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“Big ideas are usually simple ideas.” David Ogilvy



Published by the Outdoor Media Association Suite 504, 80 William Street East Sydney NSW 2011 Australia ABN: 59 004 233 489 The Outdoor Media Association (OMA) is the peak national industry body that represents most of Australia’s Out-of-Home (OOH) media display companies and production facilities as well as some media display asset owners. The OMA operates nationally and prior to July 2005 traded as the Outdoor Advertising Association of Australia (OAAA). It was first incorporated in 1939. OMA Members advertise third-party[1] products across all categories in the OOH sector including: on buses, trams, taxis, pedestrian bridges, billboards and free-standing advertisement panels; on street furniture (eg bus/tram shelters, public toilets, bicycle stations, telephone booths and kiosks); and in bus stations, railway stations, shopping centres, university and airport precincts. © 2012 Outdoor Media Association Inc. This book is subject to copyright. Apart from any fair dealing for purposes permitted under the Copyright Act 1968, no part of this publication may be reproduced or communicated by any process without written permission. Disclaimer Every effort has been made to ensure that the information contained in this book is accurate at the time of printing. However, to the full extent permitted by law, this book is supplied ‘as is’ without express or implied warranty. OMA welcomes suggestions for improvement but cannot accept responsibility for any errors or omissions and makes no representations about the content or the suitability of the information for any purpose. Except as required by law, the OMA will not be liable for any damages whatsoever (whether direct, indirect, special, consequential or otherwise) arising out of the use of, or in connection with or reliance on, the information contained in this book.


OPEN ISBN: 978-0-9874105-0-4 Outdoor Media Association Editorial Overview: Charmaine Moldrich Project Manager: Charlotte Grant Image Research: Charlotte Grant Design: Three Colours Blue Copy Editor/Contributor: David Hely Project Sub-Committee: Brendon Cook oOh!media, Richard Herring APN Outdoor, Nicole McInnes Adshel, Essie Wake JCDecaux Image Contributors: Cannes Lions International Festival of Creativity, CLIO Awards, OMA Members Pre-Press: Spitting Image, Sydney Printer: Imago Productions, Singapore Advertising in which the advertisement is not associated with the premises. That is, a land or asset owner allows an OOH media display company to display an advertisement for a third-party product.


open Foreword by Todd Sampson


Driving down the road with my five-year-old daughter Coco, she looked up at a billboard and said, “Dadda, what’s longer-lasting sex?” Gripping the wheel slightly tighter I said, “It’s advertising sweetheart.” Without skipping a beat she said, “What’s advertising?” I then replied with a sense of guilt and self-loathing, “That’s a good question, let’s save it for your Mother.”

Foreword Todd Sampson CEO, Leo Burnett

Out-of-Home advertising, or OOH as it’s broadly known, is certainly powerful but sometimes I wish it wasn’t outdoors. I have a love-hate relationship with OOH because it’s one of the few forms of advertising that’s beyond the reach of the empowering remote control or the dismissive mouse. The only way to really avoid it is to close your eyes and that makes driving and walking a bit difficult. It reminds me of that famous line, “The only place to go to avoid advertising is to sleep.” With this enormous power comes RESPONSIBILITY. But in a self-regulated world it’s easy to confuse responsibility with commercialism and it’s this tension that makes this ever-changing medium so exciting. It’s worth saying up front that doing great OOH is really difficult. While this is no excuse for creating visual pollution, it’s a reality of our business. For years OOH was a lazy medium, often an afterthought added only as a support role to the broader communication strategy. Too often OOH is conceptualised as print and slapped in the


outdoor environment making it not only ineffective but also annoying. The best work, however, is conceptualised in the medium itself and takes full advantage of its ever-changing utility. It’s fair to say that OOH is far from a static or traditional medium. Some of the most exciting advances are happening in OOH such as Intelligent Predictive Outdoor where billboards will know if a young woman is looking at an ad and therefore serve up communication about hair removal rather than rugby. I’m not sure how this will go with crossdressers, but on the whole it should work. This is then extended to social media where Twitter or Foursquare data will indicate that there is a sporting event nearby and therefore serve up a Nike ad rather than a banking product. RadioFrequency Idenitification (RFID) chips, which are increasingly found in credit cards and mobile phones, will also allow digital billboards to identify people as they walk by and serve up relevant messages based on their personal data. The word RESPONSIBILITY is once again ringing in my head. So what’s holding OOH back from dominating the world? Well, in a word, death. Or, in another word, government. It’s not that the Government thinks we will be irresponsible with our messaging – well, they may think that but they are still not regulating – it’s that they think moving digital images may kill

more people on the roads. This is often referred to as the ‘moth effect’ or phototropism. Some research indicates that as drivers we can only look at and pay attention to one thing at a time. When we are looking at a poster or a billboard we are not looking at the road, leading to a higher risk of accident. Mind you, this is also true with talking hands-free on the mobile while driving as this renders us to the neurological equivalent of drink-driving levels. While there is no research that actually says billboards cause death, reality doesn’t get in the way of fear. Funnily enough, the first time I saw Wonderbra’s Hello Boys OOH campaign I nearly crashed my car, but the sight of a semi-naked man on a billboard only affects 1 in 10 women. Maybe OOH is a clever form of natural selection. OOH is a constant reminder, advertisement after advertisement, of our industry’s brilliance and often our surprising inability to communicate. It certainly keeps us on our toes. For an advertising professional, driving through the city looking at all that exposed work is like shiatsu for the brain – sometimes it hurts and other times it makes you feel good. It’s debatable whether OOH is the most powerful medium, but as the group of clever, eclectic and creative minds in this book will demonstrate, it’s certainly an important one.


Open was born from a desire to create a forum for celebrating and interrogating strong creative design within the Out-of-Home (OOH) advertising industry in Australia and internationally. While our focus is primarily OOH, we look more broadly at advertising’s influence on the world in which we live and the role creativity plays in this. Does advertising reflect or influence culture? Why do we love some ads and loathe others? What is the essence of strong creative? And how is the inexorable rise of technology driving change in the business of selling?

Introduction Charmaine Moldrich CEO, Outdoor Media Association

To help spark ongoing dialogue about such matters we invited key figures from the local advertising industry to share their opinions and experience. Stephen Banham, a graphic designer with an encyclopaedic knowledge of signs and typography, explores how signs offer us a way of remembering and giving meaning to place. The image he paints of the night sky from his 1980s Berlin apartment, before the wall came down, is the best example of how these two very different city personas epitomized two very different ideologies – West Berlin literally aflame with colour and East Berlin sombre and quiet. Adam Ferrier from Naked Communications explores the notion of strong creative evolving from an insight into a product. Behavioural change, he argues, is instigated essentially by using creativity to make the dull, lifeless or familiar, compelling.


Sudeep Gohil from Droga5 discusses how advertising both informs and takes its cues from contemporary culture. Sudeep’s premise is that with 3,000 commercial messages bombarding consumers each day, we have become masters of avoiding the sell. The person shouting the loudest isn’t necessarily going to be heard over the din of the marketplace. The messages that peak curiosity will be the ones that excite and engage. Micah Walker from The Monkeys believes that “a severed head [says] so much more than any clever headline”. He sees OOH, at its best, as the channel that can engage people to have a conversation on the street. But he fears that because so much of it is ill-conceived, OOH becomes the signpost for what people hate most about advertising; ugly, formulaic and assaulting. I believe advertising at its best is a reflection of the norms and values of our society, not as the anti-advertising lobby may have it, the root of all evil in our society. Stephen, Adam, Sudeep and Micah all argue that it is our job to inspire greater creativity, integrity and beauty. Open also takes a look at the OOH industry. Brendon Cook from oOh!media charts the history of the industry starting as family businesses, with tobacco as the mainstay, to the present day where the industry has matured to suit the contemporary market. He explores the trajectory of creativity from hand-painted signs to where we are heading.

We also look to the future to see what technology has on offer. Nigel Spicer from Cactus Imaging and Rose Farhart from JCDecaux detail how technology has helped grow the industry and how it will continue to do so. OOH has evolved from a glance medium to one that now drives search, transactions and data aggregation for both the consumer and the advertiser. Words were the easiest part of this book. Determining what campaigns should or shouldn’t be included elicited far greater debate. Opinions about what constitutes the ‘best’ in OOH were varied and passionate. Some believed it was large bold text and images with seven words or less and the logo taking up to 10% of the panel. Others felt that campaigns needed humour and intrigue to tease the viewer to look again, while some felt that OOH should be measured purely by the success of the campaign. What you will see following, therefore, is a delicious smorgasbord of OOH campaigns. We hope they give you food for thought and that Open inspires you to create more wonderful work using creativity as the heart and soul of your OOH campaigns.

Image: Peter Eastwood Photography



ADVERTISER VF Corporation PRODUCT Wrangler Jeans CAMPAIGN We Are Animals AGENCY Fred & Farid, Paris COUNTRY France YEAR 2011



ADVERTISER DC Entertainment PRODUCT MAD Magazine CAMPAIGN Light Bulb AGENCY Serviceplan, Munich COUNTRY Germany YEAR 2011 In 2004, business magazine The Economist installed a billboard with a light bulb. When a person walked underneath it, the light bulb lit up. In 2011, humour magazine MAD installed a billboard with an illuminated light bulb that turned off when a person walked underneath it. ADVERTISER Office Of Tobacco Prevention And Control PRODUCT Quit Smoking CAMPAIGN Quit Smoking. Get Healthier. AGENCY EnviroMedia Social Marketing, Texas COUNTRY USA YEAR 2011 This billboard changed every two weeks as the lungs of a smoker, who had given up smoking, got healthier. The message was clear and simple.



ADVERTISER Berlitz PRODUCT Berlitz Language School CAMPAIGN UFO AGENCY FP7/BAH, Manama COUNTRY Bahrain YEAR 2011


, Our family s liquid assets.

Love handles.


ADVERTISER Coopers Brewery PRODUCT Coopers Beer CAMPAIGN Coopers Beer AGENCY kwp! Advertising, Adelaide COUNTRY Australia YEAR 2011



ADVERTISER Amnesty International PRODUCT Human Rights CAMPAIGN Mugshots – Maria Albertina Ferreira Diogo, Carlos Alberto Da Silva Coutinho AGENCY Fuel, Lisbon COUNTRY Portugal YEAR 2011


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ADVERTISER Pacific Brands Underwear Group PRODUCT Voodoo Hosiery CAMPAIGN Use Your Voodoo AGENCY WiTH Collective, Sydney COUNTRY Australia YEAR 2012


Back in the late 1980s I found myself living in Berlin. Unbeknown to me, the place and the timing could not have been better. My apartment block overlooked the Berlin Wall as it severed the area once known as Potsdamer Platz and both East and West could be seen in one view. The differences between the two Berlins were always plain to see but it was in the darkness of night that a very tangible difference between their skylines became evident.

Bringing character to our streets Stephen Banham

Founder, Letterbox Design

In West Berlin, the Kurfürstendamm and the streets around it were ablaze in flickering and pulsating neon light, exuding energy, activity and a real sense of destination. Looking Eastward over the wall, the streets of Freidrichshain lay very quiet, still and dark. The two completely different personas of Berlin were highlighted by the power of signage, particularly the neon-lit variety. A city’s sense of character is informed by myriad things – it may be the architecture, the quality of light, the sounds, or even the colour. Some markers of place operate on a more unconscious level. One of these is typography, and more specifically, its most public form, signage. At some point, these prominent letterforms, initially designed to ‘sell or tell’, advertise or instruct, transcend this original purpose to contribute a very real presence to our visual landscape. They become urban markers, readily recognised landmarks of an area. Some signs even go on to become so cherished that they are no longer seen as advertising but rather, as ‘part of the neighbourhood’. At some point, signage become words written into the story of a city. This typographic storytelling brings together stories of cultural change, migration, politics, sport, economics etc – social


“At the age of three I spelled my first word of five letters: Aspro. That was because there was a big electrical sign that winked on and off on the south bank of the Yarra spelling out A-S-P-R-O, ASPRO, day and night.”

time I see it. We don’t have an Opera House or Harbour Bridge here like Sydney. Melbourne is not that glamorous or obvious. Melbourne is more about secret discoveries and unsung glamour, and to me the Nylex building represents that.”

Dame Phyllis Frost

So the purchase of a Nylex Sign tea towel isn’t so much about liking that specific sign but about making a proud link between our identity and the cultural memory of an entire city. This relationship is universal and could be said of the Coca-Cola sign in Sydney’s Kings Cross or the XXXX Sign in Brisbane. This essential human need for a sense of a real geographic location offers an important counter to the ‘placelessness’ of the online world.

factors considered external to the trades that gave birth to them, namely graphic design and advertising. Signs can fuse the graphic with the architectural, the literal with the abstract, the past with the present and so on. These playful collisions don’t so much create new stories but rather present us with a way of seeing the familiar in a new light. Signs not only offer us a way of remembering and giving meaning to a place, but they are also an expression of ourselves. In recent times, they have become a desirable and collectable commodity and here there is an enjoyable irony: buyers of old signage believe they are purchasing an instant and authentic heritage; an invented backstory to be recounted to friends and family. However, removed from its natural habitat (the street) signage loses its social and cultural connections and arguably, therefore, its authenticity. The cultural mainstreaming of typography has arrived, and with it, a widespread interest in signage. No longer the esoteric language of the advertising trade, it seems everybody has an opinion on the letters that surround us. They are now broadly accepted as a part of our everyday lives and have entered everyday conversation. This is probably the most profound indication that type and signage have been validated as an expression of our culture – put simply, they are part of us.

People like letters and signage and they want to celebrate them. Flipping through the real-estate section of any newspaper, the photography of the inner-city apartments invariably feature walls covered in large letters and signage. And if an apartment is less than photogenic, a readily recognisable landmark is used instead – this too is often, you guessed it, a piece of signage. Marketers are increasingly using visual shorthand as a selling point for a desirable urban lifestyle. The sign is once again being used for advertising but this time for a quite different purpose all together. The rising presence of typographic products in the retail environment, such as can be seen in the Typo stores, is a further acknowledgement of this, aligning its cultural worth with a commercial worth. One only has to see the presence of signage on homeware products now to see that these forms, once derided as mere advertising, are now emblematic of place. Local homewares brand Make Me Iconic has found a great deal of inspiration in Melbourne signage, reproducing the Nylex sign, the Skipping Girl Vinegar sign and even a Milk Bar sign onto a range of homeware items. When asked why she chose such motifs for her products, the founder of Make Me Iconic, Natasha Skunca, reflected: “After being away from Melbourne for 10 years, the Nylex building visually represented to me that I was home again. My heart still skips a beat every

Like the cities in which they are situated, advertising media is in constant dynamic change. The earlier age of neon lent itself to a simpler notion of advertising when presenting a fixed single message to a mass audience was considered not only appropriate but economically effective. But now we live in the age of a very finely segmented media, with niche markets addressed by customised messages; where users contribute to rather than absorb media messages, building brand relationships around a product or service. Digital technologies have now transformed what was once an advertising monologue into something more akin to a consumer dialogue. This has made the investment of a huge, fixed and static advertising medium less viable. In combination with a wave of public disdain for their presence on the city skylines, large-scale signage became a threatened species. When comparing images of mid-20th century Melbourne and the city as it is today, one thing


becomes immediately apparent – typographic signage has far less presence now than it did 50 years ago. Tightly controlled by civic regulations or consolidated into boxed multimessage mediums, urban advertising is neater and more orderly now than ever before. A stark example of this can be seen at one of Melbourne’s busiest intersections – more specifically, the rooftop of the Young and Jackson Hotel. Having been used as a popular advertising space for almost all of Melbourne’s life, the vast array of signage that once covered every flat surface of the hotel has now been rolled into a single unit; a huge electronic message display that wraps right around the hotel roofline like an illuminated crown. Unlike static media, this display presents constantly dynamic content and news feeds. We may have more messages but we have less signs. But technology has done more than change the sheer volume and character of signage – it has fundamentally and quite literally altered our perspective of it. Mid-20th century signage forms assumed a viewing position looking across a horizon, either from the street or the motor car. Now our viewing habits accommodate a completely different perspective – the view from space.


This significant shift in orientation brings with it a whole new way of navigating our cities. Instead of looking horizontally across a cityscape for familiar signs and directions, we are now looking downwards at our personal mobile screens. When the architect and art collector Corbett Lyon designed the signage for his recently established Lyon Housemuseum, the signage was considered from a much larger perspective. As he explains: “The idea was about how we connect this small museum in Kew, a suburb in Australia, to other museums around the world through the kind of global view afforded by Google Earth. So we’ve written out the initials of the museum L, H and M in capital letters laid out across the site so that the building sits on this … and it made the garden design very easy as well.” Global Positioning Systems and mapping systems such as Google Earth offer the field of signage a new and exciting language that carries with it possibilities for instant searchability, dynamic content and graphic visibility from high above. And as our cities are viewed and remembered as ‘shapes from above’, these new capabilities will change our collective recognition of all visual landmarks within a city, including signage.

We would normally associate these perspectives with very specific requirements such as helicopter landing pads, bank security vans, or outback cattle stations, but increasingly, the typographic will become the topographic. Somewhat paradoxically, signage configured for satellite viewing will be seeking to accurately locate something very local using the most placeless of technologies – the internet. But perhaps it is at the symbolic level that these changes are most poignant. Our sources of illumination have changed. The lively flashing globes or coloured neon tubes that we once associated with a lively city are steadily moving to much smaller handheld screens with which we seek to find our way through our cities. And now, as I watch people looking down into their personal pools of light for orientation and information, I wonder just how different the two halves of a divided night-time Berlin look now.

Stephen Banham Founder, Letterbox Design The thing that keeps me inspired is thankfully a resource that I’ve always had plenty of – curiosity. But I only realised how much a part curiosity plays in my core personality when I looked back at the kind of things I did, even in early childhood; whether it was cutting up isobar maps from The Herald newspaper and binding them together into weather map books, or setting myself research assignments on The Sullivans during the holidays. So it made perfect sense that one day I would become a designer, writer and teacher. Now, the finite resource is time. There is so much to explore in the relatively unchartered field of graphic design – a profession that was only coined as such as recently as 90 years ago. I hope that my contribution to this book, exploring the social and cultural dimensions of signage and typography, will take that journey a few steps further.

Image: Gavin Blue Photography 23


An OOH advertisement can become a much-loved city landmark not just because of longevity but because its creativity and vibrance adds to its surrounds. The opportunity for OOH to deliver more than just a brand message is greater than ever before. Consumers are savvy, the marketplace is crowded, therefore it is creativity that has the best chance to cut through and not only succeed but in some cases elevate the advertisement to iconic status. Who’d have guessed that the CocaCola billboard in Sydney’s Kings Cross, erected in 1974, would be heritage-listed and still shining bright in 2012? And what would Times Square be, other than just another busy New York intersection, without its advertising lights?

Image: Coca-Cola Sign Kings Cross, Sydney Bloomberg/Getty Images 25


ADVERTISER Golden Circle PRODUCT Original Black Label Juice CAMPAIGN Creating An Original AGENCY DDB, Melbourne COUNTRY Australia YEAR 2011 To create an original artwork in keeping with the brand, artist Georgie Wilson spent five days painting onto a blank billboard in open view of passing traffic. Georgie was suspended 15 metres off the ground to create a unique, hand-crafted design.



ADVERTISER Mitsubishi Group PRODUCT Electric Car Technology CAMPAIGN Clever Lighting AGENCY Clemenger BBDO, Sydney COUNTRY Australia YEAR 2011 ADVERTISER Hair Club PRODUCT Hair Restoration Solutions CAMPAIGN Restore It With Hair Club AGENCY Wonder Communications, Calgary COUNTRY Canada YEAR 2011



ADVERTISER Kellog PRODUCT Be Natural Four Bars CAMPAIGN Four Reasons AGENCY JWT, Sydney COUNTRY Australia YEAR 2011 top left & below ADVERTISER The Coca-Cola Company PRODUCT Coca-Cola CAMPAIGN Share A Coke AGENCY Naked Communications Ogilvy, Sydney COUNTRY Australia YEAR 2011 top right ADVERTISER The Coca-Cola Company PRODUCT Coca-Cola CAMPAIGN #Cokehands AGENCY Ogilvy & Mather, Shanghai COUNTRY China YEAR 2011



ADVERTISER Adidas PRODUCT Running Shoes CAMPAIGN Light As A Feather AGENCY Smart Inc, Sydney COUNTRY Australia YEAR 2012



ADVERTISER BMW PRODUCT Sport Luxury Vehicle CAMPAIGN Light Wall Reflection AGENCY Serviceplan, Munich COUNTRY Germany YEAR 2010


Once upon a time, the world was a much simpler place. Some people made things, lots of people bought things, and everyone got on like a house on fire. Somewhere along the way, things got a bit more complicated and the job of convincing people they needed things that they didn’t know they needed emerged.

Creativity taking its cues from contemporary culture Sudeep Gohil CEO/Partner, Droga5

Since the inception of advertising, the process of selling almost anything on the planet has grown exponentially harder year-by-year. It used to be that having the smartest, most creative person in the room was enough to give your brand, product or service a genuine leg up. Advertising was simply the truth told in an engaging manner. It was an integral part of how we understood our worlds. Audiences didn’t have a reason not to believe a billboard or magazine advertisement and significantly, they weren’t cynical about the intent of the advertiser. Now, in an age of multiple media outlets, advertising has some pretty formidable competition in the attention stakes. There is no longer an easy to way to guarantee success; no tried and tested method that actually works. Our worlds have become too complex. While our strategic people, account managers and creative directors while away hours carefully crafting every last piece of work, consumers use commercial breaks to update their Facebook status. For most people, our ‘flavour’ of creativity just isn’t that interesting. The culture surrounding each and every one of us is far more interesting than anything concocted in a brainstorm or boardroom. And with close to 3,000 commercial messages bombarding us every day, consumers have become masters of avoiding the sell.


The reality of the challenge can’t be underestimated and in fact, most people’s genuine reaction to our work shouldn’t be forgotten. As street artist Banksy eloquently observes in his book Wall and Piece: “People are taking the piss out of you every day. They butt into your life, take a cheap shot at you and then disappear. They leer at you from tall buildings and make you feel small. They make flippant comments from buses that imply you’re not sexy enough and that all the fun is happening somewhere else. They are on TV making your girlfriend feel inadequate. They have access to the most sophisticated technology the world has ever seen and they bully you with it. They are The Advertisers and they are laughing at you … You owe the companies nothing. Less than nothing, you especially don’t owe them courtesy. They owe you. They have re-arranged the world to put themselves in front of you. They never asked for your permission, don’t even start asking for theirs.” Things don’t look too good for those who seek to create ‘just another advertisement’. But how do we ensure people love the work we create so much that they’ll tear down that One Direction poster and replace it with a laminated image of your hard graft? Genuine cultural leadership from communications has all but evaporated. As commissioners and creators, we spend way too much time trying to find the right answer instead of one that is interesting and intriguing. There simply isn’t one right answer anymore but a multitude of variations on a theme depending on an infinite number of inputs. True communications’ success comes from ideas that excite and engage with a whole other part

of people’s brains – not just the bit that wants to buy a pair of sneakers or a chocolate bar. Effective ideas possess a genuine connection and empathy for the world around them. Whether they are unforgettable lines that permeate our psyche like Just Do It or Think Different, or cultural themes like a gorilla playing drums, the truly motivating creative ideas are both inspired by and inspiring of the culture they exist within. Author Chuck Palahniuk advises people looking to explore this intersection between creativity and culture that, “The first step – especially for young people with energy and drive and talent, but not money – the first step to controlling your world is to control your culture. To model and demonstrate the kind of world you demand to live in. To write the books. Make the music. Shoot the films. Paint the art.” The best communications and advertising people live this philosophy on a daily basis. The best painters, bloggers, musicians, filmmakers etc are engaged with and are often creators of the contemporary culture they voraciously consume. Those individuals, brands and organisations that have a genuine sense of who they are at their core, confidently and seamlessly meld this with often tangential inspiration, influences and ideas. They’re willing to take risks, to challenge themselves and go to uncomfortable places. Above all, as brand owners and communicators, they’re willing to get their hands dirty and create. The smartest person in the room isn’t necessarily the smartest person any more. They’re more likely to be the most interesting – the person, who

has not just a deep appreciation of their area of expertise, but a real interest and appreciation in the world around them. These people are adept at both borrowing and contributing to culture around them; definitely for themselves, but perhaps more significantly, for the brands and products they work with. Some of the most genuinely creative people I know are perfect examples of this type of personality. Take my good friend Jose Cabaco, Global Creative Director for Nike’s Hurley Surfwear brand. Jose is a very visual person, he doodles in his notebooks constantly, but his drawings are more than the work of idle hands – he captures the world around him in excruciating detail as a keepsake of his life. He also gathers books, magazines, sneakers and music and has one of the most exhaustive collections of its type I have ever come across. As the creative director for Nike Sportswear, Jose was also responsible for some of the most compelling retail spaces that Nike has ever developed, from the Nike Store in Harajuku (Tokyo) to the recently reopened Nike Store in Santa Monica. Aside from his myriad professional accomplishments, Jose’s drawings have been borrowed by the New York art collective Faile to create amazing pieces of art, and his Instagram photographs easily rival the work of any professional photographer. Closer to home, my business partner at Droga5, Nobby, is another example of a creative soul who simply can’t be held back. With an early career in direct marketing, he has spent time working on almost every continent.


His cultural interests are slightly less obsessive than Jose but no less varied or inspiring. From an encyclopaedic appreciation for Marlon Brando or Hunter S Thompson, to film, television and theatre, he is the first person to lose himself in both the consumption or creation of a good story. It is this always ‘on’ approach to living life that I believe contributes to his multiple advertising accolades and moreover, to him having a play produced with the National Institute of Dramatic Art, producing a film with John Polson, writing a book, and his award-winning work for the United Nations in the form of the Innovative Voices campaign while he was ECD of Saatchi & Saatchi. Oprah Winfrey sums it up with a particularly familiar parallel, “Dogs are my favorite role models. I want to work like a dog, doing what I was born to do with joy and purpose. I want to play like a dog, with total, jolly abandon. I want to love like a dog, with unabashed devotion and complete lack of concern about what people do for a living, how much money they have, or how much they weigh.” For the best of us, the line between work and play is blurred. Those who love what they do are simply better at it. It all comes down to a very simple truth: compulsive consumers of culture can’t stop themselves, they are compelled to create. For my money, this is where the rubber really meets the road. For the work we all aspire to create, the secret isn’t just about being interesting, but about being interested. Creativity on its own is often interesting, but creativity that is informed by a creator who themselves is consumed by the world around them is inherently more relevant, inspiring and memorable.


Sudeep Gohil CEO/Partner, Droga5 For me, inspiration comes from many things around me, but the key piece is that I manage to find the most inspiring things in the most unlikely places. I pride myself on constantly pushing myself out of my comfort zone and not getting stuck in the same old habits. The Dalai Lama talks about our thinking as paths. Go down the same paths too much and they turn into ruts. Ruts aren’t good. Awareness helps people divert out of ruts and mentally explore new spaces. I also find that being a fish out of water is a brilliant way to be both simultaneously frightened and inspired. When I lived in Tokyo, I would find that I was constantly surprised by how much my Japanese colleagues would just let life pass them by, simply since they were so familiar with the things around them. Approaching the world around us in a similar, fish-out-of-water manner can be very refreshing and rewarding. 39


ADVERTISER Coopers Brewery PRODUCT Coopers Dark Ale CAMPAIGN Life After Dark AGENCY kwp! Advertising, Adelaide COUNTRY Australia YEAR 2012

OOH can communicate with consumers in varying ways throughout their daily journey; from a billboard you see in the morning on a busy freeway, to a bus shelter on the edge of a park that you see at lunchtime, to a supermarket while you shop, or the boot of a cab where you place your groceries. With 73,000 OOH advertising faces across Australia, it is not surprising that, on average, a consumer will pass 56 OOH faces daily. Great OOH fully embraces context: the nature of the individual OOH face, its locale, the surrounding community, the brand’s primary consumers, complementary campaign platforms, popular culture references, even world events. This perspective allows OOH to be an integral part of our social fabric. Strong creative that reinterprets the familiar in an interesting environment gives consumers cause to pause and imbues brands with greater meaning and relevance. OOH gives creatives license to promote products and services in imaginative and innumerable ways.



ADVERTISER Perfetti Van Melle PRODUCT Mini Chupa Chups CAMPAIGN Action Man, Sindy AGENCY DDB, Paris COUNTRY France YEAR 2010



ADVERTISER Whitcoulls PRODUCT Whitcoulls Bookstore CAMPAIGN Read More Movies AGENCY DraftFCB, Auckland COUNTRY New Zealand YEAR 2011 Every word from the novels Charlie and the Chocolate Factory and The Girl with the Dragon Tattoo were used to recreate these iconic images from the corresponding films by Tim Burton and Niels Arden Oplev. ADVERTISER Diesel PRODUCT Apparel And Accesories CAMPAIGN Be Stupid AGENCY Anomaly, New York COUNTRY USA YEAR 2010



ADVERTISER Harvey Nichols PRODUCT Harvey Nichols Summer Sale CAMPAIGN Daylight Robbery AGENCY DDB, London COUNTRY UK YEAR 2011



ADVERTISER The Economist Group PRODUCT The Economist Newspaper CAMPAIGN Plugs AGENCY BBDO, New York COUNTRY USA YEAR 2009



ADVERTISER Tesco PRODUCT Homeplus Grocery Store CAMPAIGN Virtual Store AGENCY Cheil Worldwide, Seoul COUNTRY South Korea YEAR 2008 Tesco set up a virtual grocery store in a South Korean subway station that permitted time-poor shoppers to do their grocery shopping using smartphones. Each product on a billboard had a QR code which users scanned adding it to their online shopping cart. The products were delivered to the buyer’s home that same day. ADVERTISER Nestlé PRODUCT Kit-Kat Chocolate CAMPAIGN Break From Work AGENCY JWT COUNTRY Mexico YEAR 2012



ADVERTISER Microsoft Xbox PRODUCT Alan Wake Video Game CAMPAIGN Dark Is Deadly AGENCY MacLaren McCann, Toronto COUNTRY Canada YEAR 2010 An OOH campaign was created to support the launch of Alan Wake, the highly anticipated psychological action thriller Xbox 360 game by Remedy. The campaign used various executions to portray darkness as the enemy, with light as the only source of hope for survival. Various executions were used including a 3D coffinshaped projection on a building that glowed in the dark. The glass panel in a bus shelter was made into an emergency panel with a torch embedded.


Nowadays, if a TV show gets an audience over one million, it’s considered a success – but the oldest form of advertising, Out-of-Home (OOH), continues to deliver such mass audiences daily.

The last true broadcast medium continues to create an industry of opportunity Brendon Cook CEO, oOh!media

OOH reshaped the way the world depicted Saint Nicholas, successfully launched a fictitious beer brand that gained international attention, and has been the focus of a number of gags on The Simpsons. And while new digital technologies threaten the future of other media, OOH continues to evolve and create new opportunities for the advertising industry. The future looks bright and is only limited by one’s imagination. In the late 1970s, billboards were the main form of OOH and were dominated by tobacco advertising. The creative was pretty formulaic: a large picture with a packet of cigarettes in the corner. The change in tobacco advertising laws in Australia caused a major upheaval of the sector and a number of game changers. It marked the start of consolidation of the industry, reducing the number of billboard owners, and making it easier to buy OOH. New print formats and faster methods to change billboard creative were also introduced, which gave rise to three-dimensional foam extensions. This encouraged greater use of special builds and offered more inventive artwork opportunities such as the Holeproof No Knickers campaign where a dress appeared to be blowing in the wind as per the accompanying TV advertisement. These changes increased the appeal of OOH across a range of advertisers including Food and Beverages – which are now in the top 10 OOH advertising categories in terms of expenditure.


Attitudes towards OOH started to evolve and it was again seen as a valuable and powerful medium for any campaign. One campaign that really altered the way advertisers viewed OOH was for a fictitious beer brand Haka Bitter, in the early 1990s. Haka was dreamed up by fellow industry veterans, the Tyquins of goa Bilboards who set out to prove the power of an OOH-only advertising campaign. Despite launching the beer into an extremely competitive Brisbane beer market, the campaign results were exceptional. After four weeks, when shown a photograph of the billboard with the brand name concealed, 45% of respondents recalled seeing the ad and of those, 76% correctly identified the missing brand name as Haka. The campaign, valued at $25,000, ran over 50 sites for an eight-week period. At the end of the campaign, Haka achieved a 7% spontaneous recall. What’s more staggering is that its spontaneous recall was more than double that of a real beer, Powers Extra, which launched just weeks prior with a $183,000 television campaign. During the 2000s, new technology enabled us to deliver magazine-quality printing for large billboards, dramatically increasing the impact of OOH. One of the first billboards to use the new print technique, Elle McPherson’s Intimates range, created a furore. People drove out of their way to see the billboard ads and it became the focus of much water-cooler conversation. We saw a raft of new OOH formats introduced, including street furniture, retail advertising, mobile advertising and digital panels. And we also saw innovative ways to bring billboards alive by integrating experiences, sampling, the internet and social media.

OOH is increasingly driving social interaction, is being executed to suit the location and is targeting the mobile transient audiences. With the advent of new technologies, the rise of social media and the natural convergence between the oldest and newest forms of advertising, OOH can now deliver long-form descriptors to consumers while building emotion and theatre around its brands. Retail advertising panels, for example, can dispense vouchers, cards and product samples (by consumers requesting them via their smartphones) or enable consumers to vote for their favourite product by touching the panel. Digital panels enable advertisers to capture data from consumers and run advertising relevant to the time of day. Schweppes’ Cocktail Hour campaign, for example, was featured more prominently between 5pm and 6pm.

reach and build younger audiences who respond well to brand promotions and product launches delivered via a mix of OOH touch points. And we’ve only scratched the surface in terms of what the medium is capable of.

Even static advertising panels are now able to build more in-depth brand relationships by providing consumers with recipes or further product information via their smartphones using Quick Response (QR) codes or through audio playing as people walk past. And the latest technology that is really bringing static creative alive is Augmented Reality which gives consumers information and an entertaining 3D experience of a product on their phone simply by pointing it at a billboard.

But it’s not just technology that has changed the face of OOH. Significant investment in research now allows advertisers to identify the reach and frequency of particular campaigns, and how best to connect with consumers. The OOH industry’s audience measurement system MOVE (Measurement of Outdoor Visibility and Exposure), provides this reach and frequency data on individual sites to help advertisers plan, buy and understand how OOH can deliver results. Individual operators have also invested heavily into eye tracking, neuro-science, individual campaign research, consumer insight studies, focus groups etc to help the industry gain a better understanding of how the OOH medium is consumed.

As a result of these changes, the role between brand building and brand experience is being blurred and OOH has become a key platform in the SoLoMo (Social Local Mobile) marketing movement. OOH is increasingly driving social interaction, is being executed to suit the location, and is targeting mobile, transient audiences. Consequently, the medium is helping advertisers

It’s not too far down the track when OOH will be offering ‘gladvertising’ and ‘sadvertising’ where billboards, embedded with cameras linked to face-tracking software, detect the mood of each passer-by and changes the displayed advertising to suit. An unhappy-looking person might be rewarded with bright happy adverts for holidays or chocolate while those looking happy may see advertising for a restaurant or entertainment venue.

OOH is entering a new and exciting era. As new technologies continue to emerge, so too will the medium continue to evolve and create more innovative opportunities for advertisers and improved results for their brands. 55


ADVERTISER Nike PRODUCT Running Shoes CAMPAIGN Take Every Advantage AGENCY US, Sydney COUNTRY Australia YEAR 2011

OOH is the most public advertising medium, offering sustained brand awareness 24 hours a day, 7 days a week. No longer seen as a mere campaign ‘add-on’, OOH is now increasingly positioned as the focus of advertising strategies due to its ubiquitous and flexible nature. With such scale and reach, however, comes a responsibility to deliver dynamic creative that enhances rather than pollutes. It’s a challenge creatives are embracing with gusto, producing work that is innovative and unique to the OOH medium. The potential for OOH’s impact continues to grow as site-specific data is gathered and disseminated via the OOH industry’s national audience measurement system, MOVE (Measurement of Outdoor Visibility and Exposure).



ADVERTISER NSW Government – Roads And Maritime Services PRODUCT Road Saftey CAMPAIGN You’re In Our Sights AGENCY Ogilvy, Sydney COUNTRY Australia YEAR 2009 ADVERTISER Channel 9 PRODUCT The Voice TV Show CAMPAIGN The Voice TV Show AGENCY One For All, Sydney COUNTRY Australia YEAR 2012



ADVERTISER Kellogg PRODUCT Crunchy Nut Corn Flakes CAMPAIGN Crunchy Nut Corn Flakes AGENCY JWT, Sydney COUNTRY Australia YEAR 2012 ADVERTISER Simplot Australia PRODUCT Edgell CAMPAIGN Bursting With Goodness AGENCY BWM, Melbourne COUNTRY Australia YEAR 2012



ADVERTISER PepsiCo PRODUCT Tropicana Juice CAMPAIGN Powered By Oranges AGENCY DDB, Paris COUNTRY France YEAR 2011 Using only oranges, copper, zink and wire, Tropicana created a multi-cell fruit battery to fully illuminate this advertising panel.



ADVERTISER Australian Literacy And Numeracy Foundation PRODUCT Wall Of Hands Indigenous Literacy Appeal CAMPAIGN Raise Your Hand AGENCY Eleven Communications, Sydney COUNTRY Australia YEAR 2012 ADVERTISER Unilever PRODUCT Lipton Ice Tea CAMPAIGN Never Lose Your Cool AGENCY DDB, Sydney COUNTRY Australia YEAR 2011 Lipton Ice Tea transformed street furniture structures, in summer, to become ‘misting zone stations’ giving passers-by that cool, refreshing experience.




ADVERTISER Bacardi Lion PRODUCT Bacardi Superior Rum CAMPAIGN Made To Mix AGENCY The Campaign Palace, Sydney COUNTRY Australia YEAR 2008


How important is fear to your creative process and to effective work in general?




Senior Creative Director George P. Johnson, Australia

Executive Creative Director McCann WORLDGROUP

Fear is an unsettling muse who visits and taunts you. It’s the timely reminder that you’re only as good as your last show – the thorn in your side, driving you to achieve for your client.

Fuck fear. The worst thing you can have is a culture of fear. If people are fearful, they won’t try things. They won’t get beyond acceptable. They’ll concentrate on avoiding ways in which they can screw up. Which, as we all know, is the road to mediocrity.

Fear compels you to reflect and develop insight. It’s a brutally honest friend who says unkind things best acknowledged, but kept under control. Like a weapon, fear can kill you or empower you. When channeled correctly, fear is a source of strength like energy changing from one form to another. As Peter Rix says, “The bravest souls all recognise and manage their own fears.” Fearlessness is the domain of the sociopath and the psychopath. But fear reveals sensitivity to our world, empathy towards others, and creative potential.

But of course, we all feel fear; the absence of fear isn’t bravery, it’s stupidity. But most good creative people have rolled all their fears into ‘one big fear’ (the fear of living a creative life unnoticed, of never making something brilliant). This drives them to be fearless in their approach to both work, and life. I think a hundred little fears will kill you; make you meek and ineffectual. But ‘one big fear’ can drive you. I guess the lesson for creative leaders might be: hire people who are afraid of mediocrity, but create a culture bereft of fear. It isn’t easy.

Real artists know this. Use it wisely.

Source: Australian Creative Magazine, June/July 2012 69

As a medium, Out-of-Home (OOH) has evolved so much in recent times. What used to be classified mostly by billboards and posters, now also incorporates events, experiences, interactive experiments and other ambient and transient concepts. Technology, sharing and PR have all kind of blurred the lines and spawned an ever-growing number of possibilities and (rather unfortunately) more and more case studies.

Without an ‘idea’ the poster stops being an advertisement and becomes a sign Micah Walker Creative Partner, The Monkeys

Even for a purist, though, it’d be hard to argue that there aren’t more ways to experiment and explore than ever before, and that’s always good. But there’s still a lot of shite in OOH. Whatever current innovation or trend the category now encompasses, for me the same truths still hold as much as they did many years ago when tribes stuck the heads of their enemies on sticks for everyone else to see. Truly original and immediate ideas expressed right out in the open can have a very visceral and powerful effect. Now, maybe that sounds a touch melodramatic if you’re contemplating your next orange juice campaign, but I think if you look back at many examples of great public work they do more than just fill a space in your village. They confront you, engage and involve you, and have a point of view. Let’s face it, a severed head said so much more than a clever headline ever would’ve. OOH is the most public and powerful local medium when used appropriately – right out there in the community for the masses to experience. And when done well, it can have a profound affect on people and culture. From propaganda and politics, to fashion and salted snacks, it’s a chance to engage the people on the streets. It’s an


open conversation and how you approach that conversation says so much about what kind of relationship you want to have with your audience. Unfortunately, when it’s not well considered or conceived, OOH can be a signpost for what people hate most about advertising. It can be ugly, formulaic and assaulting; just another corporate blemish we’re bombarded with on our way to buy bread or go to work. And while more ways to create OOH pop up every day, the reality is you’re still more likely to encounter the lowest common denominator, cram-a-pack-shot-in-your-face examples of laziness, than you are the special stuff. I think as creators, designers and advertisers, we owe our community more. As an industry and culture we should be more conscious of visual pollution than we are. The common ‘pack shot mentality’ in OOH really disappoints me, and I think does itself and our industry a disservice. If all we perpetuate are announcements, rather than ideas, all we’re doing is littering our sidewalks with shouts. And no one wants to be yelled at. I wish more clients and agencies took a more holistic view and realised this; that beyond what they might want to scream at a particular moment, this kind of work is a self-fulfilling dead end. People will just tune us out more and more. And a bigger pack shot won’t help a bit. Brand tracking might not tell you this but common sense should. But the problem isn’t restricted to OOH. What’s true here is true of advertising as a whole. That’s why it can be so great, and also so frustrating. I’ll assume anyone taking the time to read this is at least partially familiar with OOH deemed great from all over the world so I won’t attempt to list all the best and then leave out something I shouldn’t have.

If all we perpetuate are announcements, rather than ideas, all we’re doing is littering our sidewalks with shouts. And no one wants to be yelled at. There are, however, some campaigns that have stood out for me personally and maybe they provide a brief sample of how varied OOH has become – or why you shouldn’t ask me for my opinion. One of my most favourite campaigns I came across while l was working in London. It was for the National Gallery: a number of prints of National Gallery paintings where placed all around central London in giant replica frames. They were beautiful and hung in rather unexpected places – behind massage parlours, down little alleys, etc. What I really loved about them, though, was that in a city that has more vomit per square block than any other, not one piece that I saw was ever vandalised. Not one. People appreciated them being there, and I know that’s easier when it’s art your advertising, but still, even the most interesting of things are frequently covered in chewing gum over time. It might not have won every award, but I thought it was brilliant. One of the best examples of where OOH concepts are moving at this particular moment in the industry – where we see technology and storytelling come together in one big idea – is the Bing/Decode Jay-Z work from Droga5; a multi-platform search experience and interactive game tied to Jay-Z’s memoir Decoded. What it did best was to make Bing as a product central to experiencing Jay-Z’s story. It’s one of the few case studies actually worth a case study. A few others quickly: Operation Christmas from Columbia, which used motion sensors out in the jungle to encourage

guerrillas to come home, was genius. The UK online store Dixons’ classic poster campaign was so perfectly appropriate for the retailer, as was the Sandwich town take-over idea for Walkers. The James Ready beer campaign from Canada continues to do interesting things each year with their media and The Zimbabwean newspaper’s Trillion Dollar campaign was a very powerful example of something that was all idea. Wiedens’ Chalkbot for Nike from a few years ago, and the Push for Drama OOH stunt from Belgium are both pieces of work that anyone would be proud of. In all the best work there is a simple, original approach and a fundamental commitment to the message. None of this work gets bogged down in three-second rules, outdoor clichés or pack size. An idea, static or not, is pursued and the message makes for something worth paying attention to. They give, rather than just take, and that’s what great work does – in any medium. It makes it worth your time. There will always be those who argue that tried and tested methods guarantee a return that more original thinking cannot; or that there’s nothing new to say in this particular case. We’ve all heard it a thousand times and it’s almost true if you’re ready to quit thinking. But aside from just being a sad and uncourageous way to approach what we do, I also say long term we only shoot ourselves in the foot making things this way. There’s always a unique solution – it just takes hard work, a willingness to explore new things and then of course, a bit of luck. 71

ADVERTISER The Zimbabwean Newspaper PRODUCT Awareness Of Hyperinflation In Zimbabwe And Increasing Restrictions On Free Speech

Micah Walker Creative Partner The Monkeys

CAMPAIGN Trillion Dollar AGENCY Tbwa\hunt\Lascaris, Johannesburg COUNTRY South Africa YEAR 2009


Micah Walker Creative Partner, The Monkeys What drives me creatively? It’s not just one thing. I do think any creative person, regardless of their skill or industry, needs to be productive and that need to make things forces a kind of unavoidable self-momentum. I’ve personally never been able to shut that off, it’s just inherent in who I am. Some people misinterpret that and assume you can just temper the part of you that needs to question, experiment, push, pull, distort and rethink. But it doesn’t really work that way, and I’d argue it’s far more valuable harnessed than switched off anyway. I also think that self-induced pressure just kind of runs a bit deeper in some people than others. And when you mix that with a bit of fear that you’ll let yourself or others down, it pushes you to question more, think harder and push yourself for more original ideas. Fortunately, having something tangible at the end of that occasionally torturous process makes it all worth it.



ADVERTISER Cascade Brewery PRODUCT Cascade Green Beer CAMPAIGN Beer’s Going Green AGENCY Badjar Ogilvy, Sydney COUNTRY Australia YEAR 2009

Tertiary degrees and a resumé as long as your arm are not prerequisites for effective creative solutions. More often than not, great ideas are met with a ‘Why didn’t I think of that?’ response. They seem obvious yet ingenious at the same time. Like all advertising mediums, OOH must contend with plummeting attention spans. Yet, unlike other mediums, OOH allows for strong ideas to be interpreted in innovative and genuinely surprising ways. OOH offers creatives the scope to be more lateral in their thinking. Individual sites can be as much a source of inspiration as the brand itself. With myriad faces and increasing technological and digital accoutrements, OOH is the ultimate platform for executing sharper and cleverer campaigns that have maximum impact.



ADVERTISER Audio Book India PRODUCT Autobiographies CAMPAIGN Adolf Hitler, Nelson Mandela, Dalai Lama AGENCY Taproot, Mumbai COUNTRY India YEAR 2011



ADVERTISER Sooruz PRODUCT Wetsuits CAMPAIGN New Flexible Wetsuit AGENCY Publicis Conseil, Paris COUNTRY France YEAR 2011 ADVERTISER H&M PRODUCT H&M Clothing Sale CAMPAIGN Numbers AGENCY School Of Visual Arts, New York COUNTRY USA YEAR 2011



ADVERTISER Pacific Paint PRODUCT Boysen Paints CAMPAIGN Creatures AGENCY Tbwa\Santiago Mangada Puno, Makati COUNTRY Philippines YEAR 2009



ADVERTISER Samusocial PRODUCT Emergency Service Helping The Homeless CAMPAIGN Asphaltisation AGENCY Publicis Conseil, Paris COUNTRY France YEAR 2010



ADVERTISER Google PRODUCT Voice Search Mobile App CAMPAIGN Phonetic Spellings AGENCY BBH, London COUNTRY UK YEAR 2011 ADVERTISER Volkswagen Group PRODUCT Park Assist Technology CAMPAIGN Hedgehog And Fish AGENCY DDB Tribal Group, Berlin COUNTRY Germany YEAR 2012



ADVERTISER Swiss Life PRODUCT Flexible Life Insurance Solutions CAMPAIGN Life’s Turns In A Sentence AGENCY Spillmann/Felser/ Leo Burnett, Zurich COUNTRY Swtizerland YEAR 2012



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ADVERTISER Fairfax Media Publications PRODUCT Australian Financial Review Newspaper


CAMPAIGN Australian Financial Review Newspaper AGENCY Love Communications Lavender, Sydney COUNTRY Australia


PMS 3272

YEAR 2008






visu Client: Network Outdoor

Final Size: 1175x1775 + Bleed

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Screen Ruling: 46 #

Prole Used : T140

Date Created: 14/11/07


Job No: 5157 / 08 AFR Supa

365° VISION.


TakE daIly fOR PEak PERfORmaNCE.




ADVERTISER Mercedes-Benz PRODUCT Night View Assist Technology CAMPAIGN Spots The Danger AGENCY BBDO, D端sseldorf Mark BBDO, Prague COUNTRY Germany, Czech Republic YEAR 2012 ADVERTISER Mercedes-Benz PRODUCT Smart Vehicles CAMPAIGN Fits Almost Anywhere AGENCY BBDO, Madrid COUNTRY Spain YEAR 2012



ADVERTISER Reporteros Sin Fronteras PRODUCT Freedom Of Press Association CAMPAIGN David Cameron, Barack Obama/Hillary Clinton, Vladimir Putin AGENCY Memac Ogilvy & Mather, Dubai COUNTRY United Arab Emirates YEAR 2011



ADVERTISER Royal Automotive Club (RAC) PRODUCT RAC Roadside Assistance CAMPAIGN Vultures, UFO, Supervan, Melting AGENCY The Brand Agency, Perth COUNTRY Australia YEAR 2011 overleaf ADVERTISER Tower Hamlets Council PRODUCT Road Safety CAMPAIGN The Odds Go Up If You Text While Driving AGENCY AMV BBDO, London COUNTRY UK YEAR 2011




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ADVERTISER Specsavers PRODUCT Specsavers Optometrists CAMPAIGN Should’ve Gone To Specsavers AGENCY McCann Worldgroup COUNTRY Australia YEAR 2012 This campaign highlights how poor vision can make daily tasks more challenging. Posters were printed to appear as though someone on the other side had mistaken the advertising panel for another similarly shaped object eg a door or a vending machine.

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ADVERTISER Interbest PRODUCT Interbest Outdoor Advertising CAMPAIGN Male Stripper AGENCY Y&R Not Just Film, Amsterdam COUNTRY Netherlands YEAR 2011



ADVERTISER Diamond Coffee PRODUCT Diamond Coffee CAMPAIGN School Bus Driver, Office Worker AGENCY Leo Burnett, Hong Kong COUNTRY China YEAR 2011


Pride is an underlying themE often used in advertising creative and its process. What’s the most powerful emotional driver in your creative work? 104



Creative Partner The Hallway, Sydney

Creative Director Clemenger BBDO, Sydney

Everything I do as an ad man is driven by a desire for an exceptional, powerful, creative answer to the problem. I guess that’s professional pride. I’m also driven by a belief that there is something fundamentally honest and worthwhile about creative endeavor – a pseudo-Marxist view I guess, of work providing an ‘objectification’ of one’s individuality.

Any emotional response is valuable when you’re aiming for great creative work – pride, lust, anger, guilt, joy; you name it we can use it.

I’m relentlessly curious about the world, the people in it and their endlessly complex relationships. An innate love of stories plays a part in my answers to even the most mundane of briefs. Finding the extraordinary in the everyday is one of life’s great joys. Added to a low-boredom threshold and strict adherence to the ‘if you’re not having fun, you’re not doing it right’ mantra, that’s pretty much me … maybe.

With the right idea tying a feeling or state of mind to the brand’s selling proposition, the arousal of almost any compelling emotional or cerebral response can be powerfully applied. Even confusion. However, at the end of the day, it’s not the stimulation of emotion that matters most; it’s how that response is used to underpin the greater idea, which is in place to solve the marketing problem. Because when it comes to commercial creativity in advertising, the idea is the real driver, and emotion is just one of the many component parts used to achieve that end (albeit a pretty powerful one).

Source: Australian Creative Magazine, April/May 2012 105

We’ve just come out of the so-called ‘information age’. Google and Bing have brought all of the world’s information to our doorstep; delivered in an easy-to-find manner, readily available on screens everywhere. All the information on anything you desire is right there for you, always. But has it changed people’s behaviour in any significant way? What about world peace? Hasn’t made a dent. The environment? Hasn’t helped. The eradication of disease? Nup. Rates of crime? Haven’t dropped. Obesity? On the increase. And so it goes.

Creativity has the power to transform human behaviour Adam Ferrier

Founder, Naked Communications


Information on its own is extremely inefficient at changing behaviour. So, given that the end goal of every advertising campaign is to ask consumers to change how they behave – to buy more, pay more, give more, tell their friends, or try something new – how do marketers do it? At Naked we believe there are two key variables that will dictate whether behaviour change will occur: Motivation and Ease. How motivated is the consumer? And how easy is it for them to do the change required? A behaviour that’s high on both eg I want to ensure overweight guys choose to drink a low carb beer with their mates at the pub is pretty easy to change. I want to ensure mums feed their children my new high-sugar cereal is relatively harder. So what is the key to success, particularly in today’s complex world where consumers receive thousands of multi-platform advertising messages every day? The answer is, creativity.

Advertising, in the broadest sense of the word, changes behaviour by making the dull, lifeless or familiar, compelling. As Rory Sutherland said when he quoted someone else, “Poetry is when you make new things familiar and familiar things new.” Creativity creates things that are worth interacting with; from expressing a product truth in a manner never seen before, to creating a piece of utility that makes our lives better. The application is unlimited. The challenge for today’s marketers is to harness the power of creativity to create things worth pulling into our lives. Advertising, in the broadest sense of the word, changes behaviour by making the dull, lifeless or familiar, compelling. As Rory Sutherland said when he quoted someone else, “Poetry is when you make new things familiar and familiar things new.” Advertising can make people change behaviour and reach towards a brand by doing something creatively. The brand becomes the vehicle through which they reach for their desire. All brands have a proposition: a statement of intent, an expression of their purpose. Creativity brings this to life and makes it compelling. But few creatives are genuinely creative and even fewer have the skill (and patience) to express that creativity through a brand proposition. And the stakes are higher than ever.

Previously, all the creative had to do was passively interrupt someone and through ‘low involvement processing’ express the brand’s purpose. Now, in a fully interactive world where there are no passive mediums, they must bring that brand purpose to life and let people interact with it. Out-of-Home (OOH) is well positioned to do this. By creating the pictures for people to photograph, using sensor motioning, inserting radio into street furniture and content that is accessible through smartphones etc, OOH is now more than just a canvas for creativity, it’s a platform for participation. Behavioural change occurs faster and more effectively if people choose to interact and get involved, rather than passively receive. But creating ideas that people want to interact with is tough. We need better ideas and even more creativity.

interact with something – as opposed to hitting them over the head – takes insight. A recent example of this was Naked’s Steal Banksy campaign. The insight bad men do what good men dream, allowed us to set up an idea around encouraging people to steal the art (a Banksy we had bought) from the Art Series Hotels. If you succeeded (and someone did) they got to keep the art. For the rest who failed, back on the wall it went. The campaign won gold for us and the client. Advertisers have always used creativity to change behaviour – it’s the game we are in. However, those who are successful in the future will embrace a special kind of creativity: one that is fully interactive, embracing technology and platforms; one that is humanistic and insightful, more so than it’s ever been. It’s a heck of a challenge. The creative solutions required will be more difficult to achieve and will require more diverse skill sets to make it happen. Client, technologist, creatives, product design, channel planners media owners will all need to be involved in building the idea, not just taking it to market.

Pablo Picasso said, “Art is the lie that reveals the truth.” And that takes insight. Insight drives creativity. Understanding why someone will


Image: Artwork by street artist Banksy Ben Stansall/AFP/Getty Images


Adam Ferrier Founder, Naked Communications I get inspired by fucking with the natural order of things. It’s the impact creativity has on others that I love, making the world more interesting, challenging, or charming for others. I see creativity as an opportunity to engage others with an idea or concept that they may previously not have considered, and in that instance, changing people’s status quo. It’s the idea, not the aesthetic, that keeps me interested.



ADVERTISER The Big Issue PRODUCT The Big Issue Magazine CAMPAIGN Best Home Improvement Magazine AGENCY Sense, Melbourne COUNTRY Australia YEAR 2008

Consumers are no longer interested in being told what they should buy. Facebook has validated our prerogative to ‘Like’ what we want. Google has empowered us to debunk lofty brand claims. Our desire for increased connectivity extends to our purchasing decisions. Effective advertising is no longer an edict but a conversation. Audiences tend to take greater ownership of messages they receive in their local community. This makes the unparalleled accessibility of OOH the perfect medium for public education and awareness campaigns. What better place to make people sit up and take note than in their own backyard? OOH is at the forefront of the consumer engagement era. Advertisers are now able to connect with their audience anywhere, any time. Technology has strengthened the impact of OOH, taking it from being a totally passive medium to one that is fully interactive; a potential one-stop shop for promotion, engagement and point-of-sale.



ADVERTISER Penalty PRODUCT Running Shoes CAMPAIGN Pants AGENCY Z+, S達o Paulo COUNTRY Brazil YEAR 2011



ADVERTISER Reckitt Benckiser PRODUCT Shieldtox Naturgard Insecticide Spray CAMPAIGN Natural Protection AGENCY Euro RSCG, Bangkok COUNTRY Thailand YEAR 2009 ADVERTISER Volkswagen Group PRODUCT Responsible Driving CAMPAIGN Swing, Pool, Stairs AGENCY DDB, Buenos Aires COUNTRY Argentina YEAR 2012



ADVERTISER Pedestrian Council Of Australia PRODUCT Road Safety CAMPAIGN Kill A Kid. Kill A Family. AGENCY Saatchi & Saatchi, Sydney COUNTRY Australia YEAR 2009 ADVERTISER Papakura & Franklin District Council PRODUCT Road Safety CAMPAIGN Bleeding Billboard AGENCY Colenso BBDO, Auckland COUNTRY New Zealand YEAR 2009 This billboard shows a portrait of a young boy that literally ‘bleeds’ red ink when it rains, providing a stark contrast to the original image to highlight the increased level of danger associated with driving in wet weather.



ADVERTISER Maxam PRODUCT Maxam Cavity Protection Toothpaste CAMPAIGN Civilisation – Rome, Egypt AGENCY JWT, Shanghai COUNTRY China YEAR 2012



ADVERTISER Eftpos Payments Australia PRODUCT Eftpos Point-Of-Sale Payment System CAMPAIGN Australians Are Better Off With Eftpos AGENCY M&C Saatchi, Sydney COUNTRY Australia YEAR 2011/2012



ADVERTISER Greenpeace International PRODUCT Campaign Against Deep Sea Oil Drilling CAMPAIGN Oil On Canvas AGENCY Publicis Mojo, Auckland COUNTRY New Zealand YEAR 2011 ADVERTISER People For The Ethical Treatment Of Animals (PETA), Asia Pacific PRODUCT Charity Against Animal Cruelty CAMPAIGN Shoes AGENCY McCann Worldgroup COUNTRY Singapore YEAR 2011 A campaign was developed to show a fashion-crazy audience the ugly side of glamour. Posters featured fictitious highfashion products being sold at ‘amazing prices’. Each product had an accompanying barcode that had to be scanned with a smartphone to reveal the price. However, when a barcode was scanned, shoppers were shown a video of the animal that was tortured and killed to create that product, thus revealing the ‘true cost’ of what they were about to buy.



ADVERTISER Unilever PRODUCT OMO Washing Detergent CAMPAIGN Archaeologist AGENCY Lowe & Partners COUNTRY Singapore YEAR 2012 ADVERTISER Reckitt Benckiser PRODUCT Vanish Washing Detergent CAMPAIGN Lift Stains AGENCY Euro Rscg, Sydney COUNTRY Australia YEAR 2012



ADVERTISER FedEx PRODUCT Courier Services CAMPAIGN Neighbours AGENCY DDB, São Paulo COUNTRY Brazil YEAR 2011 ADVERTISER AGRO Food PRODUCT Café Tainá Coffee CAMPAIGN Prisoner, Castaway AGENCY Giovanni+DraftFCB, São Paulo COUNTRY Brazil YEAR 2011



ADVERTISER Santher PRODUCT Nappies CAMPAIGN Mao Zedong Julius Caesar Napoléon Bonaparte AGENCY Talent, São Paulo COUNTRY Brazil YEAR 2012 ADVERTISER Diageo PRODUCT Guinness Beer CAMPAIGN Aftershave, Razor, Scarf AGENCY AMV BBDO, London COUNTRY UK YEAR 2012


What’s your take on bravery?




Creative Director Heckler, Sydney

Executive Creative Director Saatchi & Saatchi, AUstralia

Breaking boundaries is the holy grail of any creative person, it’s what we all strive for: to create a game changer, an award winner, a ‘wish I’d have thought of that but didn’t’ piece of brilliance.

Leo Bogart once said, “Advertisements may be evaluated scientifically; they cannot be created scientifically.” That is why our business, at its very best, is built on bravery and a very large sense of humour.

Unfortunately, in the commercial world, it is quite a rare occurrence that all the stars align to enable it to happen.

We are always trying to eliminate risk through research and focus groups but there is always that one meeting where it’s yes or no; a creative director looking at a wall full of average ideas that are easy to sell. Then, there’s one idea that blows your mind but would be a lot harder to sell. What do you do?

Brave work requires brave clients; trusting their gut instincts and being unwavering in their belief that what they are doing is right, even if they find it uncomfortable at times. Truly groundbreaking work requires full commitment from every person involved as that makes the difference from ‘just another ad’ to a seminal piece of work. Of course, it doesn’t always work, but then we have to keep being brave enough to try because when it does work, well, that’s why we love this industry so much.

In those 30 seconds, where you can say what everybody wants to hear or what you truly believe, bravery is essential because it forces you to be authentic. It forces you to make that decision that takes you to the edge. You have to reach the edge. Yes, you might fall, but you also might fly. Finding out is always worth the risk.

Source: Australian Creative Magazine, February/March 2012 131

Nearly 20 metres off the ground, a man balances in a bucket lowered by an old rope from the top of a rickety wooden structure. The rough weatherbeaten face of the structure has been painted white and as the man starts his brush strokes, the fresh paint gleams brightly. An advertising message slowly appears for the benefit of the road and pedestrian traffic below. Watchers marvel not only at the manly courage needed to produce the billboard but at the skill of the artist as his helpers heave the bucket along the face of the old wooden message carrier.

OOH production agencies are delivering services like never before Nigel Spicer

General Manager, Cactus Imaging

A moment from the early days of billboards in Australia? No. A scene from less than 20 years ago in Chennai, India. At this time, the Out-of-Home (OOH) industry in Australia was experiencing the influence of world-leading technology and producing some of the best billboards to be found anywhere in the world. Brilliantly coloured and produced on five-metre-wide printers direct from computers, the Australian billboards were printed on vinyl stretched taut over steel faces and held in place with aluminium sail track. While the Australian industry had developed to this point in gradual moves through the years, its assistance saw the Indian industry jump from the most basic of techniques to the most modern – virtually overnight. Suddenly, Indians had gone from buckets to carpeted, air-conditioned studios. At this time, Cactus Imaging had been printing in Sydney just a few years but the timing of the company’s entry into the industry had been spot on. The American and Israeli manufacturers of grand format printers were in the process of developing machines that printed significantly


faster and at a much higher resolution than before. The results were dramatic in both productivity and imaging. It was a major advance. This wasn’t evolution but revolution, and Cactus grasped the concept faster than others – so much so, that Cactus became a beta site for some of the machinery. The manufacturers were convinced that by testing in Europe or America at the same time as Australia, it gave them the opportunity to trial products under winter and summer conditions simultaneously. Surprisingly, some countries still have yet to embrace technology to the same extent. It is not uncommon in Europe to come across paper billboards, thick with the numbers of messages pasted over each other, peeling badly along the edges. For the most part, however, OOH production companies are delivering services like never before. An order for a vinyl billboard once required a production period of three or more weeks. Today, industry demands that production be measured in days, even hours. No longer do couriers rush artwork from agencies to scanners to printers before a proof can be expected. No longer do production companies parry questions about quality of resolution or life of the image in the testing Australian climate. These days, advertising operates at an accelerated pace with higher expectations and OOH is able to deliver on all fronts. Speed and turnaround has become critical and that has been the key topic when discussing tomorrow’s machines. Better productivity will be reflected in reduced costs. And watch for major developments in the substrates that carry the printed image as the industry becomes increasingly aware of environmental issues.

These changes are coming with increased quality of product. It only needs the market to express its desires and the message gets through to the technical boffins working on tomorrow’s printing machines. The emergence of mobile and digital technologies has changed OOH from being a purely static medium to one that is fully interactive and content rich. Messages can be immediate or timed to support a retail sales event, a product launch or even a specific time of day. A thought in the mind of a creative can be executed as an OOH campaign within days. Media companies have been able to widen their customer base. The limitless opportunities OOH now provides are stimulating and challenging the sharpest creative minds to think outside the box. In turn, they should challenge the production companies to do more. But don’t expect production executives to tell you what is possible. Tell them what you want and leave it to them to find a way to answer your challenge. If the production companies find they have limitations, it allows them to pass the challenge on to their suppliers to help meet the market’s demands. They also talk regularly with the installers who clamber over the billboard sites with considerably more attention to safety than their Indian counterparts once did. No longer is OOH seen as merely assisting brand identification. OOH has come into its own as a medium capable of leading consumer interaction and influence.



ADVERTISER Qantas PRODUCT Air Transport Services CAMPAIGN You’re The Reason We Fly AGENCY Amnesia Razorfish, Sydney COUNTRY Australia YEAR 2012 This world-first digital display campaign with Qantas, at Sydney’s Town Hall Station, featured technology that allowed passers-by to feature in a ‘real-life’ ad on location. The campaign was part of the recently launched advertising campaign, You’re The Reason We Fly. People downloaded a smartphone App which allowed them to then interact with the 3.5-metre-wide advertising panel which broadcast their image and their name.


Creative innovation and production is proving exciting for OOH Rose Farhart

Head of Innovation & Technology JCDecaux

There has never been a better time to be in my job. It is often voiced that audiences are filtering and switching off from ads, given the bombardment of marketing online, offline, mobile or other. It is this consumer choice to connect with this world on their terms that makes Out-of-Home (OOH) more critical than ever for advertisers. Smartphone reliance, coupled with new media adoption – such as the increase in brand presence on social media platforms, accompanied by the increase in user participation – are revolutionising the level of control users have over how they consume and respond to advertising. Connectivity and content engagement platforms have become the new playing fields and OOH is set to be at the forefront. OOH has always been an interactive channel that drives response for brands. Mobile technology magnifies the immediacy and connectivity of our medium. When Kylie Minogue appeared in Holeproof lingerie on a bus shelter some years ago, the response was overwhelming. The media vendor received so many enquires about owning the coveted posters that the agency adhered stickers with a mobile contact to the panels, prompting consumers to SMS the number for their chance to win one of the larger-than-life Minogues. Mobile devices are without question one of the most pervasive technologies the world has ever seen – from the moment you wake up and check your email, Twitter feed and the latest headlines, to listening to your favourite music on the commute to work, and capturing that weekend memory on Instagram, to managing personal finance or making a purchase – the smartphone and tablet have become an integral part of daily life. These devices are transforming consumers into connected communities who are not only able to read, watch or listen instantly, but share and amplify their experiences with their peers.


From the advent of SMS technology, we saw the introduction of Bluetooth: low-power radio waves that sent content to a person’s mobile device by proximity. Over the years, this technology has been used to transfer audio, video or online content, vouchers, and in one of the first forms of electronic mobile publication, a Java application displaying current news headlines. Quick Response codes came soon after – two dimensional barcodes designed to be scanned by a downloaded App – offering a similar experience but with a new technology twist. From these relatively humble beginnings, the evolution continues rapidly. Consumers armed with portable devices, hold in their hand the potential to unlock the future of our medium. Apps bridge the void between the physical platform of OOH and the virtual world, as consumers can be directed to pointof-sale or online content instantly. The simplicity and ease of mobile interaction has broad appeal and we are seeing these solutions become increasingly commonplace for many OOH advertisers. Technology integration is imperative, enabling a new level of interactivity, engaging consumers directly and personally. Innovation platforms allow the medium of OOH to integrate seamlessly with the trends of peer-to-peer sharing and the explosion of new mobile capabilities. A new product can now be launched by creating a virtual product immersion experience. OOH furniture can be transformed into a retail display, allowing instant transaction via Near Field Communication. Sound or video can deliver rich content. Free product trials can be offered at the tap of a phone. And consumers can play a game or pair their portable device with creative to upload their own content and data. The opportunities are potent.

Brands today must work harder than ever to connect with their customers. With these newfound possibilities, we must not lose sight of the fundamentals for good use of the medium. The power of the creative is paramount and must, of course, capture attention. This is achieved through graphic impact, clever copy or lighting, and special build effects – get it right, and they will glance and absorb a message as they hurry by. However, enticing consumers to extend their dwell time and explore a brand message requires more; the promise of a new technology experience, or perhaps a reward. Enjoyable interaction elicits overwhelming positivity around the brand and is proven to drive deeper engagement for the consumer and better value to advertisers. Many of the newer technologies require active participation such as Motion and Gesture Recognition and Augmented Reality, and these have the power to deliver a more lasting experience and powerful brand impression. In the not too distant future, there is no reason why audiences won’t expect this level of sophistication and immersion in all of their OOH encounters. It is just a matter of time before technology progresses further. Brands will be able to provide rich personalised messages and experiences. Consumers will be recognised by a panel and delivered tailored content based on their lifestyle preferences, purchase history, location and daily routine. OOH offers advertisers an ever-changing, everevolving and ever-moving opportunity. The new creative technologies and interactive experiences increase the impact upon out-and-about consumers. Coupled with its broadcast strengths, OOH has a significant role to play in the future of connected communications. I’m excited.



ADVERTISER Fonterra PRODUCT Connoisseur Gourmet Yoghurt CAMPAIGN Scented Poster AGENCY CumminsNitro, Melbourne OMD, Melbourne COUNTRY Australia YEAR 2009

WiFi, Quick Response (QR) codes, Near Field Communication (NFC), mobile technology, special builds, as well as Motion and Gesture Recognition have opened a world of choices for OOH campaigns. The creative process for developing OOH is accordingly taking on new dimensions. Where once the focus was purely image, copy, and logo, now OOH invites exploration into a more holistic consumer experience. Samples, scents, effects, gaming, searches etc, are now all possible. Content can be customised to suit location, time of day, consumer interaction or consumer disposition. The challenge for creatives is to exploit these opportunities in ways that are organic to brands. Savvy consumers tire quickly of cheap gimmicks. But the clever creative, who seamlessly integrates technology and innovation into their narratives, will generate more profound brand connections and stronger outcomes.



ADVERTISER SunSmart: Cancer Council Western Australia PRODUCT Sun Protection CAMPAIGN Cut Your Sun Exposure AGENCY Cooch Creative, Perth COUNTRY Australia YEAR 2011 ADVERTISER Specsavers PRODUCT Specsavers Optometrists CAMPAIGN Should’ve Gone To Specsavers AGENCY Smart Inc, Sydney COUNTRY Australia YEAR 2011



ADVERTISER Lego Group PRODUCT Toy Building Brick CAMPAIGN Brickworks AGENCY Host, Sydney COUNTRY Australia YEAR 2012 To celebrate 50 years of Lego in Australia, the toy manufacturer created an exhibition of Lego brick mosaics in several bus shelter panels. Creative Australians from all walks of life were invited to take part by designing their own panel inspired by the word ‘play’. ADVERTISER Lego Group PRODUCT Toy Building Brick CAMPAIGN Imagine AGENCY Ogilvy & Mather, Kuala Lumpur COUNTRY Malaysia YEAR 2011



ADVERTISER Revlon Australia PRODUCT Makeup CAMPAIGN Free Makeup Voucher Dispenser AGENCY GPY&R, Sydney COUNTRY Australia YEAR 2012 ADVERTISER Emirates PRODUCT New Route To Amsterdam CAMPAIGN Flower Box AGENCY Saatchi & Saatchi, Sydney COUNTRY Australia YEAR 2010



ADVERTISER Walt Disney Studios PRODUCT Movie CAMPAIGN Pirates Of The Caribbean 4 AGENCY SAS Creative, Melbourne COUNTRY Australia YEAR 2011



ACKNOWLEDGEMENTS All books are a collective effort and this book is no exception with myriad individuals and organisations making significant contributions. First and foremost, we would like to thank the OMA Board Members for their wisdom in encouraging, supporting and funding the development and production of this book. To our valuable members, we extend our gratitude for their generous assistance in seeking out the best creativity that our industry has to offer, and for sending us more amazing images and campaigns than we had available pages. Special thanks to all contributing writers – some of the most formidable minds in Australian advertising – for taking time from their incredibly busy schedules to stop, pause and consider a response to our topics. In particular, our warmest thanks to Stephen Banham of Letterbox Design, Adam Ferrier of Naked Communications, Sudeep Gohil of Droga5, and Micah Walker of The Monkeys. We were also privileged to work with the very clever Todd Sampson, CEO of Leo Burnett. A warm thanks to Todd for his insightful foreword and for his support of this project from the outset. No book on OOH would be complete without contributing voices from within its own ranks.


Thanks to OMA Board Member Brendon Cook of oOh!media, Rose Farhart of JCDecaux, and Nigel Spicer of Cactus Imaging. To our colleagues at Yaffa Publishing, thank you for allowing us to include extracts of recent written work from The Round Table creative discussions featured in the Australian Creative magazine. Huge thanks to our design team, Three Colours Blue, for their unwavering commitment – proof of their hard work now sits in your hands. And our gratitude to our clever editor David Hely who did wonders with our words. A massive thank you to our friends at both the CLIO Awards and the Cannes Lions International Festival of Creativity for providing us with access to the many fantastic pieces of international creative work in their possession. We were heartened by their generosity and willingness to collaborate. Without this support we simply would not have been able to show off the remarkable calibre and diversity of creative work in OOH the world over. And thanks to you, the reader, for turning each page. We hope this book inspires and encourages you to embrace the power of OOH with all your creative might. Remember, it’s big, it’s bold and it will get noticed, so make it count!