOh! Media, highlights the value of<br />

OOH technologies – particularly for technology<br />

companies – and how these partnerships<br />

will benefit consumers. Leo Roberts, Group<br />

Marketing Manager, Integrated Marketing<br />

Communications, Coca-Cola South Pacific,<br />

notes that interactive technologies not only<br />

engage the consumer, but also excite the<br />

advertiser, providing new platforms for brands.<br />

We have collected a diverse range<br />

of campaigns, from billboards that purify the<br />

air to a series of McDonald’s advertisements<br />

(pp. 68–69) that demonstrate how a brand can<br />

capitalise on its history. The executions come<br />

from around the world, featuring brands you<br />

know and love and some you may have never<br />

heard of.<br />

What these campaigns have in common<br />

is that they have all been part of a cityscape,<br />

of someone’s commute, of their weekend, their<br />

shopping or holiday experience; they were all<br />

part of people’s everyday lives. That’s OOH.<br />

We present <strong>OPEN</strong>² to you for your<br />

consideration, entertainment and inspiration.<br />

5 /


Dr Rebecca Huntley, Executive Director,<br />

Ipsos Mind & Mood Report<br />

...<br />

Last year, my husband and I took our fiveyear-old<br />

daughter to Disneyland in Los<br />

Angeles. Wandering around with a social<br />

researcher’s eye (sure, I was on holiday but<br />

I couldn’t help it) I was struck with how<br />

effective the theme park is as an outdoor<br />

experience. Many of the rides are indoors,<br />

but the magic of Disneyland is the feeling that<br />

you are exploring a terrain, an environment<br />

– albeit artificial. You feel like Alice in<br />

Wonderland, only with fizzy drinks and hot<br />

dogs rather than magical potions and cakes.<br />

The whole Disneyland experience is<br />

mesmerising and, of course, you can’t help but<br />

leave with a heap of merchandise – the rides<br />

feel designed to thrill and lull you into a state<br />

of abandon just as you are funnelled into a gift<br />

shop. But you also leave with a greater respect<br />

for the Disney brand and an appreciation that<br />

Disneyland is in fact the ultimate example<br />

of the power and potential of Out-of-Home<br />

(OOH) advertising.<br />

Reviewing the creative collated for<br />

<strong>OPEN</strong> 2 – the best examples of OOH from<br />

Australia and around the world – reinforces for<br />

me what’s inspiring and really working for this<br />

media channel. The key themes reflect what<br />

Australian consumers expect and want from<br />

advertising: Humour Me, Sell Me Something,<br />

Tell Me a Story and Interact with Me. An<br />

AC Nielsen study from 2011 revealed that 75% of<br />

people agree that OOH gives people something<br />

to look at when out and about, and 78% said it<br />

was useful to have a website address included<br />

on that advertising. 1 The correlation of these<br />

two statistics is that people are expecting more<br />

from OOH; they want it to be entertaining,<br />

engaging and useful. Judging from the<br />

campaigns in <strong>OPEN</strong> 2 , it does not disappoint.<br />

Poring over the different examples of<br />

OOH creative, I am struck again and again by<br />

how the different consumer and social trends<br />

we observe in our research for The Mind &<br />

Mood Report connect with what is happening<br />

and what is being harnessed in this work.<br />

Take, for example, the water-generating,<br />

air-purifying billboards in Peru that provide<br />

clean water and air. Or the flowering bus<br />

shelters in Belgrade reminding people of<br />

the city’s potential for beauty. In recent<br />

research Ipsos conducted into how urban<br />

and regional dwellers feel about their local<br />

environments, residents talked about how<br />

much they appreciated the presence of largescale<br />

art works and sculptures in public places.<br />

Australians want their city and townscapes<br />

to be dynamic, interesting and surprising.<br />

In recent times, OOH has at times been a form<br />

of public art – funny, thought provoking and<br />

beautiful. Consumers are realistic that it can’t<br />

always be taxpayers’ money making these<br />

things happen, and when they find out that<br />

OOH subsidises street furniture and many other<br />

forms of public infrastructure, research has<br />

shown that they look more favourably upon it.<br />

Then there is the notion that OOH, more<br />

than any other advertising channel, can be<br />

useful. Australian consumers talk constantly<br />

about how busy their lives are; fitting<br />

everything they need to do in a day, rushing<br />

from place to place, juggling multiple roles.<br />

They are always looking for aids, tools and tips<br />

to facilitate making their busy lives possible.<br />

But they are also looking for ways to carve<br />

out much-needed respite from all the hubbub.<br />

There are some creative examples in <strong>OPEN</strong> 2<br />

of how OOH can make people’s lives just that<br />

little bit easier. There is the IBM billboard<br />

that doubles as a seat for a weary pedestrian<br />

(pp. 114–115) and one of my personal favourites,<br />

the transit bench in Canada that becomes<br />

a temporary bed for a homeless person (p. 145).<br />

Not only is this serviceable, but it also raises<br />

awareness as well as potential funds for<br />

7 /


...<br />

this cause. Then there is the experience that<br />

OOH can create. In The Mind & Mood Report we<br />

have found, particularly in the aftermath of the<br />

global financial crisis, a small but significant<br />

shift in focus among Australian consumers<br />

from ‘things’ towards ‘experiences.’ After years<br />

of persistent gloom and doom about the cost of<br />

living and the domestic economy, Australians<br />

have now started to get excited about planning<br />

and spending on travel, eating out, festivals<br />

– the full spectrum of out-of-home activities.<br />

Consumers have also complained for some<br />

time about how they’d like Australian retail<br />

environments to be more dynamic, interactive<br />

and innovative. There are many examples in<br />

<strong>OPEN</strong> 2 of how OOH can provide an experience<br />

to passers-by – something that will entertain,<br />

distract, lift their mood and focus their<br />

attention.<br />

In more recent times, the big opportunity<br />

for advertisers is how OOH can speak to the<br />

mobile devices we carry with us at all times.<br />

Australian consumers have a huge appetite for<br />

communication; in fact, there are more mobile<br />

phones in Australia than people. We look to<br />

our mobile devices for advice on everything –<br />

where to go when we are lost, what to buy and<br />

where to buy it, what to eat (and to document<br />

what we eat before we eat it). Each of us is an<br />

explorer, with a mobile device as our compass.<br />

And so, there are numerous examples in <strong>OPEN</strong> 2<br />

of the ways in which OOH can interact with<br />

technology to sell, tell, inspire and entertain.<br />

The Pepsi Max Unbelievable campaign (p. 165)<br />

uses augmented reality to surprise and delight<br />

commuters with images of tigers walking<br />

towards them and snakes popping out of<br />

manholes.<br />

There is no such thing as the undistracted<br />

consumer anymore. We watch our TV<br />

screens with mobile devices on our laps. We<br />

multiscreen and multitask. Our attention is<br />

always divided. Even on a holiday to Disneyland<br />

we are experiencing, reviewing, critiquing and<br />

yes, consuming, across multiple channels.<br />

OOH has a particular challenge:<br />

catching the eye of people riding a bike,<br />

driving a car, rushing from work to the train<br />

station. But OOH also creates a sense of<br />

place that other media struggle to do. What<br />

would Times Square be without OOH? Even<br />

in our own iconic cities there are landmark<br />

advertisements, like the largest billboard in the<br />

country overlooking Sydney’s ANZAC Bridge.<br />

And therein lies the opportunity for disruption.<br />

Great OOH creative is smart about recognising<br />

not only its own geography but the mindset<br />

and needs of the people that share the space<br />

with the advertising content. A recent study<br />

in the UK showed that “people Out-of-Home<br />

have a 33% heightened alertness than people<br />

in home.” 2<br />

<strong>OPEN</strong> 2 contains examples of OOH<br />

that are short, sharp and impactful. These<br />

are the ads that you notice and understand<br />

immediately, even if you are driving home<br />

thinking about what to have for dinner, or<br />

telling your daughter to stop annoying her little<br />

brother. The 3D Dove billboard from Australia<br />

is a good example (pp. 72–73), as are the<br />

Royal Automobile Club of Western Australia’s<br />

billboards (p. 74), or Destination NSW’s Love<br />

every second billboards (pp. 130–131).<br />

Then there is the OOH that challenges<br />

you to stand in front of it and read. There are<br />

moments in our day when we stop rushing, stop<br />

talking, put the phone away and are prepared<br />

to be interested and engaged. Check out Write<br />

your own ending from Bookworld (pp. 150–151).<br />

The media environment is in a constant<br />

state of change. Australian consumers are<br />

thrilled about this, eager to adapt and embrace<br />

the new. As the examples in <strong>OPEN</strong> 2 show, there<br />

is power and potential in OOH to hook the<br />

excited and media-savvy consumer, to create<br />

outdoor interactive environments, to speak<br />

to the digital devices that have become our<br />

everyday compasses – to sell, to tell, excite<br />

and inspire.<br />

1<br />

AC Nielsen 2011, OOH Public Attitude Study<br />

2<br />

Outdoor Media Centre UK 2014<br />

/ 8



11 /

SECTION 01<br />

Humour Me<br />

...<br />



Barnes, Catmur & Friends<br />

...<br />


The Richards Group<br />

...<br />


Lowe Thailand<br />

THA COWZ<br />

The Richards Group<br />

...<br />


Clemenger BBDO Melbourne<br />



AUSTRALIAN <strong>OPEN</strong><br />

McCann Melbourne<br />

...<br />


Maruri Grey<br />


Extra Credit Projects<br />

...<br />

ICONS<br />

JWT Manila<br />

/ 12


Ig2<br />

...<br />


Y&R Shanghai<br />



Clear Channel Outdoor<br />

...<br />



Ogilvy CommonHealth Sydney<br />

...<br />


BETC<br />


Vizeum<br />

...<br />


AJF Partnership, Soap Creative<br />


Y&R New Zealand<br />

...<br />


Ogilvy & Mather<br />

...<br />


Paradise Outdoor<br />

13 /

The great Kiwi honesty test<br />

Boundary Road Brewery<br />

...<br />


Boundary Road Brewery<br />


Alcoholic Beverages<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Barnes, Catmur & Friends<br />

To launch Honesty Box Cider, Boundary<br />

Road Brewery ran the great Kiwi honesty test<br />

online. Consisting of 15 simple questions about<br />

honesty, the test was taken by some 12,500 New<br />

Zealanders. The questionable results (hundreds<br />

admitted to lying during the test) were posted<br />

on billboards as part of the campaign.<br />


New Zealand<br />

YEAR<br />

2013<br />

View campaign video.<br />

/ 14

15 /

Bloodhounds<br />

The Dallas Morning News<br />

...<br />


The Dallas Morning News<br />


Media Company<br />

MEDIA<br />

Transit<br />

AGENCY<br />

The Richards Group<br />

To promote the fact that The Dallas Morning<br />

News has more reporters than any other<br />

local area news source, the newspaper used<br />

bloodhounds to represent their tenacious pack<br />

of reporters, depicting them on city buses with<br />

their heads sticking out of the moving vehicles.<br />


USA<br />

YEAR<br />

2012<br />

/ 16

Clingy animals<br />

Sunlight<br />

...<br />


Sunlight<br />


House & Garden<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Lowe Thailand<br />

Detergent brand Sunlight was able to show,<br />

in a very entertaining and cheeky way, how<br />

it can wash away the tough stains and smells<br />

that have a tendency to cling to dishes by using<br />

images of animals desperately clinging to<br />

plates, pans and griddles.<br />


Singapore<br />

YEAR<br />

2013<br />

17 /

Tha Cowz<br />

Chick-fil-A Restaurants<br />

...<br />


Chick-fil-A Restaurants<br />


Food<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

The Richards Group<br />

The Chick-fil-A renegade cows have been<br />

a staple part of this restaurant’s outdoor<br />

advertising campaigns for many years,<br />

desperately trying to convert beef eaters<br />

into chicken fans using ironic humour.<br />


USA<br />

YEAR<br />

2013<br />

/ 18

19 /

Bonds – Boobs<br />

Pacific Brands<br />

...<br />

Following research that suggested many<br />

women felt they couldn’t wear a Bonds bra,<br />

Bonds wanted to show Australian women that<br />

they had a bra for every woman, of any size.<br />

The campaign began with a teaser that saw<br />

Bonds change its logo to ‘Boobs.’<br />


Pacific Brands<br />


Clothing & Accessories<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Clemenger BBDO<br />

Melbourne<br />


Australia<br />

YEAR<br />

2013<br />

/ 20

21 /


Fiona Jolly, Chief Executive Officer,<br />

Advertising Standards Bureau<br />

...<br />

Wherever we go there are signs of all shapes<br />

and sizes. The question is whether we like<br />

the sign, take any notice of the sign, or even<br />

see the sign. From my years of experience<br />

managing the Advertising Standards Bureau<br />

(ASB) – the complaints arm of Australia’s<br />

advertising self-regulation system – no<br />

advertising is free of its critics, whether<br />

it’s television, radio, internet, print or<br />

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

The fact that OOH by its very nature<br />

is in public places – on billboards, bus shelters,<br />

public transport – and cannot be hidden or<br />

switched off like television, radio or internet<br />

advertisements, means it will consistently<br />

create debate in all sectors – the media,<br />

government, the community, and between<br />

advertisers themselves.<br />

The nature of the ASB’s work has meant<br />

that we have sometimes found ourselves in the<br />

middle of some of these rigorous and, at times,<br />

emotional debates.<br />

In the past five years, the ASB has worked<br />

closely with the Outdoor Media Association<br />

(OMA) in putting forward sensible and factual<br />

submissions to state and federal government<br />

inquiries into OOH, ensuring we covered all<br />

of the issues and criticisms raised.<br />

In working with the OMA, we assured<br />

OOH critics were listened to and we added<br />

their criticisms to our regular research work,<br />

ensuring that we maintain an up-to-date<br />

understanding of community perceptions.<br />

Fielding wide-ranging reactions and<br />

formulating them into what can be termed<br />

‘community standards’ has been part of the<br />

ASB’s work since its inception in 1998. The<br />

ASB has sought constructive feedback through<br />

its various ‘community perceptions’ research<br />

projects and these have provided OOH<br />

advertisers with some evidence and answers<br />

about the reasons for the very different<br />

reactions to outdoor advertising.<br />

To maintain a world-class self-regulatory<br />

system, as well as high standards of advertising,<br />

the continuous work of gauging people’s<br />

reactions and perceptions is essential. This<br />

work has led the charge in ensuring that,<br />

when advertisers create slogans, pictures<br />

and concepts for campaigns, they meet and<br />

do not impinge upon community standards.<br />

Also, importantly, the continual research has<br />

highlighted that people’s reactions, perceptions<br />

and knowledge change over time. Up-to-date<br />

information about issues of community concern<br />

is vital knowledge for advertisers, enabling<br />

them to move in sync with the community.<br />

Although considerable effort goes<br />

into trying to predict where the community<br />

will draw the line, the one subject that can<br />

usually be relied upon to cause complaints<br />

is sex. The list of the most complained-about<br />

advertisements during the past 15 years<br />

makes it clear that people are uncomfortable<br />

with advertisements in the public domain for<br />

certain products and services (eg condoms, sex<br />

assistance) as well as highly sexualised images<br />

(eg nude or topless women, intimacy).<br />

Issues raised by the community were<br />

considered in the research we conducted<br />

into sex, sexuality and nudity in advertising.<br />

Participants were very sensitive to issues<br />

around sex and exposure of children to these<br />

concepts. In particular, they were concerned<br />

about the adoption of sexualised appearance<br />

and behaviours, exacerbated by concerns<br />

about reinforcement of unrealistic body<br />

image expectations and the resultant selfesteem<br />

issues. Explicit or highly sexualised<br />

images were considered most offensive to the<br />

community, which believed they should be<br />

less available to children. The inability to turn<br />

off such OOH was highlighted as a concern.<br />

However, humour, relevance and artistic<br />

23 /


...<br />

ABOVE<br />

Sexpo has made major changes<br />

to its style of advertising.<br />

/ 24<br />

treatments of sexual concepts were found<br />

to make an advertisement more likely to<br />

be acceptable.<br />

In the nine years I have been with<br />

the ASB I have watched with interest the<br />

changes in style of outdoor advertising. Of<br />

particular interest are the changes made by<br />

OOH advertisers to imagery and language on<br />

billboards in line with community reactions<br />

and feedback.<br />

One advertiser, Sexpo, has made<br />

major changes to its style of advertising.<br />

After receiving complaints about its original<br />

images, which depicted bikini-clad women in<br />

sexualised poses, the advertiser considered<br />

the issues raised and changed to more benign<br />

images of couples smiling, while still using the<br />

word ‘Sexpo’. This adapted style of advertising<br />

did not have a negative effect; in fact, we are<br />

led to believe there has been an increase<br />

in attendance at these events.<br />

I believe that community reactions<br />

to advertisements will continue to differ and<br />

change, and that OOH will move and adapt to<br />

these changes as it has since the first billboard<br />

was erected in Australia.<br />

I also know the many different reactions<br />

to advertisements will ensure that the<br />

complaints process and decisions made by<br />

the ASB will continue to receive both good and<br />

bad press and that the value of self-regulation<br />

of advertising in Australia will continue to be<br />

debated. I see this as a positive. Debate after<br />

all provides insight into issues.

Should’ve gone to Specsavers<br />

– Australian Open<br />

Specsavers<br />

...<br />


Specsavers<br />


Retail<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

McCann Melbourne<br />

This Specsavers campaign ran during the<br />

Australian Open with the creative specifically<br />

targeted to the event. Following on from<br />

previous executions, which showed people<br />

doing silly things due to their poor eyesight,<br />

this campaign featured a tennis player serving<br />

a lemon instead of a ball.<br />


Australia<br />

YEAR<br />

2013<br />

25 /

Unmemorable celebrities<br />

Glue-it<br />

...<br />


Glue-it<br />


Office Supplies<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Maruri Grey<br />

This campaign focused on the unmemorable<br />

celebrities, covering their faces with a sticky<br />

note to identify who they are while leaving the<br />

true star untouched.<br />


Ecuador<br />

YEAR<br />

2013<br />

/ 26

Various campaigns<br />

Mary Free Bed Rehabilitation Hospital<br />

...<br />


Mary Free Bed<br />

Rehabilitation Hospital<br />


Healthcare<br />

MEDIA<br />

Billboard<br />

This successful regional campaign boasted<br />

multiple billboards promoting Mary Free<br />

Bed Rehabilitation Hospital’s programs and<br />

specialised trauma recovery. The campaign<br />

was inspired by a simple idea: what if<br />

billboards themselves were the victims<br />

of traumatic injuries?<br />

AGENCY<br />

Extra Credit Projects<br />


USA<br />

YEAR<br />

2013<br />

BELOW<br />

Break free orthopedic rehabilitation<br />


Concussion rehabilitation<br />


Spinal cord rehabilitation<br />

/ 28

29 /

Icons<br />

Schick<br />

...<br />


Schick<br />


Health & Beauty<br />

MEDIA<br />

Transit<br />

AGENCY<br />

JWT Manila<br />

To increase appeal to the male target market<br />

and counteract a perception that Schick is<br />

purely a feminine brand, this campaign used<br />

a series of black and white posters featuring<br />

iconic men with defining facial hair (eg Charlie<br />

Chaplin and Mr T), cleverly associating<br />

their distinctive grooming with the Schick<br />

razor brand.<br />


Philippines<br />

YEAR<br />

2013<br />

/ 30

Don’t miss out on summer<br />

Allegra<br />

...<br />


Allegra<br />


Pharmaceuticals<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

lg2<br />

To promote Allegra, an antihistamine known<br />

for its rapid relief of allergy symptoms, an eyecatching<br />

3D poster campaign was developed,<br />

depicting a man blowing his nose using a part<br />

of the poster. Each poster was individually<br />

crumpled and stuck onto the man’s nose.<br />


Canada<br />

YEAR<br />

2012<br />

31 /

The power of colour<br />

Pantone<br />

...<br />

Pantone wanted to connect with a new<br />

generation of young Asian artists and<br />

designers. Using huge Pantone colour swatches,<br />

they combined the uniqueness of the colour<br />

with small sections of well-known cartoon<br />

characters to intrigue the viewers into working<br />

out which character was depicted.


Pantone<br />


Office Supplies<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Y&R Shanghai<br />


China<br />

YEAR<br />


We won’t wipe out your wallet<br />

Casteel Heating, Cooling & Plumbing<br />

...<br />


Casteel Heating,<br />

Cooling & Plumbing<br />


Professional Services<br />

MEDIA<br />

Billboard<br />

To announce its new line of plumbing services,<br />

Casteel Heating, Cooling & Plumbing used<br />

highly visible special-build billboards that used<br />

a 3D empty toilet roll – complete with strands<br />

of toilet paper flapping in the wind – to make<br />

its point.<br />

AGENCY<br />

Clear Channel Outdoor<br />


USA<br />

YEAR<br />

2013<br />

/ 34

Hear the rumble? Feel the wind?<br />

Aspen Pharmacare<br />

...<br />

Aspen Pharmacare adopted a niche marketing<br />

approach with this series of tactically placed<br />

outdoor advertisements in railway stations and<br />

lifts. The execution was humorous, impactful<br />

and memorable.<br />


Aspen Pharmacare<br />


Pharmaceuticals<br />

MEDIA<br />

Retail & Lifestyle, Transit<br />

AGENCY<br />

Ogilvy CommonHealth<br />

Sydney<br />


Australia<br />

YEAR<br />


#Liveyoung<br />

Evian<br />

...<br />

Featuring the brand’s ‘Baby and Me’ creative,<br />

Evian sought to raise the spirits of London<br />

commuters by calling on them to find new<br />

ways to ‘Live young.’ Content changed daily<br />

and appeared on digital screens and escalator<br />

panels across central London and Underground<br />

stations, while the hashtag #LiveyoungJanuary<br />

drove commuters to social media for a chance<br />

to win prizes.<br />

View campaign video.<br />

/ 36


Evian<br />


Beverages<br />

MEDIA<br />

Digital<br />

AGENCY<br />

BETC<br />


UK<br />

YEAR<br />

2014<br />

37 /


Nigel Marsh, Chairman,<br />

The Leading Edge<br />

...<br />

I’m the wrong person to ask about Out-of-<br />

Home (OOH) advertising. I’m utterly biased.<br />

Ever since I moved to London at the<br />

start of my career I was smitten by the clever<br />

posters I would walk past on my way to work.<br />

Far from viewing OOH as visual pollution,<br />

I thought it made the cityscape nicer (a view<br />

rather dramatically reinforced and solidified<br />

by a trip behind the Berlin Wall that winter).<br />

The moment I saw the famous ‘I never read The<br />

Economist. (Management trainee. Aged 42.)’<br />

poster, I made a decision that I wanted<br />

to work at the agency responsible for creating it.<br />

Twelve months and a series of happy accidents<br />

later, I was indeed lucky enough to turn up for<br />

my first day of employment at said agency<br />

– AMV BBDO.<br />

Looking back, I didn’t realise how lucky<br />

I was. For eight years I watched some of the<br />

most famous and effective poster advertising<br />

ever seen being written, sold and produced.<br />

The Economist campaign defied all expectations<br />

and continued to raise the bar: most memorably<br />

on one occasion turning the tops of London<br />

double-decker buses into giant 48-sheet posters<br />

with the headline, ‘Hello to our readers in<br />

high office’; on another producing a billboard<br />

campaign that consisted purely of a blank red<br />

poster with a small model of a fly stuck on the<br />

top right-hand corner – no headline, no logo.<br />

Amazing ground-breaking stuff. And boy was<br />

it effective.<br />

We broke all the rules and produced a car<br />

campaign for Volvo that didn’t have any cars<br />

in it, just the line, ‘Cages save lives’ above<br />

pictures of scenarios such as a diver in a cage<br />

being attacked by a great white, with the Volvo<br />

logo below.<br />

Of course, it wasn’t just AMV BBDO<br />

leading the charge. There were a number of<br />

agencies doing amazing poster campaigns at<br />

the same time – everyone trying to out-do each<br />

other; indeed, my all-time favourite poster<br />

came from a competitor. It was for the new<br />

Volkswagen Polo. Far from having no cars<br />

in it, it was simply a huge pack shot of the new<br />

model with the headline, ‘The New Volkswagen<br />

Polo’ and underneath, next to the logo, a small<br />

byline, “We never said the old one was perfect.”<br />

Brilliant. Such confidence. And humour. And<br />

simplicity. So perfectly on-brand, understated,<br />

and appealingly humble. You can just imagine<br />

all the reasons NOT to do that poster: “Ooh<br />

be careful! You’re criticising the company!”<br />

or “You’ll upset all our customers who have<br />

bought a previous model” etc. Of course, back<br />

in the real world, no one was upset, everyone<br />

got it and felt all the more fondly of Volkswagen<br />

as a result.<br />

My love of good posters has its<br />

downsides. I can’t see a bad one without<br />

feeling a desire to call up the client and explain<br />

where they’re going wrong. My wife rightly<br />

points out that it’s got nothing to do with me<br />

but I just can’t help myself. Someone should<br />

have told them that their art direction is too<br />

fussy and the copy too small to read standing<br />

five feet away, let alone from a passing car. Or<br />

that their agency has committed the cardinal<br />

sin (in my eyes) of the ‘irrelevant attention<br />

grab’, any idiot can get your attention (naked<br />

body, dead body, swear word, etc). It’s doing<br />

it in a branded, compelling, relevant way that<br />

takes skill. And art, if I’m being totally honest.<br />

I believe good posters are art. And I’m not just<br />

talking about the stuff that Toulouse-Lautrec<br />

and his contemporaries produced in France<br />

in the late 1890s. I’m talking about the stuff<br />

produced now.<br />

But does it work? Well, one of the utter<br />

joys of my role here at The Leading Edge is that<br />

I have been exposed to decades of research<br />

39 /


...<br />

and market-mix models that prove beyond<br />

question the added effectiveness of campaigns<br />

when outdoor is included in the schedule. Our<br />

research shows ROI increases anywhere from<br />

20% to 38% when OOH is intelligently added to<br />

a client’s plans. It’s rather lovely when science<br />

backs up a long-standing personal prejudice.<br />

It’s my belief that these types of results<br />

will always be available to clients. Posters will<br />

never go out of fashion. Whatever technology<br />

throws up, people will always have legs and<br />

eyes. However short people’s attention spans<br />

become, there will always be a place in our<br />

hearts and minds for a well-crafted picture<br />

and six-word headline on the way to work.<br />

RIGHT<br />

The Economist campaign, turning the tops<br />

of London double-decker buses into giant<br />

48-sheet posters.<br />

/ 40

Benylin mucus monster<br />

Johnson & Johnson<br />

...<br />

Targeting commuters, who are more susceptible<br />

to colds and flu in winter, this campaign ran<br />

on the Luas tram network with a special build<br />

at one of the busiest Luas stops in the heart<br />

of Dublin.<br />


Johnson & Johnson<br />


Pharmaceuticals<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Vizeum<br />


Ireland<br />

YEAR<br />

2012<br />

41 /

A Dare fix’ll fix it<br />

Lion<br />

...<br />

This campaign humorously positioned Dare<br />

Iced Coffee as the solution for those occasions<br />

when you are caught with your foot in your<br />

mouth. Using the digital network, Dare was<br />

able to intermittently change its messaging<br />

to capitalise on humorous topical events in<br />

news and entertainment where people weren’t<br />

thinking straight.<br />


Lion<br />


Beverages<br />

MEDIA<br />

Billboard, Digital, Street<br />

Furniture, Transit<br />

AGENCY<br />

AJF Partnership,<br />

Soap Creative<br />


Australia<br />

YEAR<br />

2013–2014<br />

/ 42

43 /


Jane Caro, Writer, Lecturer<br />

and Media Commentator<br />

...<br />

The most important – and also the most<br />

neglected – part of persuasive communication<br />

is that it must contain something unexpected.<br />

This is the element that causes us to stop and<br />

pay attention. It disturbs the usual and shakes<br />

us out of our torpor. It is also the part of<br />

a communication that those who commission<br />

such things are most afraid.<br />

When I worked in ad agency creative<br />

departments, we often joked at how unerringly<br />

many clients would find the idea in an<br />

advertisement and demand it be taken out.<br />

That’s because the idea – in an advertising<br />

creative person’s terms – is the part of the<br />

concept that makes it unexpected, different,<br />

and, yes, a little bit disturbing. Sadly, without<br />

an element of the unexpected, messages sink<br />

without a trace. However deep your pockets,<br />

it is no longer possible to bore people into<br />

buying your product. These days, they will<br />

either physically reject your message by fastforwarding<br />

it, muting it, skipping it or – if all<br />

that fails – by simply ignoring it. We’ve never<br />

been so besieged by advertising messages and<br />

never been so less likely to notice them.<br />

Some advertisements, however, are<br />

transcending the technology to such an<br />

extent that they are becoming destinations in<br />

themselves. Their creators have realised that<br />

if you make the message relevant, compelling<br />

and engaging enough, your audience will<br />

also become your media. They will post your<br />

message on their Facebook page and tweet it to<br />

their followers. If they do that, discussions will<br />

emerge around your message and it will become<br />

not an intruder on the popular conversation (as<br />

so many advertisements still are) but both an<br />

instigator and an equal participant. That’s the<br />

Holy Grail for any message.<br />

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

messages, however, the pursuit of the<br />

unexpected in cynical, lazy or unskilled hands,<br />

has the potential to cause real problems.<br />

OOH messages have always had the<br />

advantage of being harder to ignore. They<br />

are able to intrude themselves into our<br />

field of vision simply by being a part of the<br />

landscape. You can’t even go to a public loo<br />

these days without someone sticking an<br />

advertising message on the back of the door!<br />

This is also their disadvantage. Because<br />

OOH advertisements cannot be avoided by<br />

passers-by, there is an added responsibility<br />

on advertisers in terms of their message. The<br />

advertisement that might be unexceptional<br />

in Zoo magazine, for example, is going to cause<br />

trouble 24 sheets high beside the M1. I spend<br />

quite a lot of my time as a media commentator<br />

apologising on the advertising industry’s behalf<br />

for ill-conceived posters.<br />

Part of the problem is a lazy attempt<br />

to gain attention via shock. There is nothing<br />

intrinsically wrong with shock as a way<br />

to include the unexpected in your message –<br />

just as long as the unexpected is relevant and<br />

appropriate. When it is borrowed interest,<br />

however, or just a cynical attempt to cause<br />

a furore and so gain free exposure, it may<br />

work in the short term but, in the long term,<br />

it increases pressure for creativity to be limited<br />

by legislation, which will damage us all.<br />

Advertisers, like any other participant<br />

in the public space, have two sets of<br />

responsibilities – to their client and to<br />

society as a whole. Yet, to get noticed, OOH<br />

advertisements still have to disturb the usual<br />

by doing something unexpected. The task is<br />

a tough one, but if you get it right, the rewards<br />

can be worth it.<br />

Create a message that disturbs your<br />

audience in a positive way and you can spend<br />

far less of your budget on buying media and far<br />

more on making a really first-rate message<br />

– be it for television, OOH, print, online or<br />

45 /


...<br />

whatever. That’s because, if they like it enough,<br />

your audience will become your distributors.<br />

Most humour is to do with the<br />

unexpected. Often, people explode into<br />

laughter from the shock of recognition –<br />

something gets said that is often thought but<br />

rarely gets spoken. Maybe it breaks a taboo<br />

of some kind and so we laugh with the relief<br />

at seeing our own private thoughts normalised<br />

and confirmed. I believe that kind of laughter<br />

diffuses shame.<br />

Inspiration is about the unexpected too.<br />

People who overcome great odds are unusual.<br />

Where we fear we might fail, they prove you<br />

can unexpectedly succeed, and that the very<br />

worst moments can be transformed into the<br />

very best. That’s unexpected, and so we pay<br />

attention.<br />

Acknowledging the negative is also<br />

unexpected and paradoxically leads to more<br />

trust in the truth of a message overall. If you<br />

admit your weaknesses, I am much more likely<br />

to believe you when you tell me about your<br />

strengths.<br />

Connection happens because of shared<br />

emotions. We all live very different lives from<br />

one another but we all feel the same emotions.<br />

We all know what it is to feel joy, pain, fear and<br />

hatred, even if they have been triggered by very<br />

different life experiences. It is through our<br />

shared emotions that we connect, no matter our<br />

age, race, gender, religion, education or class.<br />

When asked what he wanted his writing<br />

to do, E.M. Forster (author of A Room with<br />

a View, Howards End and A Passage to India)<br />

said, ‘Only connect.’ It is in the unexpected<br />

moment of connection via empathy, recognition,<br />

shared shock and laughter that the message<br />

goes home.<br />

But don’t be cynical about it.<br />

/ 46

Would you kiss you?<br />

Schick<br />

...<br />


Schick<br />


Health & Beauty<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Y&R New Zealand<br />

This Valentine’s Day campaign featured<br />

attractive women in seductive situations and<br />

asked men to consider how they would feel<br />

if the tables were turned? Would they be more<br />

inclined to get the razors out and let go of those<br />

precious beards?<br />


New Zealand<br />

YEAR<br />

2013<br />

47 /

Luggage tags<br />

Expedia<br />

...<br />

Expedia sought to avoid well-trodden holiday<br />

clichés. They took a piece of ephemera, used<br />

by some 900 airports worldwide. Utilising<br />

these iconic adhesive labels, clever puns were<br />

created using the ubiquitous three-letter<br />

airport designators. Each advertisement<br />

included a punchline designed to look like<br />

passport stamps.<br />


Expedia<br />


Travel & Tourism<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Ogilvy & Mather<br />


UK<br />

YEAR<br />

2013<br />

49 /

This way. It’s time.<br />

Genesis Fitness Club<br />

...<br />

Though only a small fitness club in suburban<br />

North Queensland, Genesis Fitness Club took<br />

a big approach to its advertising, appealing to<br />

local commuters on a quirky yet personal level<br />

with its series of billboards.<br />


Genesis Fitness Club<br />


Health & Fitness<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Paradise Outdoor<br />

Advertising<br />


Australia<br />

YEAR<br />

2013<br />

/ 50


SELL M<br />

E<br />


53 /

SECTION 02<br />

Sell Me Something<br />

...<br />



Clemenger BBDO<br />

...<br />

A–CLASS<br />

Clemenger BBDO, Foundation<br />

...<br />


Meerkats<br />



The Red Brick Road<br />

...<br />


Village Roadshow<br />

...<br />


Leo Burnett Toronto<br />


Adams Outdoor Advertising, Fairway<br />

Outdoor Advertising, Moroch and<br />

TBWA Shanghai<br />

...<br />


PHD<br />


Workshop<br />

...<br />


JWT Perth<br />

...<br />


Rockstar Games<br />

/ 54


Glue Society<br />

...<br />


Cramer–Krasselt<br />

...<br />


Scarlet Design Group<br />

...<br />


Slingshot Production<br />

...<br />


DDB Melbourne<br />

...<br />


Leo Burnett Sydney<br />


Walz Tetrick Advertising<br />

...<br />


Village Roadshow<br />



BMF<br />

...<br />


Barnes, Catmur & Friends<br />



McCann Worldgroup<br />

55 /

Suimin – an Asian takeaway<br />

in your pantry<br />

San Remo<br />

...<br />


San Remo<br />


Food<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Clemenger BBDO<br />

Taking Suimin’s Asian takeaway campaign<br />

to new heights, a series of unique Thai-themed<br />

bus shelters were created in areas close to<br />

supermarkets selling Suimin products, driving<br />

brand identity and influencing shoppers along<br />

the path to purchase.<br />


Australia<br />

YEAR<br />

2013<br />

/ 56

A-Class<br />

Mercedes-Benz<br />

...<br />

The all-new A-Class car advertisement was<br />

designed specifically to reach a new, younger<br />

buyer. Outdoor was chosen as the main<br />

broadcast medium due to the light TV viewing<br />

habits of the targeted audience. High-impact<br />

formats were used to capture the attention<br />

of a generation who largely dismissed<br />

Mercedes-Benz as making cars for their<br />

parents, not for them.<br />


Mercedes-Benz<br />


Automotive<br />

MEDIA<br />

Billboard, Street<br />

Furniture, Transit<br />

AGENCY<br />

Clemenger BBDO,<br />

Foundation<br />


Australia<br />

YEAR<br />

2013<br />

/ 58

59 /

Connect better<br />

iiNet<br />

...<br />


iiNet<br />


Telecommunications<br />

MEDIA<br />

Billboard, Transit<br />

AGENCY<br />

Meerkats<br />

iiNet delivered on its brand promise to ‘Connect<br />

Better’ with this outdoor campaign. Services<br />

that required more detail, such as ‘free in-home<br />

tech support’, were explained in places where<br />

people could be found waiting with time on<br />

their hands, such as airport terminals and<br />

train station platforms. Other messages were<br />

designed to be more easily digested.<br />


Australia<br />

YEAR<br />

2013<br />

/ 60

Made in the dark for a better taste<br />

Magners<br />

...<br />


Magners<br />


Alcoholic Beverages<br />

MEDIA<br />

Transit<br />

AGENCY<br />

The Red Brick Road<br />

This eye-catching campaign dominated seven<br />

underground stations across London and<br />

Glasgow featuring all black artwork, with only<br />

the product spotlighted.<br />


UK<br />

YEAR<br />

2012<br />

61 /

The Great Gatsby<br />

Roadshow Films<br />

...<br />


Roadshow Films<br />


Entertainment<br />

MEDIA<br />

Street Furniture, Transit<br />

This campaign was designed to launch Baz<br />

Luhrmann’s highly anticipated film adaptation<br />

of The Great Gatsby, and featured stunning<br />

visuals inspired by 1920s design and the stars<br />

of the movie.<br />

AGENCY<br />

Village Roadshow<br />


Australia & New Zealand<br />

YEAR<br />

2013<br />

/ 62

63 /


Ben Colman, Chief Executive Officer,<br />

18 Feet & Rising<br />

...<br />

There are few purer tests of an advertising<br />

professional’s talent than to create magic<br />

out of a simple product truth. Bill Bernbach<br />

threw down the glove in 1959 when he used<br />

the humble product image of a Volkswagen,<br />

underscored by the one-word headline<br />

‘Lemon’ and word-perfect copy, to evoke<br />

a truth about the compelling quality control<br />

standards applied by the German car-maker<br />

at the time. This now-classic ad is all about<br />

the product. Adland has been chasing<br />

such moments of simple genius ever since.<br />

Or have they?<br />

Over the decades, simple product-truthbased<br />

advertising seemed to lose its place<br />

in the sun and take a back seat as the industry<br />

evolved. Through the 1970s brand image was<br />

king, and The Marlboro Man rode ahead of the<br />

pack. In the ‘80s and ‘90s the world chased<br />

brand salience and emotional connection<br />

as we all velcroed up our Nikes and were told<br />

to ‘Just Do It.’ And more recently, through the<br />

Noughties until today, the pursuit of brand<br />

engagement through content, interaction and<br />

data has become our guiding mantra.<br />

Simple product-truth-based advertising<br />

lost its cool factor in the creative departments<br />

of agencies around the world. It never<br />

disappeared completely but this style of<br />

advertising certainly struggled for oxygen and<br />

recognition for many years.<br />

So, are product-centric advertisements<br />

in the process of making a stunning comeback?<br />

Perhaps. As ‘consumers’ redefine<br />

themselves as ‘acquirers’ and take big steps<br />

towards control of the advertising conversation<br />

and transaction, many people seem less and<br />

less interested in chatting with, or genuinely<br />

engaging with, a whole host of brand categories<br />

– “No, I don’t really want a social media<br />

relationship with my shampoo.”<br />

Today, people are almost in total control of the<br />

dialogue and the choice to engage with brands<br />

on their own terms. And many are choosing to<br />

opt out of the game.<br />

It is this shift in ground that seems<br />

to be opening up fresh space for brands that<br />

genuinely understand the simple role they play<br />

in people’s lives and, importantly, are happy<br />

to stay there rather than overreach. Now, more<br />

than ever, there is great opportunity for brands<br />

that genuinely know who they are and how<br />

to express themselves – simply, clearly and<br />

with confidence.<br />

Bringing the product and its winning<br />

features back into the limelight is hard for<br />

many in the advertising industry to embrace,<br />

as we have spent years chasing the Holy Grail<br />

of ‘consumer insight’ to unlock wallets and<br />

purses. The reality for many categories is<br />

that ‘my research’ is usually as good as ‘your<br />

research.’ It also seems to be the case that many<br />

consumer-insight-driven ads leave you hanging<br />

with a “So you understand me a little – so<br />

what?” kind of feeling. History is littered with<br />

such campaigns that forgot the product’s role<br />

in the conversation.<br />

The wonderful thing about advertisements<br />

that stay grounded in a product truth is that<br />

they rarely overstate the role the product plays<br />

in our lives. They don’t over-promise and<br />

therefore rarely stand at risk of overt rejection.<br />

Ads that are a straight sell don’t reach too far<br />

into your life and suggest you’ll be a better<br />

lover, mother or provider.<br />

Instead, product-truth ads invite the<br />

reader, watcher or listener into a short moment<br />

of empathy with the product through a great<br />

demonstration or ‘wow’ piece of information<br />

that evokes a quiet, “Hmm, you have my<br />

attention, and I think I like you” response.<br />

Great product-truth advertising briefly<br />

65 /


...<br />

ABOVE<br />

Dove is different, see full<br />

campaign on pages 72–73.<br />

/ 66<br />

invites you into the product’s world. Once<br />

there, you are given a clear and powerful sense<br />

of “this is who I am as a brand” along with “this<br />

is what I do better than anyone else.” The best<br />

of these advertisements leaves you, as viewer,<br />

with a powerful and unsaid call to action. Like<br />

the brand is asking, “So, are you with me?”<br />

Product demonstration done well has<br />

always been among the most memorable of ads.<br />

Great demos are also hard to beat in terms of<br />

sales effectiveness. The recent Out-of-Home<br />

(OOH) advertising campaign for Dove is<br />

a great example. Here is a product that has<br />

built a powerful category umbrella brand on<br />

the compelling product story of not being soap<br />

because it contains one-quarter moisturiser.<br />

The OOH execution, featuring soap as the<br />

cheese grater bad guy and Dove as the hero,<br />

is consumed and understood in an instant.<br />

The visually impactful advertisement leaves the<br />

viewer to quietly confirm their agreement that<br />

‘Dove is different’ (pp. 72–73) as they go about<br />

their daily lives, until the next time they stand<br />

in the beauty aisle of the supermarket. Job done.<br />

Quite often, we don’t even recognise<br />

a great product demonstration when we see<br />

one because of the way it’s done. Apple has been<br />

a master at this since the first iPod Silhouette<br />

campaign with ‘1,000 songs in your pocket’<br />

to the latest iPhone release.<br />

They show how product demo advertising<br />

never need be dull.<br />

Few media provide a better test of<br />

a product-truth-based creative execution, or<br />

of a creative team, than the simple blank canvas<br />

of an outdoor billboard. Distilling the product<br />

truth down to a winning image, or a few key<br />

words that carry the whole conversation, has<br />

stolen many a creative team’s evening and<br />

weekend.<br />

But when done well, advertising simply<br />

doesn’t get any better.

There’s a page for that<br />

IKEA<br />

...<br />

This outdoor campaign was designed to<br />

give people a reason to keep the new IKEA<br />

catalogue around all year long by turning the<br />

catalogue into a book about ways to deal with<br />

life’s changes. Placed on billboards and bus<br />

shelters, the amusing taglines and relatable<br />

‘flagged’ pages were aimed to prompt<br />

consumer recall.<br />


IKEA<br />


House & Garden<br />

MEDIA<br />

Billboard, Street Furniture<br />

AGENCY<br />

Leo Burnett Toronto<br />


Canada<br />

YEAR<br />

2013<br />

67 /

Various campaigns<br />

McDonald’s<br />

...<br />

As one of the most prevalent fast food<br />

advertisers, McDonald’s makes significant use<br />

of outdoor advertising that uses innovative<br />

bespoke builds, traditional layouts and simple,<br />

emotive creative. Campaigns are usually<br />

executed across the globe, requiring multiple<br />

executions and slogans.<br />


McDonald’s<br />


Food<br />

MEDIA<br />

Billboard, Street Furniture<br />

AGENCY<br />

Adams Outdoor<br />

Advertising, Fairway<br />

Outdoor Advertising,<br />

Moroch, TBWA Shanghai<br />


USA & China<br />

YEAR<br />

2012, 2013, 2014<br />

BELOW<br />

Bag some dinner<br />


Real. Good.<br />


Happy Meal<br />


History of the Big Mac

69 /

Live to deliver<br />

FedEx<br />

...<br />

As sponsors of the world-renowned Wimbledon<br />

Championships, FedEx created an incredibly<br />

impactful outdoor campaign by turning<br />

an everyday station platform into a lifesized<br />

tennis court. It added to the hype and<br />

excitement as it was positioned at the closest<br />

station to the tennis tournament.<br />


FedEx<br />


Professional Services<br />

MEDIA<br />

Transit<br />

AGENCY<br />

PHD<br />


UK<br />

YEAR<br />

2013<br />

71 /

Dove is different<br />

Dove<br />

...<br />

A bespoke build of a giant grater and Dove<br />

beauty bar was the cornerstone of this<br />

campaign. The special build was featured<br />

on two of Australia’s busiest metropolitan<br />

street billboards; one in Sydney and one in<br />

Melbourne. The theme was also extended<br />

across the eastern seaboard of Australia<br />

on buses.<br />


Dove<br />


Health & Beauty<br />

MEDIA<br />

Billboard, Transit<br />

AGENCY<br />

Workshop<br />


Australia<br />

YEAR<br />

2013<br />

/ 72

RAC Insurance<br />

Royal Automobile Club of WA (RAC)<br />

...<br />


Royal Automobile Club<br />

of WA (RAC)<br />


Insurance<br />

MEDIA<br />

Billboard<br />

A series of billboards designed to demonstrate<br />

the depth of insurance offered by RAC, a car<br />

and home insurer that puts helping its Western<br />

Australian members at the heart of what it does.<br />

AGENCY<br />

JWT Perth<br />


Australia<br />

YEAR<br />

2012–2013<br />

/ 74

Grand theft auto V<br />

Rockstar Games<br />

...<br />

Rockstar Games’ Grand theft auto V, was<br />

launched with an extensive campaign featuring<br />

large-scale portraits of the game’s characters,<br />

executed across multiple formats in major<br />

Australian capital cities.<br />


Rockstar Games<br />


Games & Toys<br />

MEDIA<br />

Billboard, Street<br />

Furniture, Transit<br />

AGENCY<br />

Rockstar Games<br />


Australia<br />

YEAR<br />

2013<br />

75 /

Listen for free<br />

Spotify<br />

...<br />

This was the first Out-of-Home (OOH)<br />

campaign for Spotify in the Australian market.<br />

The use of clean, bright creative across Sydney,<br />

Melbourne and Brisbane aimed to cut through<br />

in the busy OOH space and capture the attention<br />

of passers-by looking for a free music fix on<br />

their mobile.<br />


Spotify<br />


Entertainment<br />

MEDIA<br />

Digital, Street Furniture<br />

AGENCY<br />

Glue Society<br />


Australia<br />

YEAR<br />

2014<br />

/ 76

77 /


Ben Coulson, Chief Creative Officer,<br />

GPY&R Australia and New Zealand<br />

...<br />

Imagine walking into a luxury store and<br />

loudly announcing to anyone within earshot,<br />

“Sell me something, God damn it. I’ve got<br />

a hunger to buy and the buffet is open,<br />

let’s eat!”<br />

“Excuse me sir, can I help you (are you<br />

crazy, should I call the police)?”<br />

“You heard right, my consumer demand<br />

is peaking and if I don’t get some retail relief<br />

real soon, it’s gonna blow!”<br />

Not something I’ve done before, but<br />

it would be worth it to see the look on the<br />

sales assistants’ faces as they struggled with<br />

these new rules of retail engagement. You<br />

are going to buy, it’s now just a matter of<br />

what and how much.<br />

It sounds a bit far-fetched, but this<br />

is really what happens when we do our jobs<br />

properly. People want to buy things. Sometimes<br />

so much it doesn’t completely make sense.<br />

It’s worth keeping in mind when selling<br />

to people that advertising is demand stimulus.<br />

We’re the ‘want makers.’ We are the hands on<br />

the bellows that fan the flames of capitalism.<br />

Okay, that might be a little dramatic, but<br />

our role in driving confident and successful<br />

economies is significant. Without sufficient<br />

demand for goods and services, some of the<br />

building blocks of the economy (like GDP) fail.<br />

The right advertising moves a person<br />

into the buying box seat. It isn’t some kind<br />

of dark voodoo that can make us act outside<br />

our will. But it is the little retail bird whispering<br />

in our ear; the voice that says, “Go on, you really<br />

deserve this. Hell, you actually need it. It’s<br />

a very smart buy.”<br />

And it can be a really fun game. We<br />

all like buying stuff. And we like the whole<br />

courting process (whether we admit it or<br />

not). Often, it is a lovely flirtation, a little<br />

psychological cat and mouse with our capitalist<br />

programming. Done properly, it’s outright<br />

seduction. Rational thinking is swept away<br />

in the moment.<br />

Suddenly, we have that new fishing rod<br />

with laser scope, the smart TV that will let us<br />

watch Game of Thrones nights before it runs in<br />

the US, the blender that will make the smoothie<br />

that will kick start our new healthy lifestyle,<br />

the shoes that will absolutely make the outfit.<br />

Think about some of the things you have<br />

bought recently and the story you created for<br />

why you need them: “It was such good value”;<br />

“I’ve been looking for one of these for ever”;<br />

“It will last a lifetime”; “It was the last one”;<br />

“They have just come in and I was lucky to snap<br />

them up.” Sometimes, we even need the things<br />

we buy, but we still like to make up these little<br />

justifications.<br />

Whenever you notice yourself inventing<br />

a wonderfully appropriate validation for your<br />

purchase, understand you have been ‘sold.’<br />

It’s not a bad thing, you’ve got the product<br />

or service you wanted and it has been fun<br />

choosing it. This ritual rationalisation is<br />

just the last move in a big game of corporate<br />

seduction (I’m sure market researchers have<br />

a much fancier name for it).<br />

On that note, marketing does have<br />

a habit of turning this romance into a somewhat<br />

less poetic science. We’ve all been in meetings<br />

where the depersonalisation of the process and<br />

the weight of anachronisms make it all seem<br />

a bit creepy.<br />

Selling doesn’t have to be creepy; it’s<br />

not something to be ashamed of. Everyone<br />

is selling something. The doctor is selling you<br />

a way to get better (often involving at least<br />

two consultations, a set of scans, plus a referral<br />

and a trip to the chemist; masterful on-selling.)<br />

The architect who built your home sold you<br />

a vision, the yoga teacher a lifestyle, the school<br />

a future, and so on.<br />

79 /


...<br />

ABOVE<br />

Highlighting the many destinations<br />

British Airways flies to, digital<br />

billboards in key London locations<br />

featured signs that encouraged<br />

passers-by to look up and spot<br />

its aircraft.<br />

The most important thing when selling<br />

something is to be personable, respectful and<br />

create a game that is fun for both the seller<br />

and the buyer. Take a look at the recent British<br />

Airways Outdoor advertising campaign that<br />

tracks aircraft as they fly over. Or the lovely<br />

Swedish hair care posters (p. 144) that respond<br />

to the arriving trains. They are both great<br />

examples of advertising that is able to have<br />

some fun with its audience.<br />

We need more work like this. It helps<br />

change the still popular perception that we<br />

are evil marketers running around with ‘brand<br />

nets,’ trying to snare unsuspecting consumers.<br />

An image we really need to retire.<br />

A good place to start is to resist using<br />

terms like ‘target market’ and ‘consumers.’<br />

We are not hunting – and people don’t eat ads.<br />

In any case, there is no value in tricking<br />

someone into buying your stuff. That’s what<br />

‘snake oil’ salesmen do, and it only ever attracts<br />

fools and leads to you getting run out of town –<br />

or lynched.<br />

So, I like to start with the assumption<br />

that people are saying, ‘sell me something’ –<br />

meaning, they have some money they’d like<br />

to spend, they want to be seduced, and the<br />

game of determining which particular product<br />

will best court their desires is afoot.<br />

/ 80

The night-time economy<br />

Westpac<br />

...<br />


Westpac<br />


Financial Services<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

DDB Melbourne<br />

To promote its 24/7 self-service branches,<br />

Westpac developed this campaign which<br />

displayed a geo-targeted message to engage<br />

people with its extended service offering.<br />


Australia<br />

YEAR<br />

2013<br />

81 /

Quench your curiosity<br />

Diageo Australia<br />

...<br />


Diageo Australia<br />


Alcoholic Beverages<br />

MEDIA<br />

Billboard, Transit<br />

AGENCY<br />

Leo Burnett Sydney<br />

Recognising that people are moving away<br />

from the traditional premix, Bundaberg Rum<br />

brewed a series of crafted premixes offering<br />

a desirable and authentic alternative for the<br />

discerning drinker.<br />


Australia<br />

YEAR<br />

2013<br />

/ 82

Luna Corona<br />

Corona Extra<br />

...<br />


Corona Extra<br />


Alcoholic Beverages<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Cramer-Krasselt<br />

During the summer of 2013, the actual moon was<br />

turned into the iconic slice of lime associated<br />

with the Corona Extra bottle. After extensive<br />

work with astronomers, the perfect location<br />

in downtown New York was found where the<br />

crescent moon would descend into the billboard<br />

and fall into the neck of the beer bottle.<br />


USA<br />

YEAR<br />

2013<br />

View campaign video.<br />

83 /

Come to play<br />

Kansas City Royals<br />

...<br />

When the Kansas City Royals signed three<br />

star pitchers they celebrated with this<br />

double billboard campaign. Positioned on<br />

opposite sides of a busy highway, the creative<br />

demonstrated the power of the pitcher’s<br />

delivery as the ball seems to rip through<br />

the opposite catcher’s billboard.<br />

/ 84


Kansas City Royals<br />


Sport<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Walz Tetrick Advertising<br />


USA<br />

YEAR<br />

2013<br />

85 /

The Wolf of Wall Street<br />

Roadshow Films<br />

...<br />


Roadshow Films<br />


Entertainment<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Village Roadshow<br />

Roadshow Films let the money do the talking<br />

with this campaign created to launch the<br />

film The Wolf of Wall Street in Australia. The<br />

cashed-up concept required security to guard<br />

the advertising panels which were filled with<br />

genuine $100 notes (to the value of $10,000)<br />

being blown around the star of the film,<br />

Leonardo DiCaprio.<br />


Australia<br />

YEAR<br />

2014<br />

/ 86

Kettle Chunky<br />

Snack Brands Australia<br />

...<br />


Snack Brands Australia<br />


Confectionery & Snacks<br />

MEDIA<br />

Retail & Lifestyle<br />

AGENCY<br />

BANJO<br />

Over 60 shopping centre advertising panels<br />

were converted into gigantic packets of chips,<br />

some of which had sound, to promote the new<br />

Kettle Chunky chip range. When shoppers<br />

walked past a panel, the movement triggered<br />

the sound of someone chomping on the chunky<br />

chips followed by a “that’s crunchy” voice over.<br />


Australia<br />

YEAR<br />

2013<br />

87 /

The perfect Aussie Christmas<br />

ALDI<br />

...<br />


ALDI<br />


Retail<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

BMF<br />

ALDI took its Christmas campaign to the<br />

streets with an Aussie-themed Christmas<br />

message, complete with surf board seats,<br />

advertising its low prices on Christmas<br />

lunch essentials.<br />


Australia<br />

YEAR<br />


Rabbit pizza<br />

Hell Pizza<br />

...<br />


Hell Pizza<br />


Food<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

Barnes, Catmur & Friends<br />

To promote its new rabbit meat pizza over<br />

the Easter holiday break, Hell Pizza launched<br />

this controversial billboard made entirely<br />

of rabbit skins.<br />


New Zealand<br />

YEAR<br />

2014<br />

View campaign video.<br />

89 /

The Lion King<br />

Disney Theatrical<br />

...<br />


Disney Theatrical<br />

Productions<br />


Entertainment<br />

MEDIA<br />

Billboard, Street<br />

Furniture, Transit<br />

To promote the much anticipated return<br />

of The Lion King musical to Sydney, this<br />

attention-grabbing campaign ‘turned the city<br />

yellow’ with transit wraps, billboards and<br />

street furniture posters dominating Sydney’s<br />

CBD during the production’s opening week.<br />

AGENCY<br />

Slingshot Production<br />


Australia<br />

YEAR<br />

2013<br />

/ 90

91 /

The fastest way to transfer money<br />

Western Union<br />

...<br />


Western Union<br />


Financial Services<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

McCann Worldgroup<br />

Roadside billboards en-route to Western Union<br />

money transfer outlets featured currencies,<br />

which used faces from international banknotes<br />

that changed as the driver drove past, to remind<br />

them that the Western Union money transfer<br />

service changes currency instantly.<br />


India<br />

YEAR<br />

2012<br />

View campaign video.<br />

/ 92


TELL M<br />

E A<br />

STORY<br />

95 /

SECTION 03<br />

Tell Me a Story<br />

...<br />


Bulldozer<br />

...<br />


Common Ventures<br />


Serve Marketing<br />

...<br />


News Corp<br />


National Geographic Channel<br />

...<br />


The Richards Group<br />



GPY&R<br />

...<br />


Leo Burnett Belgrade<br />

...<br />


CITIES<br />

Ogilvy & Mather<br />

/ 96


FCB Mayo<br />

...<br />


Clear Channel Outdoor<br />


Marcel Worldwide<br />

...<br />

GAYTMS<br />

Whybin\TBWA Group<br />


Grey<br />

...<br />

PLAN B<br />

Ogilvy & Mather<br />


BANJO<br />

...<br />


Steve Minon in Exile<br />

97 /

Big questions<br />

Church of Sweden<br />

...<br />


Church of Sweden<br />


Public Interest<br />

MEDIA<br />

Billboard, Street Furniture<br />

AGENCY<br />

Bulldozer<br />

This provocative campaign aimed to demonstrate<br />

that the Church of Sweden is an open organisation<br />

that encourages debate, whatever the subject and<br />

no matter who wants to discuss the issues.<br />


Sweden<br />

YEAR<br />

2013<br />

99 /

We need your help<br />

Royal Institute for Deaf<br />

and Blind Children<br />

...<br />

This pro-bono campaign featuring a teddy bear<br />

with no eyes or ears helped raise awareness and<br />

donations for the Royal Institute for Deaf and<br />

Blind Children.<br />


Royal Institute for<br />

Deaf and Blind Children<br />


Public Interest<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Common Ventures<br />


Australia<br />

YEAR<br />

2013<br />

/ 100

Various campaigns<br />

City of Milwaukee Health Department<br />

and United Way of Greater Milwaukee<br />

...<br />

Serve Marketing, North America’s only allvolunteer,<br />

not-for-profit advertising agency,<br />

worked with the City of Milwaukee Health<br />

Department and United Way of Greater<br />

Milwaukee to create two behaviour-changing<br />

public service campaigns: one around the<br />

growing social problems of teen pregnancy<br />

and the other to raise the immunisation rates<br />

for babies.<br />


City of Milwaukee<br />

Health Department<br />

and United Way of<br />

Greater Milwaukee<br />


Public Interest<br />

MEDIA<br />

Billboard, Street<br />

Furniture, Transit<br />

AGENCY<br />

Serve Marketing<br />


USA<br />

YEAR<br />

2009–2012<br />

BELOW<br />

I want a strong baby<br />


Think your teen life won’t change with a baby?<br />


Your baby’s not a baby anymore<br />


Teen pregnancy, stop ignoring it<br />

/ 102

103 /

Fast front pages<br />

News Corp<br />

...<br />


News Corp<br />


Media Company<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

News Corp<br />

The challenging objective of this groundbreaking<br />

outdoor campaign was to increase<br />

circulation of News Corp’s newspapers.<br />

Recognising that newspapers continue to<br />

set the daily agenda for other media, the<br />

execution was to post the entire front page<br />

of News Corp newspapers across hundreds<br />

of outdoor sites in Sydney, Melbourne and<br />

Brisbane by 6am, every day, for eight weeks.<br />

At the time, this was the most logistically<br />

complex outdoor campaign ever attempted<br />

in Australia.<br />


Australia<br />

YEAR<br />

2013<br />

/ 104

105 /

Ultimate Survival Alaska<br />

National Geographic Channel<br />

...<br />


National Geographic<br />

Channel<br />


Entertainment<br />

MEDIA<br />

Billboard<br />

This building wrap announced the premiere<br />

of Ultimate Survival Alaska, on National<br />

Geographic Channel. The execution needed<br />

to match the extreme nature of the series –<br />

to be big, bold, epic and, most importantly,<br />

something you could only see on National<br />

Geographic Channel.<br />

AGENCY<br />

National Geographic<br />

Channel<br />


USA<br />

YEAR<br />

2013<br />

/ 106

Mad Men Season 5 teaser<br />

AMC<br />

...<br />


AMC<br />


Entertainment<br />

MEDIA<br />

Billboard<br />

AGENCY<br />

The Richards Group<br />

This campaign aimed to use as few elements as<br />

possible to remind people about the upcoming<br />

season of Mad Men. The creative thinking: less<br />

became more. With its controversial nature<br />

and built-in mystery, the campaign went viral,<br />

becoming an Internet meme overnight.<br />


USA<br />

YEAR<br />

2012<br />

View campaign video.<br />

107 /


Andy Lark, Founder & Chief Executive Officer,<br />

Group Lark<br />

...<br />

Few start with it. Even fewer end with it.<br />

Most include it – more or less. But rarely<br />

does anyone start with it and let it dominate.<br />

That’s how it’s always been with Out-of-<br />

Home (OOH) advertising.<br />

Some of the most memorable campaigns,<br />

however, launched alongside Australia’s roads,<br />

inside bus shelters and atop our buildings, teach<br />

us that OOH is more than just part of the mix;<br />

a checkbox to tick in effective planning. They<br />

underscore that OOH can be the starting point<br />

– or even the entire platform – for the creative<br />

idea and campaign.<br />

Who can’t recall the roadside image of<br />

the kid’s eyes bleeding in the rain to emphasise<br />

the need for driving safely in the rain? Or,<br />

for us Kiwis, Tui Beer’s now iconic Yeah<br />

right campaign? How about last summer’s<br />

brilliant Bonds’ Boobs billboards? (pp. 20–21)<br />

They all bet big on OOH and won – not just<br />

hearts and minds, but also wallets. Much like<br />

the Commonwealth Bank Can campaign,<br />

Bonds teased the idea of Boobs before the<br />

campaign broke, creating both anticipation and<br />

talkability. OOH wasn’t just part of the mix,<br />

it ignited the mix.<br />

So it was at Commonwealth Bank in<br />

opening the Can campaign. Billboards across<br />

the country created anticipation and planted<br />

the idea firmly in the minds of Australians.<br />

By the time the campaign broke a week later,<br />

Commonwealth Bank owned ‘Can’ and had<br />

provoked a national conversation. OOH had<br />

again proven its effectiveness as a potent<br />

creative platform for reaching consumers.<br />

Today the fight for consumer attention<br />

has never been more intense and difficult to<br />

win. As other traditional media channels dive<br />

in priority in the face of the onslaught of digital,<br />

OOH remains a crucial way to win mindshare.<br />

It has firmly established itself, not just as an<br />

integral part of the mix, but as a pivot point for<br />

driving the success of campaigns. But simply<br />

changing the way we think about using OOH<br />

won’t be enough. We have to re-imagine the<br />

potential of OOH itself.<br />

Three forces are going to make OOH even<br />

more crucial in the years ahead.<br />

First, mobile. What happens on the phone<br />

is less important than what the phone interacts<br />

with. The camera, GPS and accelerometer<br />

are just a few of the technologies driving<br />

interaction. QR codes became one of the first<br />

tools for driving interaction with phones. While<br />

achieving limited popularity here in Australia,<br />

it’s hard to encounter OOH in Hong Kong that<br />

doesn’t feature them.<br />

Like all early technologies, QR codes<br />

were a signal of things to come. Near Field<br />

Communications and iBeam will afford new<br />

opportunities for interaction – for both content<br />

and commerce. Imagine buying what you see<br />

with a simple ‘tap and go.’<br />

Second, data. To date, the majority of<br />

OOH has featured limited interactivity. Most<br />

video has been a rotation of fixed mass-market<br />

messages. Big data coupled with dynamic<br />

presentation will mean OOH gets personal.<br />

Very personal.<br />

So you ‘friended’ your favourite car brand<br />

on Facebook. They’ve captured your photo,<br />

digitised it to create a data fingerprint, and<br />

reconciled your profile with their customer<br />

database. They now know that presenting you<br />

with a new car offer might not be so smart –<br />

you just bought a new car months ago – but<br />

presenting you with insurance, a credit card,<br />

or other services will make much more<br />

sense. So, as you are strolling down the road,<br />

billboards change dynamically.<br />

It’s all very Minority Report. And it’s<br />

here now. Already, digital display systems that<br />

identify consumers individually and then serve<br />

the most relevant ad are being tested across<br />

109 /


...<br />

Australia. OOH will not only get more relevant,<br />

but also more contextual. It will know it’s your<br />

spouse’s birthday this weekend and will offer<br />

gift or restaurant suggestions. Or, that you’ve<br />

just had a baby and are ready for nappies.<br />

Billboards will become mood walls, shifting<br />

content to create emotion and evoke a response.<br />

Third, precision. Mobility and data are<br />

going to underpin the precision of how OOH<br />

works. But behind the scenes, all that data will<br />

enable marketers to better understand how<br />

OOH really works in the mix to drive marginal<br />

improvements in revenue. Systems such as<br />

those from MarketShare will enable marketers<br />

to understand the marginal improvement<br />

delivered by specific OOH units. They’ll<br />

understand, for instance, that up-weighting<br />

OOH around certain malls, impacts sales<br />

disproportionately more over, say, a spend<br />

on a digital campaign.<br />

OOH can no longer be ‘out of mind’ for<br />

marketers. It’s a medium rapidly becoming<br />

as dynamic as digital and a go-to platform for<br />

launching campaigns.<br />

By starting the marketing journey<br />

with OOH and extending it into rich content,<br />

commerce and community, marketers stand<br />

to reap rich rewards.<br />

They just need to say ‘Can’.<br />


Commonwealth Bank<br />


Financial Services<br />

MEDIA<br />

Billboard, Street<br />

Furniture<br />

AGENCY<br />

M&C Saatchi<br />


Australia<br />

YEAR<br />

2012–2014<br />

/ 110

What are you doing to yourself?<br />

New South Wales Health<br />

...<br />


New South Wales Health<br />


Public Interest<br />

MEDIA<br />

Street Furniture, Transit<br />

AGENCY<br />

GPY&R<br />

To raise awareness of the negative consequences<br />

of irresponsible drinking in young adults,<br />

this thought-provoking campaign was<br />

designed to initiate conversation with young<br />

people, empowering them to take personal<br />

responsibility for how much they drink and the<br />

consequences of excessive drinking and public<br />

drunkenness.<br />


Australia<br />

YEAR<br />

2013<br />

111 /

Ecomotivation<br />

Vip mobile<br />

...<br />


Vip mobile<br />


Telecommunications<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Leo Burnett Belgrade<br />

Serbia’s Vip mobile chose to do something<br />

about its country’s poor eco awareness. Signs<br />

in bus shelters were turned into Belgrade’s<br />

only recycling spots while bus shelters in front<br />

of neglected buildings were transformed to<br />

demonstrate how the city could look.<br />


Serbia<br />

YEAR<br />

2013<br />

113 /

Smart ideas for smarter cities<br />

IBM<br />

...<br />


IBM<br />


Information Technology<br />

MEDIA<br />

Billboard, Street Furniture<br />

AGENCY<br />

Ogilvy & Mather<br />

Demonstrating IBM’s commitment to creating<br />

solutions that help cities all over the world<br />

be smarter and make life in those cities<br />

better, the ‘People for Smarter Cities’ project<br />

created outdoor advertising with a purpose:<br />

a bench, a shelter and a ramp were designed<br />

to communicate a message while also being<br />

functional.<br />


France<br />

YEAR<br />

2013<br />

115 /

Portable water generator<br />

The University of Engineering<br />

and Technology<br />

...<br />


The University of<br />

Engineering and<br />

Technology<br />


Public Interest<br />

MEDIA<br />

Billboard<br />

Peru’s University of Engineering and<br />

Technology decided to tackle the very serious<br />

problem of drinking water scarcity in Lima.<br />

University students engineered the first<br />

billboard capable of producing water from<br />

the air, using the billboard as a portable<br />

water generator.<br />

AGENCY<br />

FCB Mayo<br />


Peru<br />

YEAR<br />

2012<br />

View campaign video.<br />

/ 116


Rob Atkinson, Chief Executive Officer,<br />

Adshel<br />

...<br />

I think that the most often used phrase in our<br />

industry these days is ‘the only certainty is<br />

change.’ And while it may be an overworked<br />

cliché, like all clichés it has only stood the<br />

test of time by being rooted in more than<br />

a little truth.<br />

You only have to take a look around to<br />

see that while the power to entertain, inform<br />

and create genuinely long-lasting relationships<br />

with consumers remains the same, the methods<br />

of delivering the message have never seen so<br />

much change.<br />

The advertising industry does a lot<br />

of things, from creating billboard posters to<br />

snappy jingled TV spots, from aerial banners<br />

to iPhone games. And yes, we do all these<br />

things well. But greatness in advertising occurs<br />

through one thing and, surprisingly, it is one of<br />

the oldest occupations known to mankind: the<br />

ability to create and distribute great stories.<br />

Cast your mind back to some of the<br />

best advertisements that have moved and<br />

engaged you over the last year. Whether it’s the<br />

ubiquitous (but very, very clever) Dumb ways<br />

to die campaign (p. 126) from Metro Trains<br />

Melbourne, or some of the extraordinary<br />

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

by Clear Channel Outdoor in the United States<br />

such as Mandela tribute (p. 121). They all have<br />

one thing in common: a compelling, easily<br />

identifiable and well-told story at their heart.<br />

And to use another cliché, ‘things can<br />

only get better.’ With change lies opportunity,<br />

and the technological developments in digital<br />

and mobile are offering unprecedented<br />

opportunities for creativity in storytelling.<br />

It would be easy to simply describe<br />

what we do as no more than renting our<br />

consumer relationships to third parties. But<br />

in our modern media world, advertising in<br />

all its forms goes much further than a simple<br />

transaction of eyeballs.<br />

What new technology has bought to our<br />

industry is an explosion of new ways to offer<br />

consumers even more value from advertising<br />

through education and entertainment. And<br />

OOH is at the forefront of this revolution,<br />

having evolved almost beyond recognition from<br />

one-dimensional billboards to the immersive<br />

and interactive experiences consumers<br />

enjoy today.<br />

Rather than limiting ourselves to passive<br />

brand engagement, we now have the tools and<br />

insights to create campaigns that translate<br />

directly to purchase. The arrival of digital<br />

billboards, premium OOH sites and more<br />

creative thinking are turning outdoor media<br />

on its head.<br />

Pushing the boundaries of possibility<br />

to take things one step further is one of the joys<br />

of working in our industry. The key to success<br />

is grasping the rapidly emerging opportunities<br />

so as to redefine our position as the most<br />

cutting-edge and integrated medium available.<br />

I have been working in OOH for more<br />

years than I care to mention and never before<br />

have I seen so many exciting and challenging<br />

ideas erupting from our industry.<br />

The limits to what is possible will only<br />

be determined by how far we can push the<br />

creative process. Take IBM, for instance.<br />

In a giant leap, they have transformed<br />

traditional posters in France into street<br />

furniture, creating new ramps, seats<br />

and shelters (pp. 114–115).<br />

Nearer to home, commuters in Sydney’s<br />

Martin Place were recently shocked and<br />

amazed by real dollar bills, guarded by<br />

impressive security, used to launch the<br />

Hollywood blockbuster, The Wolf of Wall Street<br />

(p. 86) – a superb demonstration of using<br />

creativity to bring a strong narrative directly<br />

to people on their daily commutes.<br />

119 /


...<br />


Taubmans Endure<br />


House & Garden<br />

MEDIA<br />

Digital<br />

AGENCY<br />

Jam&Co Design<br />


Australia<br />

YEAR<br />

2013<br />

At Adshel, we are no strangers to highprofile,<br />

interactive and story-led campaigns;<br />

in fact, we have been at it for some time.<br />

Take Taubmans who came to us looking for<br />

help to inject some inspiration into home<br />

decoration projects.<br />

We determined that inspiration can<br />

strike literally anywhere and so we set about<br />

creating interactive touch-painting panels for<br />

Taubmans’ Endure range. The unique digital<br />

panels allowed the public to embrace their<br />

inner muse, playing with colour schemes<br />

and techniques in real time, and on the go.<br />

More than just a digital paintbox, panels<br />

were positioned close to Bunnings Warehouse<br />

hardware stores leading to a high rate of<br />

conversion to purchase. And once our budding<br />

decorators had settled on a colour scheme,<br />

there was a QR code ready to send the final<br />

palettes directly to their smartphones.<br />

And the campaign worked, attracting<br />

some 1,500 unique users, across six digital<br />

screens in Melbourne and Sydney.<br />

So, despite the excitement undoubtedly<br />

generated by the method of delivery, the core<br />

proposition remained simple: we allowed<br />

potential customers to become part of the<br />

Taubmans’ brand story, rather than simply<br />

remaining interested observers.<br />

This success story points the way to<br />

connecting with a commuter base who are<br />

more than ready to engage with advertising<br />

that allows personality and individuality to<br />

shine through strong and focussed storytelling.<br />

Street level is a powerful place to be,<br />

and the future is bright. All it takes is a little<br />

creativity and left-field thinking to dominate<br />

the advertising world in ways that other media<br />

could only dream about.<br />

We hold the keys to bringing the stories<br />

to the street, using new and incredibly exciting<br />

technology to connect the public with our<br />

dreams and creations.<br />

The modern world is fast paced and time<br />

is tight, but we know one thing for certain: if we<br />

harness the talent we have to create exciting<br />

and immersive experiences, consumers will<br />

join us on the journey.<br />

So let’s be bold and continue to seize the<br />

advantage we have created.<br />

/ 120

Tribute to Mandela<br />

Clear Channel Outdoor<br />

...<br />


Clear Channel Outdoor<br />


Public Interest<br />

MEDIA<br />

Digital<br />

AGENCY<br />

Clear Channel Outdoor<br />

When anti-apartheid revolutionary, politician<br />

and philanthropist Nelson Mandela died in<br />

December 2013, his life was celebrated with<br />

a week-long digital billboard campaign<br />

featuring quotes from dignitaries including<br />

Archbishop Desmond Tutu, the Dalai Lama,<br />

President Barack Obama and Pope Francis, in<br />

praise of Mandela and his influence. On the day<br />

of Mandela’s funeral the quotes featured were<br />

from the man himself.<br />


USA<br />

YEAR<br />

2013<br />

121 /

Never hide<br />

Ray-Ban<br />

...<br />


Ray-Ban<br />


Clothing & Accessories<br />

MEDIA<br />

Billboard, Street Furniture<br />

AGENCY<br />

Marcel Worldwide<br />

Marking its 75th anniversary, Ray-Ban ran<br />

a campaign comprised of seven photographs<br />

each focusing on a different decade in history.<br />

The stories behind the images were inspired<br />

by real-life tales told on the Ray-Ban website.<br />

Each advertisement carried the message ‘Never<br />

Hide’ and aimed to celebrate people who have<br />

flouted conventions.<br />


France<br />

YEAR<br />

2012<br />

/ 122


Ben Welsh, Executive Creative Director,<br />

M&C Saatchi<br />

...<br />

OOH!<br />

If I had been asked to do an Out-of-Home ad<br />

I would have written:<br />


Then I could have got someone to make<br />

it look nice, put my feet up and had a beer. But<br />

for some divine sense of irony, the brief was<br />

800 words on OOH. So here goes.<br />

I was lucky enough to judge Outdoor<br />

at Cannes last year [2013]. It was a remarkable<br />

experience. There were over 5,000 entries and<br />

they covered everything from a set of bathroom<br />

scales with a mirror (don’t ask) to a massive<br />

outdoor construction that captured drinking<br />

water from the air.<br />

The category encompassed pretty much<br />

everything that appeared in the show, from<br />

innovation to good old-fashioned 24-sheet<br />

posters. It varied from daft to inspired, shit<br />

to sublime, but at the end of four days of talking,<br />

the ideas we were considering for the Grand<br />

Prix tended to have one thing in common:<br />

a social purpose.<br />

These advertisements weren’t just<br />

effortlessly communicating something, they<br />

were part of the local community and they were<br />

solving a problem. And in doing so, they told<br />

a cultural story.<br />

Let’s start with Egypt. Apparently loose<br />

change is in short supply, so in the equivalent<br />

of their milk bars you might be given a couple<br />

of carrots in place of a few coins. This turned<br />

out to be a huge opportunity for Vodafone<br />

Prepaid. They circulated recharge strips, called<br />

‘Fakkas,’ of varying small denominations to<br />

these change-strapped milk bars. This use of<br />

possibly the world’s smallest outdoor medium<br />

led to Vodafone becoming the pre-paid network<br />

of choice.<br />

Closer to home (well, Cannes was home<br />

that week) IBM were creating interesting<br />

stories in Paris with more traditional OOH<br />

with Smart ideas for smarter cities (pp. 114–115).<br />

It was also one of those things that could have<br />

been so very dull and corporate, and yet here it<br />

was, not just delivering a message but providing<br />

a useful function. After much discussion, it<br />

ended up winning the Grand Prix. It was so<br />

simple and clear and, if I’m honest, refreshingly<br />

traditional (the mirror on those bathroom<br />

scales had clearly upset everyone).<br />

On the other side of the Atlantic, people<br />

in Brazil were finding an opportunity in<br />

another cultural phenomenon, football. The<br />

state of Bahia, like the rest of the country, had<br />

a problem with blood donations. They also<br />

had a football club called Vitoria who proudly<br />

wore black and red jerseys. To raise awareness<br />

of the need for blood, the team took to the field<br />

in black and white. As donations started to flow,<br />

the red returned to the jerseys, one strip at<br />

a time. My blood is red and black, and pure<br />

genius. It wasn’t a poster, but it had thousands<br />

and thousands of people staring at it for over<br />

90 minutes, four weeks in a row.<br />

On the other side of the Andes, a billboard<br />

in Lima for the local University of Engineering<br />

and Technology had been turned into a water<br />

dispenser (pp. 116–117). Not through plumbing<br />

but through, well, I don’t honestly understand<br />

what. It had something to do with an air filter,<br />

a condenser and a carbon filter. Anyway, the<br />

end result was 96 litres of drinking water a day<br />

served up to the world’s driest city, and a lesson<br />

in why thirsty young Peruvians should choose<br />

University of Engineering and Technology.<br />

Okay, another ocean crossing, this time the<br />

Pacific, which brings us back to Australia, and<br />

work that ended up being the world’s most<br />

awarded ever (I think).<br />

Melbourne Metro Trains’ Dumb ways<br />

to die had won everything at Design and Art<br />

Direction (D&AD) and it was busy doing the<br />

same in Cannes. Everyone knows the work<br />

125 /


...<br />

so I won’t go on, but I’d like to point out one<br />

thing. I think it told the world a story about<br />

Australia. Here was a campaign singing about<br />

all the horrible ways you can meet your maker.<br />

It was such a happy song, and whether the<br />

characters had been eaten, dismembered,<br />

electrocuted or sawn in half, they kept on<br />

dancing.<br />

It’s the ‘never say die’ attitude, the belief<br />

that ‘she’ll be right’ that couldn’t have come<br />

from anywhere else.<br />


Metro Trains Melbourne<br />


Public Interest<br />

MEDIA<br />

Street Furniture, Transit<br />

AGENCY<br />

McCann Melbourne<br />


Australia<br />

YEAR<br />

2012<br />

/ 126

GAYTMs<br />

ANZ Bank<br />

...<br />


ANZ Bank<br />


Financial Services<br />

MEDIA<br />

Retail & Lifestyle<br />

AGENCY<br />

Whybin\TBWA Group<br />

As the principal sponsor of the Sydney Gay and<br />

Lesbian Mardi Gras, the ANZ Bank wanted to do<br />

something special in 2014 to show its support.<br />

The result was the transformation of the bank’s<br />

inner-Sydney ATMs into dazzling GAYTMs.<br />


Australia<br />

YEAR<br />

2014<br />

127 /

Recycle everything<br />

New York City Department of Sanitation<br />

...<br />


New York City<br />

Department of Sanitation<br />


Public Interest<br />

MEDIA<br />

Street Furniture, Transit<br />

With a goal to double New York’s recycling rate<br />

by 2017 and reduce the amount of garbage sent<br />

to landfills, the Recycle everything campaign<br />

demonstrated that cans, bottles and paper<br />

can have a second life. The campaign featured<br />

the first new recycling decal to be launched<br />

in twenty years, appearing on public bins,<br />

in apartments, homes and public buildings.<br />

AGENCY<br />

Grey<br />


USA<br />

YEAR<br />

2013<br />

/ 128

Plan B<br />

Transport for NSW<br />

...<br />


Transport for NSW<br />


Public Interest<br />

MEDIA<br />

Transit<br />

AGENCY<br />

Ogilvy & Mather<br />

This multi-format campaign encouraged<br />

people to actively consider how they will get<br />

home after a night out on the town. It aimed to<br />

educate on the numerous choices of alternative<br />

ways of getting home and to encourage people<br />

not to drink and drive.<br />


Australia<br />

YEAR<br />

2013<br />

129 /

Love every second<br />

Destination NSW<br />

...<br />


Destination NSW<br />


Travel & Tourism<br />

MEDIA<br />

Digital, Transit<br />

AGENCY<br />

BANJO<br />

To promote Sydney’s unique tourism and<br />

events experiences and attractions, this digital<br />

media campaign used content generated by<br />

Sydneysiders uploaded to key outdoor sites in<br />

Melbourne, Brisbane and Auckland featuring<br />

people’s images of their favourite Sydney<br />

events, places or experiences.<br />


Australia<br />

YEAR<br />

2013<br />

131 /

What R U having?<br />

Parents and Friends of Lesbians and Gays<br />

...<br />


Parents and Friends<br />

of Lesbians and Gays<br />


Public Interest<br />

MEDIA<br />

Billboard<br />

The billboard promoted a website that hosted<br />

a thought-provoking video about gay and lesbian<br />

equality. At www.whatruhaving.org, the video<br />

portrayed a young pregnant couple being told<br />

by their obstetrician that they’re having<br />

a lesbian – news they’re delighted to hear.<br />

The video received 300,000 views in a month.<br />

AGENCY<br />

Steve Minon in Exile<br />


Australia<br />

YEAR<br />

2013<br />

View campaign video.<br />

/ 132



ME<br />

135 /

SECTION 04<br />

Interact with Me<br />

...<br />


Kolle Rebbe GmbH<br />

...<br />


Mark (M&C Saatchi)<br />


Kolle Rebbe GmbH<br />

...<br />


Åkestam Holst<br />



Spring Advertising<br />

...<br />


Pearl Media<br />


VCCP<br />

...<br />

/ 136


BMF<br />

...<br />


Havas Worldwide Australia, One Green<br />

Bean and Starcom MediaVest<br />

. . .<br />


Laughlin/Constable<br />


Whybin\TBWA Group<br />

...<br />


AMV BBDO<br />


Soap Creative<br />

...<br />

137 /

The social swipe<br />


...<br />




Public Interest<br />

MEDIA<br />

Retail & Lifestyle<br />

The social swipe is the first interactive billboard<br />

to accept credit cards, making donating easier<br />

than ever before. A credit card swipe through<br />

the poster donated ¤2 to MISEREOR and<br />

triggered an interactive experience; the card<br />

cut a slice of bread from a loaf; illustrating that<br />

the money donated was providing a daily meal<br />

for a family in Peru.<br />

View campaign video.<br />

AGENCY<br />

Kolle Rebbe GmbH<br />


Germany<br />

YEAR<br />

2014<br />

/ 138

139 /

Google Play<br />

Google Australia<br />

...<br />


Google Australia<br />


Entertainment<br />

MEDIA<br />

Digital<br />

AGENCY<br />

Mark (M&C Saatchi)<br />

Labelled as a world first, this interactive digital<br />

outdoor campaign for Google was launched<br />

across major Australian airports to promote its<br />

new Google Play shop. Utilising NFC, QR Code<br />

and Red Crystal technology, travellers tapped<br />

or scanned their mobile device to take control<br />

of Google Play’s content across several<br />

platforms and genres.<br />


Australia<br />

YEAR<br />

2013<br />

View campaign video.<br />

/ 140

The power of a coin<br />


...<br />




Public Interest<br />

MEDIA<br />

Retail & Lifestyle<br />

AGENCY<br />

Kolle Rebbe GmbH<br />

A billboard was turned into an interactive<br />

web-linked donation box to raise awareness<br />

that even a small donation can make a big<br />

difference. When a person donated ¤2, the<br />

various MISEREOR aid projects that the<br />

donation would help fund would come to life<br />

on the screen.<br />


Germany<br />

YEAR<br />

2012<br />

View campaign video.<br />

/ 142

143 /

Blowing in the wind<br />

Apotek Hjärtat<br />

...<br />


Apotek Hjärtat<br />


Health & Beauty<br />

MEDIA<br />

Digital<br />

AGENCY<br />

Åkestam Holst<br />

To introduce a new line of hair-care products,<br />

digital screens on a Stockholm subway platform<br />

were fitted with ultrasonic sensors that reacted<br />

to the arrival of trains. This created the illusion<br />

of a woman’s hair blowing in the wind from<br />

the turbulence caused by the train’s arrival<br />

or departure. This one digital panel went viral<br />

online in over 190 countries, capturing over<br />

2.5 million unique views.<br />


Sweden<br />

YEAR<br />

2014<br />

View campaign video.<br />

/ 144

This is a bench.<br />

This is a bedroom.<br />

RainCity Housing<br />

...<br />

To help communicate the specialised<br />

housing and support services for the homeless<br />

provided by RainCity Housing, two transit<br />

bench installations were created. The first<br />

transformed into a temporary shelter for<br />

those in desperate need. The second was<br />

printed with UV and glow-in-the-dark ink<br />

to change the message at night.<br />


RainCity Housing<br />


Public Interest<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Spring Advertising<br />


Canada<br />

YEAR<br />

2013<br />

145 /


John Purcell, Commercial Director,<br />

Operations & Business Systems, oOh! Media<br />

...<br />

“Don’t just talk to me, interact with me!” is<br />

something that consumers are increasingly<br />

demanding of brands.<br />

With the rapid introduction of digital<br />

technology and innovation, Out-of-Home<br />

(OOH) advertising has led the way in bridging<br />

the connection between brands and the<br />

consumer. No longer do marketers use OOH<br />

solely to gain a large brand presence. OOH<br />

is now also able to deliver unprecedented<br />

interaction between consumers and their<br />

brands while they are away from home.<br />

In recent years, we have seen some<br />

of the world’s leading brands embrace the<br />

new OOH offerings to engage with consumers<br />

on an unparalleled level. Take, for example,<br />

Google, HP and Microsoft who are increasingly<br />

becoming bigger spenders in OOH. Why?<br />

Because they seek to engage consumers with<br />

innovations that match their brand’s positioning<br />

and benefit from the two-way communication<br />

that continues well beyond their first contact<br />

with the OOH advertising face.<br />

Last year, Google ran an OOH advertising<br />

campaign in airports where consumers could<br />

take control of the digital advertising panels<br />

utilising NFC and QR technologies. In this<br />

world-first campaign, travellers used their<br />

smartphone or tablet to interact with the<br />

Google Play store via the digital advertising<br />

panels (p. 140), accessing content across several<br />

genres such as Tweens, Professionals, High<br />

Octane and Kids. Android phone users could<br />

download selected books, movies, music,<br />

magazines or apps directly to their phone<br />

using the OOH provider’s free airport WiFi.<br />

But OOH’s interaction potential does<br />

not stop with what’s accessible via our<br />

telephones or tablets using QR and NFC<br />

technology. We have seen a range of other<br />

innovations across all OOH assets that take<br />

the connection between brands and<br />

consumers beyond brand building to deep<br />

engagement.<br />

In shopping centres, the industry has<br />

seen the introduction of technologies that<br />

generate greater connection through sound<br />

and scent. We have also introduced ‘digital<br />

targeting’ technology that makes messages<br />

more relevant and engaging based on factors<br />

such as time of day or temperature. And<br />

we have seen the introduction of advertising<br />

panels that dispense products, vouchers<br />

or information to the consumer.<br />

One of the best examples of the level<br />

of interaction the dispensing units generate<br />

is a campaign by Meat & Livestock Australia<br />

(pp. 152–153) where recipes were dispensed<br />

to consumers with the push of a button. This<br />

campaign, which distributed more than<br />

20,000 recipes per month from 10 panels,<br />

is a classic example of how engagement drives<br />

sales: shoppers gained cooking inspiration from<br />

the panels, and then purchased the ingredients<br />

they needed.<br />

We are also seeing greater engagement<br />

with people for both static and digital<br />

billboards via integration with social<br />

media channels, where OOH drives social<br />

conversation and vice versa. While still in<br />

its early days, we have helped clients integrate<br />

the most traditional media with new media<br />

to amplify campaigns beyond what either<br />

medium could otherwise offer.<br />

One example of how social media can<br />

integrate well with OOH is Virgin Mobile’s<br />

recent Game of phones campaign (p. 158).<br />

A purpose-built dynamic messaging platform<br />

developed by the OOH provider enabled<br />

Virgin Mobile to send real-time messages to<br />

the participants on the digital network which<br />

helped drive social gameplay and conversation.<br />

Another example saw the rollout of interactive<br />

touchscreen technology that allowed passers-<br />

147 /


...<br />

ABOVE<br />

Pepsi Max Unbelievable, see full<br />

campaign on page 165.<br />

/ 148<br />

by to take a photo of themselves ‘raising their<br />

hand’ in support of the Australian Literacy<br />

& Numeracy Foundation’s Wall of hands<br />

campaign, which seeks to close the Indigenous<br />

literacy gap. The images were broadcast onto<br />

big digital screens and tagged to the individual’s<br />

social media accounts where they could then<br />

proceed to make a donation to the cause.<br />

Globally, we have seen other leading<br />

campaigns that are stretching the boundaries<br />

of the once static medium. Take Pepsi Max’s<br />

Unbelievable (p. 165) bus shelter campaign<br />

in the UK. From inside the shelter it showed<br />

the actual streetscape but, with the integration<br />

of augmented reality, it also showed an<br />

‘unbelievable’ event – from a giant robot crashing<br />

through the road’s brickwork to a passer-by<br />

being abducted by flying saucers. Another<br />

campaign, for H&M’s new Isabel Morant<br />

fashion line, gave consumers a sneak peak of the<br />

collection hidden behind frosted OOH panels<br />

when they tweeted the dedicated hashtag.<br />

While all of these examples are exciting,<br />

we expect to see the introduction of new<br />

technologies and out-there thinking by the<br />

advertising industry push interaction through<br />

digital to even higher levels.<br />

From a technology point of view, we<br />

continue to see new innovations and maturing<br />

technologies becoming increasingly viable<br />

to roll out on a more significant scale. Of these<br />

various technologies, the biggest game changer<br />

in the near future will be the large-scale<br />

rollout of touchscreen panels. As we all know,<br />

the advent of smartphones and tablets has<br />

delivered an expectation – especially for the<br />

younger generation – that any screen requires<br />

one touch to access information. Some of our<br />

trials of touch-enabled campaigns demonstrate<br />

that the engagement levels are much stronger<br />

than for any other innovation. Then there<br />

are new, but as yet unproven, technologies<br />

that could potentially deliver even greater<br />

engagement, such as Bluetooth Beacons that<br />

send messages to a consumer’s telephone<br />

within close proximity to the advertisement.<br />

And watch out for facial recognition that will<br />

tailor marketing messages based on specific<br />

demographics. It is, however, early days for<br />

these technologies and concerns whether they<br />

can deliver real interactivity still need to<br />

be addressed before they can be rolled out.<br />

Ultimately, no amount of investment<br />

in digital or new innovations will drive<br />

engagement without strong creative. If OOH<br />

is to continue growing, the real challenge<br />

the industry needs to remain focused on is<br />

encouraging and developing good creative.

Witches of East End<br />

Lifetime<br />

...<br />


Lifetime<br />


Entertainment<br />

MEDIA<br />

Digital<br />

To promote Lifetime’s new series Witches<br />

of East End, an interactive gesture wall was<br />

installed at Columbus Circle subway station in<br />

New York. Using a gesture recognition enabled<br />

camera, a giant eyeball followed passing<br />

commuters. If a commuter looked at the wall,<br />

the iris of the eye would explode with flying<br />

crows. Commuters could also use their hands<br />

to control two fire embers to incinerate<br />

a decaying forest.<br />

AGENCY<br />

Pearl Media<br />


USA<br />

YEAR<br />

2013<br />

149 /

Write your own ending<br />

Bookworld<br />

...<br />


Bookworld<br />


Recreation & Leisure<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

VCCP<br />

This campaign promoted Bookworld’s<br />

Christmas competition by filling bus and tram<br />

stops with books. Staff were on hand to remove<br />

the glass covering the shelves at selected sites<br />

in Sydney and Melbourne to allow commuters<br />

to take books home with them.<br />


Australia<br />

YEAR<br />

2013<br />

View campaign video.<br />

151 /

Various campaigns<br />

Meat & Livestock Australia<br />

...<br />

NFC/QR Code and retail dispensing technology<br />

was used by Meat & Livestock Australia to<br />

promote its beef and lamb products. The<br />

campaigns allowed people to download recipes<br />

to their smartphones or print out recipes while<br />

shopping. The recipes were changed depending<br />

on the weather.<br />


Meat & Livestock Australia<br />


Food<br />

MEDIA<br />

Retail & Lifestyle, Street<br />

Furniture<br />

AGENCY<br />

BMF<br />


Australia<br />

YEAR<br />

2013<br />

BELOW<br />

Nothing beats beef<br />


Lamb is for lovers and Easy lamb roast<br />

/ 152

153 /


Leo Roberts, Group Marketing Manager, Integrated<br />

Marketing Communications, Coca-Cola, South Pacific<br />

...<br />

We all know that the world of marketing<br />

communications has changed. Scratch that.<br />

We all know that the world of marketing<br />

communications is constantly changing.<br />

It’s not fixed, it’s dynamic. It’s that dynamism<br />

that inspires us. It’s that dynamism that<br />

infuriates us. Just when we think we know<br />

how to act, we actually need to react. The<br />

pace of change is phenomenal. It’s hard to<br />

fathom. In many ways, it’s overwhelming.<br />

But it’s also very, very exciting.<br />

There are a lot of factors that contribute<br />

to this change, but there is no doubt (in my mind<br />

at least) the greatest single factor influencing<br />

the evolution of marketing communications<br />

today is technological advancement. Not<br />

only have the opportunities for marketers to<br />

connect their brands and ideas with consumers<br />

exploded but also, and perhaps more<br />

importantly, consumers can now choose the<br />

way in which they connect with brands. That’s<br />

the fascinating bit!<br />

Every marketer today knows that<br />

consumers are no longer powerless recipients<br />

of our messages. We know that they can easily<br />

shun our advances if they so choose. While<br />

this is important to note, the more important<br />

fact is that it is just that, a choice, and it does<br />

not necessarily have to be the outcome. Yes,<br />

consumers can now time-shift their way to<br />

a commercial free Utopia (I know I often do)<br />

but, at the same time, technology has opened up<br />

a myriad opportunities. It allows us to partner<br />

with consumers. It facilitates and encourages<br />

participation in our brands and ideas and,<br />

ultimately, it enables us to harness them as<br />

distribution partners.<br />

So what are some good examples?<br />

The fact is there are quite a few but<br />

I’ve selected three of the most recent and<br />

my personal favourites.<br />

The first, New Zealand’s Powerade<br />

challenge, has technology absolutely at its heart,<br />

in this case, Radio-Frequency Identification<br />

(RFID). The campaign was specifically<br />

designed to encourage consumer interaction,<br />

with the ultimate aim of integrating Powerade<br />

into the training regimes of our consumer<br />

target. We designed a fully interactive outdoor<br />

fitness course along the Auckland foreshore<br />

where people could train. Large-format<br />

billboards were then placed along the course<br />

that, using RFID, communicated personalised<br />

messages of support to each individual. The<br />

results spoke for themselves and are probably<br />

best evidenced by the fact that the Powerade<br />

challenge is now in its fourth year and consumer<br />

participation continues to grow.<br />

Another example is from Fanta. Given<br />

we wanted to reach teens, we knew that our<br />

communications absolutely needed to be fun,<br />

participatory and interactive. Technology was<br />

again at the heart of this campaign, in this<br />

case a mobile application. Along with a series<br />

of games, the application was designed to<br />

allow consumers to interact with the outdoor<br />

elements of the campaign. The introduction<br />

of image recognition technology made the<br />

Fanta characters appear to jump from the<br />

outdoor panels and be caught within the<br />

application. The result was that, instead of just<br />

communicating at teens, we used technological<br />

innovation to encourage them to lean into the<br />

campaign, to actively choose to participate and<br />

to have fun with the brand and its idea.<br />

The final example is Coca-Cola’s 2011<br />

Share a Coke campaign. For this, we took our<br />

iconic Kings Cross outdoor site and, through<br />

the application of different technologies,<br />

used it to launch the campaign in a truly<br />

participatory way. For three nights, consumers<br />

were able to text their name, or the names<br />

of their loved ones, and see them ‘magically’<br />

appear on the iconic billboard. Through<br />

155 /


...<br />

technology, we partnered with people. We<br />

handed our sign over to them and encouraged<br />

them to get involved. Ultimately, we delivered<br />

a branded experience that not only disrupted<br />

but created excitement and engaged. Most<br />

importantly, the intent of the campaign and<br />

what is at the heart of the Coca-Cola brand was<br />

delivered, that being: enabling a connection<br />

with the world and those around us.<br />

These three examples are just a small<br />

demonstration of how we have used technology<br />

to enhance our outdoor communications. They<br />

also demonstrate our intent in this area and,<br />

more broadly, across all connection points.<br />

There are a lot more examples such as Coca-<br />

Cola’s Small world machines campaign (right),<br />

which used vending machines with cameras<br />

and 3D touch screens to stream live video<br />

between India and Pakistan. And we are not<br />

the only organisation seeking to embrace the<br />

constant change that technological advances<br />

create. While at times this change can be<br />

challenging, we choose to accentuate the<br />

opportunities. Why? Because this is how a real<br />

connection between a brand, its idea and<br />

a person is created. It’s also what makes the<br />

job so exciting.<br />


Coca-Cola<br />


Beverages<br />

MEDIA<br />

Digital<br />

AGENCY<br />

Leo Burnett Sydney<br />


Pakistan & India<br />

YEAR<br />

2013<br />

View campaign video.<br />

/ 156

157 /

Game of phones<br />

Virgin Mobile<br />

...<br />

Virgin Mobile Australia’s Game of phones<br />

was Australia’s largest ever location-based,<br />

alternative reality mobile app. Played by almost<br />

40,000 Australians in the three weeks it was<br />

live participants competed to win travel prizes<br />

worth over $200,000.<br />


Virgin Mobile<br />


Telecommunications<br />

MEDIA<br />

Digital<br />

AGENCY<br />

Havas Worldwide<br />

Australia, One Green<br />

Bean and Starcom<br />

MediaVest<br />


Australia<br />

YEAR<br />

2013<br />

View campaign video.<br />

/ 158

Travel Wisconsin<br />

Wisconsin Department of Tourism<br />

...<br />


Wisconsin Department<br />

of Tourism<br />


Travel & Tourism<br />

MEDIA<br />

Street Furniture<br />

This campaign saw six Chicago bus shelters<br />

transformed to feature Wisconsin holiday<br />

activities. The bottom half of the panels showed<br />

a classic summer activity such as water tubing<br />

or fishing, while the top half of the panel had an<br />

adhesive mirror so that people waiting for the<br />

bus could see themselves reflected enjoying the<br />

fun summer activity.<br />

AGENCY<br />

Laughlin/Constable<br />


USA<br />

YEAR<br />

2012<br />

159 /

SGIO – opinionator<br />

Insurance Australia Group<br />

...<br />


Insurance Australia<br />

Group<br />


Insurance<br />

MEDIA<br />

Retail & Lifestyle, Street<br />

Furniture<br />

To launch its new car insurance package,<br />

SGIO’s campaign enabled customers to engage<br />

with an interactive LED panel and vote on<br />

which element of a car was most important<br />

to them.<br />

AGENCY<br />

Whybin\TBWA Group<br />


Australia<br />

YEAR<br />

2013<br />

/ 160

161 /


Luke Chess, Creative Director,<br />

MJW Australia<br />

...<br />

Every year, approaching Australian<br />

television’s ‘night of nights,’ the Logie<br />

Awards, a promotional competition is run<br />

– the prize being a seat for you, the average<br />

punter, at one of the tables among the stars<br />

on the night.<br />

I imagine this would be thoroughly<br />

awful. After all, you’d be sitting there as ‘the<br />

competition winner’ among a group of A, B<br />

and C-list celebrities, not because you’d worked<br />

to get there, or were a genuine part of that<br />

community, but only because you’d bought<br />

a certain magazine or called a 1900 number.<br />

After a cursory chat establishing your complete<br />

lack of credentials, I reckon you’d be ignored<br />

by all; overlooked and lonely for the rest of the<br />

evening. “A competition you say? How lovely.<br />

Anyway Rove, as I was saying …”<br />

Which brings me, in a roundabout way,<br />

to the subject of advertising.<br />

There’s currently much agitation among<br />

marketers and ad types, particularly stimulated<br />

by the impact of digital technologies, about<br />

the relative merits and features of ‘bought’<br />

vs ‘earned’ media.<br />

Now it goes without saying that digital<br />

has affected practically every industry on<br />

earth. Photographers no longer use film.<br />

Libraries have done away with books. Bank<br />

robbers no longer use masks and crowbars etc.<br />

And while the impact upon advertising media<br />

is perhaps more subtle, it’s equally forceful.<br />

As we know, access to the ears, eyeballs<br />

and brains of ‘consumers’ (referred to from<br />

now on more correctly as ‘people’) has become<br />

democratised. Via web, mobile, or invisible<br />

codes that materialise only in a virtual<br />

world, practically anyone can now start<br />

a conversation. And with a smartphone in the<br />

pocket of nearly every Australian, practically<br />

anyone can participate.<br />

This means that to any real degree the<br />

only distinction between ‘bought’ and ‘earned’<br />

media exists on a brand’s balance sheet. People<br />

know not and care not for the difference. They<br />

simply experience the clamour of thousands<br />

of voices wanting their attention. Howard<br />

Gossage’s oft-quoted observation from half<br />

a century ago has never been more relevant:<br />

“Nobody reads ads. People read what interests<br />

them. Sometimes it’s an ad.”<br />

Sitting in the public spaces of<br />

Melbourne’s Federation Square during the<br />

2011 Melbourne Writers’ Festival, which would<br />

interest you more? An expected advertising<br />

message on the enormous billboard opposite?<br />

Or a clever short story embedded into your<br />

phone’s WiFi selection options – DRAGON<br />


ACTIVISTS – to promote the festival? (Along<br />

with many other stories that made up the<br />

festival’s Wi-Fiction campaign.)<br />

When a company doesn’t even need to<br />

pay for bricks and mortar stores – as Chinese<br />

retailer Yihaodian proved by opening 1,000<br />

virtual ones in augmented reality overnight –<br />

why should they pay for any media to promote<br />

themselves?<br />

The answer is, like winning that Logies’<br />

competition, paid media at least guarantees<br />

a seat at the table. And visibility is still crucial<br />

to making an impact – it’s just that it’s no<br />

longer sufficient (if indeed it ever was). When<br />

you’re appearing in paid Out-of-Home (OOH)<br />

advertising nowadays, it’s not enough to be the<br />

most interesting poster in town. You need<br />

to be more interesting than the skywriter<br />

overhead, the bus driving past, the smartphone<br />

in my hand … or, perhaps, more interesting with<br />

the smartphone in my hand.<br />

In the US, clothing behemoth GAP now<br />

supplements its traditional bus stop ads with<br />

163 /


...<br />

ABOVE<br />

Smart ideas for smarter cities, see<br />

full campaign on pages 114–115.<br />

geo-targeted coupon offers embedded into<br />

your ‘Words With Friends’ games on your<br />

smartphone: “Hey, you’re in the area, why<br />

not pop in?”<br />

Adidas Japan, promoting a World Cup<br />

qualifier, encouraged people to ‘throw in’<br />

a soccer ball to star player Shinji Kagawa,<br />

with the action played out on a giant screen<br />

in Tokyo. The resultant goal was credited<br />

to Kagawa and the thrower, using the latter’s<br />

Facebook profile.<br />

Of course, OOH interactivity isn’t limited<br />

to your smartphone. It can involve bespoke<br />

technology of the highest level, such as when<br />

Coca-Cola created a high-tech eye-to-eye video<br />

link between India and Pakistan to help the<br />

citizens of these international rivals share<br />

a human moment (and a Coke) (pp. 156–157).<br />

Or, it can involve lo-tech smarts, like IBM’s<br />

French billboards that can function as a seat,<br />

a shelter or an accessibility ramp (pp. 114–115).<br />

Clearly, the challenges that growing<br />

magnitudes of interactivity present are not paid<br />

media’s alone. Spare a thought (but only a very<br />

small thought) for the organisers of the world’s<br />

advertising and design award shows, such<br />

as Cannes Lions. Their categories are eating<br />

each other. OOH ideas are also promotional<br />

ideas are also mobile ideas are also PR ideas<br />

are also design ideas… so an increased number<br />

of categories is resulting not in more winners,<br />

but often in the same winners across multiple<br />

categories.<br />

This reflects the desire of marketers and<br />

their agencies to find ever newer and fresher<br />

ways to interact with people, and to be first<br />

to market with them. This, in turn, reflects<br />

people’s desire to interact in interesting new<br />

ways, not the same old ones.<br />

Hence, today’s successful marketers<br />

look to build experiences that cut across the<br />

arbitrary intersections of ‘media’, ‘digital’, ‘PR’,<br />

‘advertising’ and ‘design,’ visualising brands<br />

not as a series of discrete media campaigns, but<br />

rather as ongoing stories that people can and<br />

will dip in and out of. Ultimately, the desired<br />

result for a brand, outdoors and elsewhere,<br />

must be meaningful interaction.<br />

A prime OOH site gives a brand<br />

a desirable and prominent seat at the table.<br />

But it’s what a brand does, on that site and<br />

in the rest of the world, which determines<br />

whether it actually participates in any<br />

conversation.<br />

/ 164

Unbelievable<br />

Pepsi Max<br />

...<br />


Pepsi Max<br />


Beverages<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

AMV BBDO<br />

As part of the Pepsi Max Unbelievable<br />

campaign, an ‘unbelievable’ experience was<br />

brought to its audience with an augmented<br />

reality bus shelter. By mapping 3D animations<br />

over a live HD video feed, unsuspecting<br />

commuters were pranked with alien invasions,<br />

runaway tigers and a giant pedestrian-grabbing<br />

tentacle. People’s reactions were captured and<br />

shared on YouTube, receiving millions of views.<br />


UK<br />

YEAR<br />

2014<br />

View campaign video.<br />

165 /

Halo 4 – capture the poster<br />

Microsoft Xbox<br />

...<br />


Microsoft Xbox<br />


Games & Toys<br />

MEDIA<br />

Street Furniture<br />

AGENCY<br />

Soap Creative<br />

For the much-hyped release of the Halo 4 video<br />

game, an interactive scavenger hunt on outdoor<br />

panels was created that saw fans racing across<br />

Sydney and Melbourne in a bid to take home<br />

a highly coveted autographed Halo poster. Fans<br />

competed to be the first to tap the NFC sticker<br />

on the panel in which the poster was housed.<br />


Australia<br />

YEAR<br />

2012<br />

View campaign video.<br />

/ 166


SCAN ME<br />

169 /

Scan Me<br />

...<br />

HUMOUR ME:<br />



The great Kiwi honesty test<br />

Boundary Road Brewery<br />

...<br />

View campaign on page 14–15<br />

Luna Corona<br />

Corona Extra<br />

...<br />

View campaign on page 83<br />

Mad Men Season 5 teaser<br />

AMC<br />

...<br />

View campaign on page 107<br />

#Liveyoung<br />

Evian<br />

...<br />

View campaign on page 36–37<br />

Rabbit pizza<br />

Hell Pizza<br />

...<br />

View campaign on page 89<br />

Portable water generator<br />

The University of<br />

Engineering and<br />

Technology<br />

...<br />

View campaign on page 116–117<br />

The fastest way to<br />

transfer money<br />

Western Union<br />

...<br />

View campaign on page 92<br />

What R U having?<br />

Parents and Friends of<br />

Lesbians and Gays<br />

...<br />

View campaign on page 132<br />

/ 170


The social swipe<br />


...<br />

View campaign on page 138–139<br />

Blowing in the wind<br />

Apotek Hjärtat<br />

...<br />

View campaign on page 144<br />

Game of phones<br />

Virgin Mobile<br />

...<br />

View campaign on page 158<br />

Google Play<br />

Google Australia<br />

...<br />

View campaign on page 140–141<br />

Write your own ending<br />

Bookworld<br />

...<br />

View campaign on page 150–151<br />

Unbelievable<br />

Pepsi Max<br />

...<br />

View campaign on page 165<br />

The power of a coin<br />


...<br />

View campaign on page 142–143<br />

Small world machines<br />

Coca-Cola<br />

...<br />

View campaign on page 156–157<br />

Halo 4 – capture the poster<br />

Microsoft Xbox<br />

...<br />

View campaign on page 166<br />

171 /

Index<br />

...<br />


#Liveyoung 36–37, 170<br />

18 Feet & Rising 5, 65<br />

A<br />

A-Class 58–59<br />

AC Nielsen 6,7<br />

Adams Outdoor Advertising 68<br />

Adidas Japan 164<br />

Adshel 5, 119<br />

Advertising Standards Bureau 5, 23<br />

AJF Partnership 42<br />

Akestam Holst 144<br />

ALDI 88<br />

Allegra 31<br />

AMC 107, 170<br />

AMV BBDO 39, 165<br />

ANZ Bank 5, 127<br />

Apotek Hjartat 144, 171<br />

Aspen Pharmacare 35<br />

Atkinson, Rob 5, 118–120<br />

Australian Literacy & Numeracy Foundation 148<br />

B<br />

Bag some dinner 68<br />

BANJO 87, 131<br />

Barnes, Catmur & Friends 14, 89<br />

Benylin mucus monster 41<br />

BETC 37<br />

Big questions 98–99<br />

Bloodhounds 16<br />

Blowing in the wind 80, 144, 171<br />

Bluetooth Beacons 148<br />

BMF 88, 152<br />

Bonds –Boobs 20–21, 109<br />

Bookworld 151, 171<br />

Boundary Road Brewery 14–15, 170<br />

Break free orthopedic rehabilitation 28<br />

British Airways 80<br />

Bulldozer 99<br />

Bundaberg Rum 82<br />

C<br />

Can 109–110<br />

Cannes Lions 5, 125, 164<br />

Caro, Jane 5, 44–46<br />

Casteel Heating, Cooling & Plumbing 34<br />

Chess, Luke 5, 162–164<br />

Chick-fil-A Restaurants 18<br />

Church of Sweden 99<br />

City of Milwaukee Health Department 102<br />

Clear Channel Outdoor 34, 121<br />

Clemenger BBDO 20, 56, 58<br />

Clingy animals 17<br />

Coca-Cola 5, 155–156, 164, 171<br />

Colman, Ben 5, 64–66<br />

Concussion rehabilitation 29<br />

Come to play 84–85<br />

Common Ventures 100<br />

Commonwealth Bank 109–110<br />

Connect better 60<br />

Corona Extra 83, 170<br />

Coulson, Ben 5, 78–80<br />

Cramer-Krasselt 83<br />

D<br />

Dallas Morning News 16<br />

Dare fix’ll fix it 42–43<br />

DDB Melbourne 81<br />

Destination NSW 8, 131<br />

Diageo Australia 82<br />

Disney Theatrical 90<br />

Disneyland 7<br />

Don’t miss out on summer 31<br />

Dove 8, 66, 72<br />

Dove is different 66, 72–73<br />

Dumb ways to die 119, 125, 126<br />

E<br />

Easy lamb roast 153<br />

Ecomotivation 112–113<br />

Economist 39, 40<br />

Evian 36–37, 170<br />

Expedia 49<br />

Extra Credit Projects 28<br />

F<br />

Facebook 109<br />

facial recognition 148<br />

Fairway Outdoor Advertising 68<br />

Fanta 155<br />

Fast front pages 104–105<br />

Fastest way to transfer money 92, 170<br />

FCB Mayo 116<br />

FedEx 71<br />

Forster, E. M. 46<br />

Foundation 58<br />

G<br />

Game of phones 147, 158, 171<br />

GAP 163<br />

GAYTMs 5, 127<br />

Genesis Fitness Club 50<br />

Glue-it 26<br />

Glue Society 76<br />

Google 147<br />

Google Australia 140, 171<br />

Google play 140–141, 147, 171<br />

Gossage, Howard 163<br />

GPY&R 111<br />

GPY&R Australia and New Zealand 5, 79<br />

Grand theft auto V 75<br />

Great Gatsby 62–63<br />

Great Kiwi honesty test 14–15, 170<br />

Grey 128<br />

Group Lark 5, 109<br />

H<br />

H&M 148<br />

Halo 4 – capture the poster 166, 171<br />

Happy Meal 69<br />

Havas Worldwide Australia 158<br />

Hear the rumble? Feel the wind? 35<br />

Hegarty, Sir John 1, 5<br />

Hell Pizza 89, 170<br />

History of the Big Mac 69<br />

Honesty Box Cider 14–15<br />

HP 147<br />

Huntley, Dr Rebecca 6–7<br />

/ 172

I<br />

I want a strong baby 102<br />

IBM 7, 115, 119, 125, 164<br />

Icons 30<br />

Ig2 31<br />

iiNet 60<br />

IKEA 67<br />

Insurance Australia Group 160<br />

iPod Silhouette 66<br />

Ipsos 7<br />

Isabel Morant 148<br />

J<br />

Jam&Co Design 120<br />

Johnson & Johnson 41<br />

Jolly, Fiona 5, 22–24<br />

Just Do It 65<br />

JWT Manila 30<br />

JWT Perth 74<br />

K<br />

Kansas City Royals 84–85<br />

Kettle Chunky 87<br />

Kolle Rebbe GmbH 138, 142<br />

L<br />

Lamb is for lovers 153<br />

Lark, Andy 5, 108–110<br />

Laughlin/Constable 159<br />

Leading Edge 5, 39<br />

Leo Burnett Belgrade 113<br />

Leo Burnett Sydney 82, 156, 171<br />

Leo Burnett Toronto 67<br />

Lifetime 149<br />

Lion 42<br />

Lion King 90–91<br />

Listen for free 76–77<br />

Live to deliver 70–71<br />

Liveyoung 36–37, 170<br />

Love every second 8, 130–131<br />

Lowe Thailand 17<br />

Luggage tags 48–49<br />

Luna Corona 83, 170<br />

M<br />

M&C Saatchi 5, 110, 125<br />

Mad Men Season 5 teaser 107, 170<br />

Made in the dark for a better taste 61<br />

Magners 61<br />

Mandela tribute 119, 121<br />

Marcel Worldwide 122<br />

Mark (M&C Saatchi) 140<br />

Marlboro Man 65<br />

Marsh, Nigel 5, 38–40<br />

Maruri Grey 26<br />

Mary Free Bed Rehabilitation Hospital 28–29<br />

McCann Melbourne 25, 126<br />

McCann Worldgroup 92<br />

McDonald’s 5, 68–69<br />

Meat & Livestock Australia 147, 152–153<br />

Meerkats 60<br />

Mercedes-Benz 58<br />

Metro Trains Melbourne 119, 125–126<br />

Microsoft 147<br />

Microsoft Xbox 166, 171<br />

Mind and Mood Report 7–8<br />

MISEREOR 138, 142, 171<br />

MJW Australia 5, 163<br />

mobile devices 8, 109, 140<br />

Moldrich, Charmaine 4–5<br />

Moroch 68<br />

N<br />

National Geographic Channel 106<br />

Near Field Communication (NFC) 5, 109, 140, 147,<br />

152, 166<br />

Never hide 122–123<br />

New South Wales Health 111<br />

New York City Department of Sanitation 128<br />

News Corp 104<br />

Night-time economy 81<br />

Nike 65<br />

Nothing beats beef 152<br />

O<br />

Ogilvy & Mather 49, 115, 129<br />

Ogilvy CommonHealth Sydney 35<br />

One Green Bean 158<br />

oOh! Media 5, 147<br />

Out-of-Home (OOH) advertising , 7, 23, 39, 45, 66,<br />

109, 119, 125, 147, 163<br />

Out-of-Home (OOH) industry 5<br />

Outdoor Media Association (OMA) 5, 23<br />

P<br />

Pacific Brands 20<br />

Pantone 32–33<br />

Paradise Outdoor Advertising 50<br />

Parents and Friends of Lesbians and Gays 132,<br />

170<br />

Pearl Media 149<br />

Pepsi Max 8, 148, 165, 171<br />

Perfect Aussie Christmas 88<br />

PHD 71<br />

Plan B 129<br />

Portable water generator 116–117, 125, 170<br />

Power of a coin 142–143, 171<br />

Power of colour 32–33<br />

Powerade challenge 155<br />

Purcell, John 5, 146–148<br />

Q<br />

QR Code 109, 120, 140, 147, 152<br />

Quench your curiosity 82<br />

R<br />

Rabbit Pizza 89, 170<br />

RAC Insurance 74<br />

Radio-Frequency Identification (RFID) 155<br />

RainCity Housing 145<br />

Ray-Ban 122<br />

Real. Good. 69<br />

Recycle everything 128<br />

Red Brick Road 61<br />

Red Crystal 140<br />

Richards Group 16, 18, 107<br />

Roadshow Films 62, 86<br />

173 /

Index (continued)<br />

...<br />


Roberts, Leo 5, 154–156<br />

Rockstar Games 75<br />

Royal Automobile Club of WA (RAC) 8, 74<br />

Royal Institute for Deaf and Blind Children 100<br />

S<br />

San Remo 56<br />

Schick 30, 47<br />

Serve Marketing 102<br />

sex in advertising 23–24<br />

Sexpo 24<br />

SGIO – opinionator 160–161<br />

Share a Coke 155<br />

Should’ve gone to Specsavers – Australian Open<br />

25<br />

Slingshot Production 90<br />

Small world machines 5, 156–157, 171<br />

Smart ideas for smarter cities 114–115, 125, 164<br />

Snack Brands Australia 87<br />

Soap Creative 42, 166<br />

Social swipe 138–139, 171<br />

Specsavers 25<br />

Spinal cord rehabilitation 29<br />

Spotify 76<br />

Spring Advertising 145<br />

Starcom MediaVest 158<br />

Steve Minon in Exile 132<br />

Suimin – An Asian takeaway in your pantry<br />

56–57<br />

Sunlight 17<br />

T<br />

Taubmans Endure 120<br />

TBWA Shanghai 68<br />

Teen pregnancy, stop ignoring it 103<br />

Tha cowz 18–19<br />

There’s a page for that 67<br />

Think your teen life won’t change with a baby? 103<br />

This is a bench. This is a bedroom 145<br />

This way. It’s time 50<br />

touchscreen panels 148<br />


Transport for NSW 129<br />

Travel Wisconsin 159<br />

U<br />

Ultimate Survival Alaska 106<br />

Unbelievable 8, 148, 165, 171<br />

United Way of Greater Milwaukee 102<br />

University of Engineering & Technology 116, 125,<br />

170<br />

Unmemorable celebrities 26–27<br />

V<br />

VCCP 151<br />

Village Roadshow 62, 86<br />

Vip mobile 113<br />

Virgin Mobile 147, 158, 171<br />

Vizeum 41<br />

Volkswagen 65<br />

Volkswagen Polo 39<br />

Volvo 39<br />

W<br />

Wall of hands 148<br />

Walz Tetrick Advertising 85<br />

We need your help 100–101<br />

We won’t wipe out your wallet 34<br />

Welsh, Ben 5, 124–126<br />

Western Union 92, 170<br />

Westpac 81<br />

What are you doing to yourself? 111<br />

What R U having? 132, 170<br />

Whybin\TBWA Group 127, 160<br />

Wisconsin Department of Tourism 159<br />

Witches of East End 149<br />

Wolf of Wall Street 86, 119<br />

Workshop 72<br />

Would you kiss you? 46–47<br />

Write your own ending 150–151, 171<br />

Y<br />

Y&R New Zealand 47<br />

Y&R Shanghai 33<br />

Your baby’s not a baby anymore 103<br />

/ 174

...<br />

175 /

Acknowledgements<br />

...<br />

All books are a collective effort and this<br />

book is no exception, with myriad individuals<br />

and organisations making significant<br />

contributions.<br />

First and foremost, we would like to<br />

thank the OMA Board Members for their<br />

wisdom in encouraging, supporting and<br />

funding the development and production<br />

of this book.<br />

To our valuable members, we extend<br />

our gratitude for their generous assistance<br />

in seeking out the best creativity that our<br />

industry has to offer, and for sending us more<br />

amazing images and campaigns than we had<br />

available pages.<br />

Special thanks to all our contributing<br />

writers – some of the most formidable minds<br />

in Australian advertising – for taking time<br />

from their incredibly busy schedules to stop,<br />

pause and consider a response to our topics.<br />

In particular, our warmest thanks to Rob<br />

Atkinson of Adshel , Jane Caro, Luke Chess<br />

of MJW Australia, Ben Colman of 18 Feet &<br />

Rising, Ben Coulson of GPY&R Australia and<br />

New Zealand, Fiona Jolly of the Advertising<br />

Standards Bureau, Andy Lark of Group Lark,<br />

Nigel Marsh of The Leading Edge, John Purcell<br />

of oOh! Media, Leo Roberts of Coca-Cola and<br />

Ben Welsh of M&C Saatchi.<br />

We were also privileged to work with<br />

the very clever Dr Rebecca Huntley, Executive<br />

Director of the Ipsos Mind and Mood Report.<br />

A warm thanks to Rebecca for her insightful<br />

foreword and for her support on this project<br />

from the outset.<br />

No book on Out-of-Home advertising<br />

would be complete without contributing<br />

voices from within its own ranks.<br />

Thanks to the OMA project subcommittee:<br />

Matthew Byrne ROVA Media,<br />

Max Eburne JCDecaux, Nick Errey oOh! Media,<br />

Richard Herring APN Outdoor, Julie Jensen<br />

and Charmaine Moldrich Outdoor Media<br />

Association, Jane King Adshel, and Charles<br />

Parry-Okeden Executive Channel.<br />

Huge thanks to our design team,<br />

Thursday Design, for their unwavering<br />

commitment – proof of their hard work now<br />

sits in your hands. And our gratitude to our<br />

alert editor David Hely who did wonders with<br />

our words.<br />

Without a doubt it is the staff who<br />

have worked long and hard to deliver this book;<br />

they have painstakingly labored over it with<br />

precision, enthusiasm and dedication. Thank<br />

you Ti-Ahna Firth, Julie Jensen, Charmaine<br />

Moldrich and the rest of the team at the<br />

Outdoor Media Association.<br />

Getting this quality of publication is<br />

not an easy task but one made easier by the<br />

wonderful printing prowess of Imago Printing;<br />

in this fast-paced digital world there are some<br />

of us who still relish the joy of a book that is<br />

immaculately printed.<br />

A massive thank you to our friends<br />

at the Cannes Lions International Festival<br />

of Creativity, CLIO Awards, The International<br />

Andy Awards, OBIE Awards, our international<br />

counterparts and the local and international<br />

advertising agencies and clients for providing<br />

us with access to the many fantastic pieces<br />

of creative work in their possession. We were<br />

heartened by their generosity and willingness<br />

to collaborate. Without this support we simply<br />

would not have been able to show off the<br />

remarkable calibre and diversity of creative<br />

work in OOH the world over.<br />

And thanks to you, the reader, for turning<br />

each page. We hope this book inspires and<br />

encourages you to embrace the power of OOH<br />

with all your creative might.<br />

Remember: it’s big, it’s bold and it<br />

will get noticed, so make your Out-of-Home<br />

campaign count!<br />

/ 176

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