The Slow Sign is an OOH campaign created by Cash Studios for Lemonade Car Insurance. The custom roadside message board lights up with playful, personalised compliments for drivers travelling at or below the speed limit, while remaining dark for those going faster.

The idea connects directly to Lemonade’s car insurance proposition, where safe drivers pay less. According to the campaign team, research found that only 10% of Texas drivers follow the speed limit, making the state’s safest drivers an unusually small group worth celebrating.

Turning a road warning into a reward

Road safety advertising usually leans on consequences. Slow down or risk a ticket. Drive carefully or risk an accident.

The Slow Sign takes a different approach. Instead of telling speeding drivers what they have done wrong, it gives safe drivers a small moment of recognition.

The sign switches on only when a driver is travelling at or below the speed limit. Messages include lines such as “OBSESSED WITH YOUR SAFE DRIVING” and “ABSOLUTELY GORGEOUS SPEED CHOICE.”

That makes the behaviour itself part of the media experience. The same sign can be completely silent for one driver and suddenly become a personalised message for another.

It is a simple reversal, but one that gives the campaign its personality.

Making a roadside sign feel personal

The activation started with a familiar piece of road infrastructure: a roadside message board. Cash Studios and Lemonade wrapped the board in hot pink vinyl, giving it a distinctive presence before a single message appeared.

The sign used radar to identify the speed of approaching vehicles. A human spotter also helped identify details such as the vehicle’s colour and make, which were communicated to the sign operator through a walkie-talkie. That allowed the messages to feel more specific to the driver passing by.

The personalisation is important because the campaign is not just displaying a static brand message. It is responding to something happening on the road in real time.

The creative challenge was also unusually tight. Every compliment had to fit within the sign’s 48-character limit. Lemonade and Cash Studios worked together on lines that could be cheeky and warm while still being short enough to read quickly from a moving vehicle.

For example, “ABSOLUTELY GORGEOUS SPEED CHOICE” turns an ordinary decision to follow the speed limit into something worth celebrating.

Why The Slow Sign works as OOH

The strongest part of The Slow Sign is that the medium and the idea are inseparable.

A conventional billboard could have told Texas drivers to slow down. This campaign makes the roadside sign react to whether they actually do it.

That creates a more immediate connection between message and behaviour. The person driving past is not simply seeing an advertisement. Their speed determines whether the advertisement appears at all.

It also gives the activation a built-in curiosity factor. A driver who receives a compliment may wonder why the sign switched on. Someone travelling faster sees nothing. The difference is enough to make the experience noticeable without requiring a long explanation.

The campaign was designed to tour across Texas, taking the activation beyond a single roadside location and giving more drivers the chance to encounter it.

A lighter approach to insurance advertising

Insurance campaigns often have plenty of reasons to focus on risk. The Slow Sign finds a different way into the category by focusing on the behaviour Lemonade wants to associate with its product.

The brand’s proposition is straightforward: safer driving can mean paying less. Rather than explaining that through a conventional product advertisement, the campaign turns the proposition into an experience.

There is also a nice tension in the idea. Only a small percentage of drivers may trigger the sign, but those drivers get the most visible reward. The campaign team described this as giving safe drivers something special, almost like an Easter egg on the road.

Whether it changes driving behaviour is not something the campaign can claim on its own. Its stated ambition is to encourage more people to drive safely, while giving existing safe drivers a moment of recognition.

That restraint is useful. The Slow Sign does not need to promise that a roadside compliment will solve speeding. It simply makes the safer choice feel a little more rewarding.

For Lemonade, that is a fitting use of OOH: take an everyday object, give it a new behaviour, and let the audience discover the idea while they are already doing the thing the campaign is talking about.

Explore more OOH campaigns

Credits

Client: Lemonade
Head of Brand Marketing: Liron Smadja
Director of Design: Adar Debby
Creative Team Lead: Logan Broadley

Creative Agency: Cash Studios
Executive Creative Director: Ivan Cash
Creative Director: Matt Kalish
Co-Creative Director: Jimmy Burton
Producer: Yevgeniya Kats
Production: Cash Studios

Launched in Portugal during July 2026, the campaign partnered with Fnac and Darty to replace traditional demonstration footage on televisions across 52 stores with real images of some of the country’s largest wildfires from recent years. Instead of selling the beauty of nature, the screens revealed what can happen when that landscape is lost.

The creative idea is remarkably simple because it uses the medium itself as the message. Retail televisions are designed to impress customers with vivid colours, sharp contrast and exceptional picture quality. Fire on Display uses those same technical strengths to present devastating wildfire footage, creating an unexpected contrast that immediately changes the shopping experience.

Unlike many awareness campaigns that ask audiences to visit a dedicated exhibition or event, Fire on Display reaches people during an everyday retail visit. Customers comparing television models suddenly find themselves watching scenes that feel completely out of place in a showroom. That unexpected context gives the campaign its emotional impact without relying on complex technology or large physical installations.

Alongside the in-store experience, visitors were invited to make donations either in-store or online. According to WWF, the funds support reforestation projects while helping provide resources for wildfire prevention initiatives and firefighting teams, connecting awareness with a clear opportunity to take action.

The collaboration between WWF, Fnac and Darty also demonstrates how retail spaces can become meaningful communication channels for public interest campaigns. Rather than introducing additional advertising materials, the campaign repurposed an existing consumer touchpoint that millions of shoppers already engage with. The result feels integrated into the environment instead of interrupting it.

Visually, Fire on Display remains grounded in authenticity. Product specifications, pricing labels and promotional information stay visible alongside the wildfire footage, reinforcing that these are genuine retail displays rather than a staged exhibition. That subtle detail makes the experience feel more immediate while strengthening the campaign’s central idea.

For a campaign centred on environmental awareness, Fire on Display avoids overcomplicating its message. It simply replaces images people expect to admire with images they hope they never have to see again. By transforming television displays into a platform for conversation and fundraising, WWF reminds audiences that the most memorable screens are not always the ones showing perfect picture quality, but the ones showing why those landscapes are worth protecting.

Credits
Advertising Agency: NOSSA™, Portugal
Production Company: Nossa Film Lab & The End
Sound Production: Guel Produções Audiovisuais
Client (WWF Portugal): Joana Guerreiro / Rita Rodrigues
Partners: Fnac (Margarida Silva) / Darty (Isadora Pollo)
Executive Creative Director: Nuno Presa Cardoso
Creative Directors: Victor Britto / Rui Simões
Art Director: Francisco Urgueira
Copywriter: Duarte de Brito Cunha
Account Director: Vânia Araújo Junceiro
Executive Account: Bárbara Ferreira
Motion Designer: Bruno de Souza
Designer: Matilde Matos Fernandes
Web Designer: Carolina Santos
Web Developer: Hugo Marques
Videographer: Diogo Gonzaga
Producer: Daniela Serra
PR: Vera Salminen
Images: AFP / Canal Conta Lá

This campaign is about:
WWF, Fire On Display, WWF Fire On Display, Nossa, Portugal, OOH Campaign, Ambient Advertising, Retail Activation, Retail Media, Wildfire Awareness, Environmental Campaign, Sustainability, Climate Action, Cause Marketing, Experiential Marketing, Reforestation, OOH Campaign, Best Outdoor Advertising Campaigns, Creative OOH Campaigns, European Forest Fire Information System (EFFIS)

Its latest campaign, The best of summer is analog, doesn’t rely on flashy technology, oversized product shots or endless feature lists. Instead, it fills beaches, Underground stations, street corners and city walls with handwritten thoughts, instant photographs and just enough branding to remind people what the campaign is really about.

Supporting the launch of the new Go Generation 3 camera, the work stretches across New York, London and South Korea. While each execution stands on its own, together they build a remarkably consistent creative platform, one that argues the best moments of summer are the ones spent away from screens.

One campaign, many canvases

At first glance, the campaign feels almost understated.

A single Polaroid photograph sits at the centre of every execution. Around it, handwritten copy does the talking. The Go Generation 3 appears quietly near the bottom, while generous white space lets every message breathe.

Whether it appears as a giant billboard overlooking Coney Island beach, a station takeover at King’s Cross, wild postings around Bethnal Green, street murals in New York or large-format placements elsewhere in London, the visual language barely changes.
That consistency is one of the campaign’s biggest strengths. Rather than adapting the idea for different media, Polaroid allows the same creative system to travel across every location.

The result is instantly recognisable without ever feeling repetitive.

The copy does what the camera doesn’t

Most camera advertising begins with megapixels, lenses or image quality.
Polaroid barely mentions the camera.

Instead, the campaign relies on short observations that feel more like notes scribbled beside a photograph than advertising headlines.

“You can’t bask in blue light.”
“Less getting tracked. More getting lost.”
“What a glorious day to stare into various screens for hours on end.”
“Dance like nobody is recording.”
“Go jump in some water before the data centers drink it all up.”

Each line gently questions habits that have become part of everyday life. None of them asks people to stop using technology altogether. Instead, they encourage something much simpler: spending a little more time experiencing the world before documenting it.

That restraint gives the campaign an authenticity that conventional product advertising often struggles to achieve.

The beach billboard everyone talked about

Among the campaign’s many executions, one quickly became its defining image.

Installed directly on Coney Island beach, a giant billboard carried the line:
“Go jump in some water before the data centers drink it all up.” The placement is what gives the message its impact.
People arrive at the beach to enjoy summer, only to encounter a headline referencing one of today’s most discussed technology debates. According to Polaroid, the line uses data centre water consumption as a metaphor for a much broader conversation about over-digitalisation and the growing need to step away from screens.

Seen on its own, the billboard is provocative.

Seen alongside the rest of the campaign, it becomes another chapter in the same story.

The product is almost secondary

One of the most unusual aspects of The best of summer is analog is how little attention it gives the product itself.

Across nearly every execution, the Go Generation 3 camera appears discreetly beneath the headline.
That decision feels intentional.
Rather than asking audiences to admire the camera, Polaroid spends its energy reminding them why moments matter in the first place. The camera simply becomes the tool for holding onto those moments.

It is a subtle shift, but an effective one.
The campaign sells a way of seeing before it sells the device that captures it.

The same philosophy continues beyond outdoor

The outdoor campaign is only part of the story.

To extend the idea, Polaroid invited twelve creators to temporarily step away from social media. Through handwritten notes shared with their followers, they announced they would be taking a break from posting online while spending time pursuing the activities they are best known for in real life.
One example highlighted by the brand is creator @berniemor, who exchanged giving dating advice through a screen for going on dates in person.
For media and influencers, Polaroid also created a sensory seeding experience designed around birdsong, natural scents, moss and wildflowers. Hidden at its centre was the new Go Generation 3 camera, reinforcing the campaign’s focus on experiences that engage more than just sight.
Rather than feeling like separate activations, each extension follows the same creative philosophy introduced by the outdoor work.

Campaign analysis

Many campaigns promote analog photography by celebrating nostalgia.
Polaroid takes a different approach.
The best of summer is analog isn’t asking people to return to the past. It suggests that as more of everyday life becomes digital, the value of real-world experiences naturally increases.
That idea is reflected in every creative decision.

The handwritten typography feels personal rather than polished. The instant photographs remain the emotional centre of every layout. White space replaces visual clutter. Even the product is deliberately understated, allowing the campaign’s message to take precedence.

Creative Director Patricia Varella explained that the team stopped asking how to make instant cameras appealing to Gen Z and instead asked why Polaroid should exist in an AI era. According to Varella, the brand is not anti-digital. It is firmly pro-human.

That perspective gives the campaign its clarity.

Instead of criticising technology, Polaroid celebrates everything technology cannot replace: spontaneous adventures, unplanned conversations, imperfect photographs and the memories that exist long before anyone reaches for a camera.
By the time the Go Generation 3 appears, the campaign has already made its most convincing argument.

Not for a product, but for a way of spending the summer.

Credits
Concept: Polaroid Creative Studio
Creative Director: Patricia Varella
Brand Manager: Dovile Banyte
Copywriter: Rowan Hudson
Art Director: Veronika Radeva
Graphic Design: Ryan Esquivel
DTP: Alvaro Almeida
Project Manager and Producer: Galini Zachou
Senior Art Buyer: Suzanne Tromp
Senior In-house photographer: Harriet Browse
Polaroid pictures: Charlie Tallott & Alicia Karsonopoero
Handwritting: Thomas Lélu
Image editing: Loupe
Polaroid Media Team: Igor Zadorozhnyy & Tania Tysh
OOH Partner: Billups
Creator Agency: Brainlabs

This campaign is about:
Polaroid, The Best Of Summer Is Analog, Polaroid Go Generation 3, OOH Campaign, Outdoor Advertising, Billboard Campaign, Instant Camera, Creative Advertising, Experiential Marketing, Creator Marketing, Digital Wellbeing, Offline Experiences, Coney Island, London Advertising, King’s Cross, Bethnal Green, Creative Print Ads.

Created by Fold7, the campaign marks the return of Carlsberg’s long-running “If Carlsberg did…” platform. Rather than imagining the perfect football commercial, the brand has focused on making football itself more accessible by turning everyday public spaces into places where anyone can enjoy a casual kickabout.

A Simple Idea That Invites Participation

The campaign centres on a straightforward outdoor execution. Large green posters featuring the outline of a football goal have been installed on walls in selected UK cities. Instead of functioning only as advertisements, the posters become makeshift goals that people can immediately use.

The first Goal Posters appeared at Sutton Walk and Shoreditch Tunnels in London, along with Bridge Street in Manchester, with additional activations planned throughout the summer.

The simplicity of the idea is central to its appeal. There is nothing to download, no technology to interact with and no organised event to join. All that’s needed is a football and an open space, allowing ordinary locations to become places where the game can happen naturally.

Built Around a Real Behaviour

The campaign is supported by research commissioned by Carlsberg, which found that 73% of adults planned to watch football during the summer, while one in three admitted they had not played a kickabout in more than six months.

The research also highlighted some of the reasons people play less often, including limited time, a shortage of suitable places to play and not having enough people to join them.
Rather than encouraging fans to consume more football content, Goal Posters responds by creating simple opportunities to get people playing again.

The Return of “If Carlsberg Did…”

Goal Posters also marks the latest chapter for one of advertising’s most recognisable brand platforms.

Historically, “If Carlsberg did…” became synonymous with delivering “the best.” Today, the platform has been reinterpreted around removing barriers that stand between people and great experiences.

Within football, that means investing in access instead of spectacle. As part of its sponsorship of UEFA National Team Football, Carlsberg has chosen to create opportunities for participation rather than relying on celebrity ambassadors or high-production advertising.

Supporting the outdoor installations are creator partnerships, PR activity and social content. Football creators have hosted kickabouts around the Goal Posters, while campaign films capture the way overlooked urban spaces are transformed once people begin playing.

Campaign Analysis

Goal Posters works because the creative idea and the media are impossible to separate. The poster is no longer just carrying the message. It becomes part of the experience itself.

That gives the campaign an immediacy that many outdoor executions struggle to achieve. People do not need instructions to understand the idea. A familiar advertising format has been given a second purpose, making the interaction almost instinctive.

The campaign also reflects a wider shift in brand thinking. Instead of adding another football advertisement to an already crowded season, Carlsberg has created something that encourages participation beyond the screen. The activation asks very little from people, yet offers a genuine reason to stop, play and engage with the brand in a memorable way.

It is a reminder that effective outdoor advertising does not always rely on scale or technology. Sometimes, a simple idea placed in the right environment is enough to turn media into an experience.

Explore more OOH Campaigns

Credits
Brand: Carlsberg
Campaign: Carlsberg Goal Posters
Agency: Fold7
Chief Creative Officer: Ryan Newey
Executive Creative Director: Dave Billing
Chief Strategy Officer: Yelena Gaufman
Executive Creative Director: Dillah Zakbah
Creative: Chris Bennett & David O’Brien
Producer: Michelle Hickey & Hannah Burles
Experiential Producer: Andrew Casher
Account Manager: James May
Account Manager: Jamie Herman
Account Manager: Ciara Jenkins
Account Manager: Misbah Husain
Strategy Director: Mike Waters
Media: Copa90
PR: Hope&Glory

This campaign is about:
Carlsberg Goal Posters, Goal Posters, Carlsberg Football Campaign, Goal Posters Campaign, Outdoor Advertising, OOH Campaign, Outdoor Media, Playable Football Goals, Football Marketing, Football Campaign, Sports Marketing, Brand Activation, Experiential Marketing, Interactive Outdoor Advertising, Ambient Advertising, Public Space Activation, UEFA National Team Football, Football Brand Activation

Created in partnership with IMPACT BBDO, the campaign transformed the UAE’s presence at the Cannes Lions International Festival of Creativity into an open invitation for creatives, entrepreneurs, and innovators whose boldest concepts may have been rejected elsewhere. Rather than promoting a destination, the campaign promoted an environment where ambitious ideas could find the opportunity to become reality.

For the third consecutive year, the UAE established a strong presence across Cannes through a series of strategically placed out-of-home installations. Positioned around the Palais des Festivals and along the Croisette, the billboards addressed one of the advertising industry’s most familiar experiences: seeing promising ideas dismissed before they have the chance to be realised.

The campaign featured striking headlines including “The Ideas They Reject, We Build,” “The Idea Wasn’t Wrong. The Room Was,” and “Don’t Reduce the Idea. Change the Place.” Together, the messages reinforced the UAE’s long-running “Impossible is Possible” positioning while presenting the country as a place designed to support experimentation, innovation, and execution.

According to Khaled AlShehhi, Executive Director of Marketing and Communication at the UAE Government Media Office, the campaign drew inspiration from an experience shared by many creative professionals.

“Every creative professional understands what it feels like to have an idea questioned or dismissed,” he said. “Some concepts fail because they are not ready, but others simply arrive before the people evaluating them are prepared to embrace them. Our message is an invitation to those ideas that still deserve the opportunity to become reality.”

The campaign extended well beyond traditional billboards. Developed with IMPACT BBDO, it appeared across large-format outdoor advertising, digital screens, building wraps, and indoor media placements throughout the festival. Its visibility across key Cannes locations helped make the installations part of conversations taking place both inside and outside the official festival programme.

The campaign also generated significant engagement on social media, where delegates frequently photographed and shared the installations, helping the message reach audiences beyond Cannes itself.

Ali Rez, Regional Chief Creative Officer for IMPACT BBDO group of companies, said the work reflected the country’s broader ambition.

“The campaign represents a nation that believes bold thinking deserves bold action,” he said. “It’s an invitation to creators looking for a place where ambitious ideas have the opportunity to be realised.”

With this year’s Cannes presence, the UAE once again used one of the creative industry’s biggest stages to present itself not simply as a destination, but as a partner for ambitious thinkers. By focusing on ideas that never made it beyond the pitch room, the campaign challenged creatives to consider a different perspective: perhaps the idea was never the problem. Perhaps it was the place where it was presented.

This campaign is about:
UAE Government Media Office, UAE Cannes Lions Campaign, Cannes Lions 2026, Cannes Lions International Festival of Creativity, IMPACT BBDO, Outdoor Advertising, OOH Campaign, Creative Billboards, Brand Campaign, Innovation, Advertising, Creative Industry, Marketing Campaign.

In a bold blend of social responsibility and smart marketing, Drogaria São Paulo has unveiled a creative campaign that turns its brick-and-mortar drugstores into unexpected allies in the fight against urban violence. The initiative, created by Brazilian agency LVL, is a compelling example of how data-driven solutions and brand purpose can come together to make a real difference — while positioning a company as a socially conscious leader.

Shining a Light on Public Safety

Urban violence, particularly around bus stops at night, remains a persistent issue in many large cities, including São Paulo. The fear of assault or harassment often keeps commuters on edge, especially in poorly lit or isolated areas.

To address this, Drogaria São Paulo launched a campaign that uses its own network of stores to illuminate danger zones — quite literally.

Here’s how it works:

• Data Cross-Referencing: Using a custom-built Python script and geographic intelligence tools, the agency cross-referenced the locations of approximately 500 Drogaria São Paulo stores with over 19,000 bus stops across the city.
• Crime Mapping: The system pinpointed the most dangerous bus stops based on urban violence data, identifying those in close proximity to one of the chain’s drugstores.
• Extended Store Hours: Stores near these high-risk areas that typically closed at 11 p.m. were reevaluated and selected to operate 24 hours, ensuring the area remains lit and active throughout the night.

Backed by Research, Driven by Purpose

According to studies by the Campbell Collaboration, improving public lighting can reduce crime in an area by an average of 21%. Drogaria São Paulo took this insight and turned it into action, leveraging its infrastructure to protect and empower local communities.

But the campaign doesn’t stop at logistics and technology. It reignites a broader conversation about public policy, specifically the 2016 Brazilian law that allows passengers to request offboarding outside official bus stops in dangerous zones at night — a law that remains largely ignored.

By placing a spotlight on this issue, both figuratively and literally, the brand not only improves safety but also advocates for better compliance and enforcement of existing protections.

Why This Campaign Stands Out

In a world where brands are increasingly expected to stand for something meaningful, this campaign sets a high bar. Here’s why it’s being applauded:

• Creative Use of Technology: The campaign is a perfect example of geolocation marketing paired with civic tech.
• Brand Purpose in Action: Instead of launching a traditional ad, the brand creates real-world impact.
• Community Engagement: Locals see tangible benefits, fostering loyalty and trust.
• Strategic Messaging: It ties seamlessly into the brand’s identity as a reliable, community-focused drugstore.

Key Takeaways for Marketers and Creatives

This initiative offers valuable lessons for advertisers, marketers, and brand strategists looking to craft purpose-driven campaigns:

• Data is more than analytics — it’s a storytelling tool. When used creatively, data can lead to impactful, headline-worthy ideas.
• Purpose builds brand equity. Consumers are increasingly drawn to brands that do more than just sell.
• Location-based strategies are powerful. Knowing where and how your audience interacts with your brand opens up unique opportunities.
• Tackling real problems drives real engagement. Aligning your campaign with a social issue can result in earned media, stronger brand affinity, and community goodwill.

Conclusion: A Bright Idea That Goes Beyond Business

Drogaria São Paulo’s campaign is more than a safety initiative — it’s a powerful marketing story, a creative use of data, and a testament to how brands can genuinely contribute to public welfare. By turning everyday storefronts into 24/7 beacons of safety, the company has elevated its role from retailer to community protector.

In the realm of creative advertising and marketing campaigns, this one stands out as a shining example — both literally and metaphorically — of innovation, empathy, and strategic brilliance.

Creditsviolence at bus stops
Advertiser: DPSP Group
Title: 24h Bus Stop
Agency: LVL

This campaign is about:
Drogaria São Paulo, Urban Violence, Bus Stops, Public Safety, 24-Hour Stores, Brazilian Law, Crime Reduction, Data-Driven Solutions, Creative Advertising, Marketing Campaigns, Brand Purpose, Public Policy, Community Engagement, Location-Based Strategies, Social Responsibility, OOH advertising, OOH campaign, Outdoor Campaign

An advertising campaign launched in newspapers and out of home, scheduled for the last two weeks of June.

All the companies that chose to join the project Rainbow Brands created by Dentsu had the opportunity to be protagonists with their logos in different subjects and media formats.

The creative idea draws its strength from simplicity: a multi-brand rainbow, where each one is associated with a rainbow flag colour.

Thanks to the support of IGPDecaux, Urban Vision and VG Pubblicità, the campaign is out of home in Milan, with maxi-billboard formats in Piazzale Lodi and special positions inside the Cadorna Metro.

But most of all, it has been published in newspapers just below the news of the debate about Italy’s anti-homophobia law between government and Vatican’s with a perfect media placement.

Stefano Morelli, a chief creative officer of Dentsu, says about the initiative: “We are very proud of this campaign because it testifies to the deepest and most authentic sense that Pride tries to teach us: the praise of diversity. Large companies that share the market attention daily now share the same space is a powerful signal. When individualisms are put aside, and small differences are cancelled out, unthinkable goals can really be achieved. In a common victory. A rainbow in which diversity is the key ingredient of a shared message. Because sometimes all it takes is a simple idea and the desire to share a space to send out a great signal”.

Credits
Agency: Dentsu
Campaign: Rainbow Brands
Production: The Story Lab

An algorithm extracted data from the NYC Dog Licensing Dataset, linked each dog to a Puppo health benefit, and used a modular copy and art direction system to generate a unique ad for every dog.

Owners were targeted by ZIP Code with posters, digital OOH and digital display. Each ad started a shopping experience tailored to their dog.

In one week, the personalised ads saw an increase in website users of 68%, of which 28% came directly from our posters. There was also a 144% increase in organic searches for Puppo.

Kimberley Ragan, Colenso BBDO creative director, explained, “We all love our dogs, and having your dog, with all his or her unique personality quirks, pigeon-holed into small, medium or large breed, isn’t always what’s best for the dog.

“Straying from the typical one-ad-for-100,000 consumers format, instead creating one ad for each of the 100,000+ dogs who live in New York City, allowed us to connect with owners in a more meaningful way, and help them find the right diet for their pup.”

Puppo – Every dog has its ad from Colenso BBDO on Vimeo.

Credits
Client: Puppo
Leonid Sudakov – President, Kinship
Winson Wong – Head of Kinship Labs
Adelyn Zhou – Head of Marketing, Puppo
Carrie Deverell – Head of Corporate Affairs, Kinship

Lead Creative Agency: Colenso BBDO Auckland
Media Agency: Mediacom US & Milk Money
Consumer PR Agency: DKC
Social Agency: SocialFly

Source

Tags:
Innovation, QR Code, petcare, OOH Campaign, digital display, Out of home advertising, Technology, Health, Dog

In December, at least 50% of the sales of the year are made. That is the reason why stores and streets are filled with offers and promotions that ruin Christmas magic.

Tarjeta Cencosud, one of the most important credit cards from Latin America, has implemented this year an action that is as magical as Christmas. It vanished offers and prices from its communication installing OOH, that showed Santa with toys and also could send signals to the virtual assistants of parents’ phones. By doing so, they managed to make adults learn about the Christmas promotions of the products that children wanted, without them even noticing.

They added a technology to billboards that send out an ultrasound message inaudible by humans, however noticeable to smartphones assistants, allowing to communicate offers without being heard by children.

“Devices of ultrasound audio transmission were composed of a high frequency oscillator of 40Khz, an audio player, a frequency amplifier and an array of ultrasound transducers with its own power source”, the developers explained.

“That a credit card gives up sales to take care of Christmas magic for children, is an example for everyone. Based on the dolphin attack, we made an unprecedented technological development that allows us to avoid put prices on communication. This is an action that shows that technology is not cold if used nobly”, said Patan Tarazaga and Dany Minaker, CCOs of Wunderman Latam.

Credits
Agency: Wunderman Thompson, Buenos Aires
Advertiser: Tarjeta Cencosud
Executive Creative Director: Sebastián Tarazaga / Dany Minaker
Creative Director: Damián Lavandera / Gastón Durán / Matías Paglieri / Darío Ventura
Social Media Team: Lucas Frigerio / Julián Amarillo
Agency Producer: Maite Orlievsky
Technology Director: Francisco Tripodi / Santiago Villa
Customer Service Director: Fabiana Antonelli
Account Direction: Mercedes Cores / María José Cruces
Account Supervisor: Fernando Pomares
Production Company: Rebolución
Directors: Juliet / Lucía Valdemoros
Executive Producer: Santiago Aicardi / Tomás Perez Silva
Producer: Martín Busel
Director of Photography: Daniel Carrizo
Editor: Federico García Rico
Music Band: Violeta Music
Advertiser Supervisor: Melina Suarez Pino / Analía Riganti

Tags:
Wunderman Thompson, Cencosud, The Unexpected Message, Outdoor, OOH Campaign, Christmas Campaigns, Christmas Ads, billboard, Technology, Innovation

Says Dean Chadwick, chief marketing officer, Velocity: “Virgin brands are famous for finding new ways to disrupt categories and stay relevant. It’s our job to look at how our members are engaging with the Velocity program, and find ways to make it more rewarding. We found some interesting insights linking topics that are culturally trending with the habits of our members. We explored this, and struck gold. Our challenge was to then find an entertaining (uniquely Virgin way) to promote our program and we hope this makes our members smile.”

Says Ashley Wilding, creative director at CHE Proximity: “When we were asked to celebrate how Velocity’s 10 million members were using the program, we knew we had to find a fresh way of presenting the data. Luckily, Australia’s flying habits have amusing parallels with topics that frequently make headlines around the world.”

The ads will run in outdoor media across the country as well as some press and digital activity.

Credits
Velocity Frequent Flyer
Chief Marketing Officer – Dean Chadwick
Head of Customer Marketing – Steve Baird
Innovation Lead – Ella Gowland
Modelling and Insight Specialist -Tracy Lam

Creative Agency: CHE Proximity
Chief Creative Officer – Ant White
Creative Directors – Ashley Wildling, Daniel Davison
Senior Designer – Vanessa Saporito
Chief Strategy Officer – David Halter
Chief Media Officer – Ben Sheppard
Head of Media – Daniel Bradley
Media Product Executive – Cam Toohey
Investment Manager – Elizabeth Lonsdale
Client Partner – Katie Dally
Group Account Director – Sam McGown
Senior Account Manager – Laura Eagleton
Account Manager – Brandon Rahme

Production Company – Dutch Uncle Agency
Founder: Helen Cowley
Senior Agent: Joel Minter
Illustrator: Noma Bar

OOH Media vendor
oOh! Media

Tags:
CHE Proximity, Velocity Frequent Flyer, OOH Campaign, Outdoor, Print campaign, Billboards, Boris Johnson, Donald trump, Virgin, Illustration, World Affairs, Virgin Australia, PR Campaign, Media Campaign

Catalyst partnered with Burns Group agency to design a Slack plug-in that assists in weeding out unconscious bias words that take up everyday conversations intentionally or unintentionally. More often than not, the tendency to use words like pushy, bitchy, and aggressive while describing a woman has become a habit. What’s more alarming is that the users of such words don’t even know that they have this habit and how it is detrimental to the equality and gender-neutral ethics in workplaces. #BiasCorrect plug-in points out to the user when he types such negative bias words and recommends him or her more professional, positive, and gender-neutral words like ‘passionate’ instead of emotional and ‘assertive’ instead of aggressive.

We believe that this app will certainly do the needful to allay inequality in workplaces by helping people to choose sensible words. After all, words are strongly influential.

You will see powerful faces supporting this campaign like Hillary Clinton, Mita Mallick of Unilever who is the Head of Diversity there, and Tawana Murphy Bennett who is Facebook’s Global Lead.

Credits
Client – Catalyst
Campaign: Catalyst #BiasCorrect
Website: https://www.catalyst.org/biascorrect/
Iris Henries SVP, Global Brand and Strategic Communications
Serena Fong VP, Strategic
Agency – Burns Group
Joanne McKinney CEO
Sam Arcade Executive Creative Director
Nicole Lucey Executive Creative Director
Whitley Edwards Associate Creative Director
Meghan Dailey Senior Art Director
Pauline Nidea Designer
Natalie Glaser Group Account Director
Alanda Fellows Director of Integrated Production
Maria Hummel Integrated Producer
Tori MacMahon Associate Producer
Jerry Mulcahy Production Designer
Ward Whipple Proofreading
Michelle Morrie Editor/Motion Designer
Website – Wyng, Inc
Emily Duke Agency Account Director
Kaleigh Sullivan Solutions Architect
Kelly Devine Lead Front-End Developer
René Samson Director of Engineering
Photography – Versatile Studios
Celeste Sloman Photographer
Emily Leonardo Agent/Executive Producer
Amy Frances Fraher Producer
Bianca Harlacher Associate Producer
Lee Wall 1st Assistant
April Blum 2nd Assistant
Katie Hawthorne Digi Tech
Yumi Kaizuka Groomer
Naoko Iwata Assistant Groomer
Monica Nguyen Assistant Groomer
Kit Pilosof Stylist
Plug-in Development – Eskalera
Vivek Vaidya Co-Founder Eskalera
Debra Kadner Co-Founder and Head of Product

Tags:
Catalyst, Bias Correct, #BiasCorrect, Hillary Clinton, Sheryl Sandberg, Sallie Krawcheck, social campaign, OOH Campaign, digital campaign, unbiased words, International Women’s Day, IWD 2019, Women’s day campaign, gender equality, gender equality in the workplace, Burns Group, United States, Women’s Day Ads, Catalyst #BiasCorrect

The campaign is based on the insight that, in the current times, the selling of second-hand cars in India is an extremely complex process. In this market, car owners have to visit or meet a number of buyers before making that sale; and Cars24, a focused and specialised player in this domain, intends to make this technique easy with its unique process that allows the sellers to get the right price for their cars in their very first visit.

Spread across a massive area of more than 70,000 square feet, the OOH campaign encompasses large format billboards, bus shelters, buses, unipoles and gantry. With an aim to design a successful campaign, Milestone Brandcom has selected strategic locations including arterial routes, corporate areas, market areas, and motor garage to reach out to the brand’s core TG.

Gajendra Jangid, VP- Marketing, Cars 24 said, “we aim to provide a quick and convenient way for car owners to sell car in India. The campaign was strategically placed to test the OOH medium and to understand its impact to convey the brand communication to wider audience . This quarter of the year is always good for used car market and we wanted to create a huge noise before the festive season.”
Commenting of the campaign, Nabendu Bhattacharyya, CEO & Managing Director, Milestone Brandcom said, “We got an opportunity here to introduce Cars24 to its core group of consumers through OOH and we have left no stone unturned to create a high impact campaign for the brand. The idea here remains to create buzz and drive home ample curiosity for customers to visit the store and get a first-hand experience on the value of their cars.”

“It’s a delight to witness such an outstanding response to this campaign. The planning of each site was done using detailed understanding of the city’s traffic pattern and showroom locations. Each site that has been chosen is a high-impact zone, ensuring maximum visibility. The innovation has already generated extensive exposure and significant buzz,” he added.

This Campaign is about:
OOH campaign, Cars24, Bangalore, Dentsu Aegis Network, Milestone Brandcom

The core objective of the campaign is to build awareness, buzz and excitement around the tournament and to own conversations around the World Cup for brand Adidas in a country that is chiefly dominated by cricket. The one-month-long campaign is aimed at reaching out to people who are enthusiastic about football across the 12-35 age bracket.

The campaign is centred around a deep understanding of the consumers, derived from the network’s primary research tool (OCS) and the agency’s patented analytical tool – OOHZONE.

With an aim to design a successful campaign, Posterscope India has selected strategic locations to reach out to the core TG and has crafted multiple innovations to showcase the FIFA fever within the OOH space. The agency has created the Rotating Football, a replica of the Official FIFA – Adidas Telstar 18 (official match ball of the 2018 FIFA World Cup) with an 8-foot diameter and has mounted it on the top of a unipole. Beneath the ball, an LED countdown to the FIFA World Cup is also displayed.

As part of the second innovation, Posterscope India has modified half a billboard to look like Goalposts. Inside the goalposts, a 3D ball and an LED counter has been installed. Here, the LED shows the number of goals scored by TELSTAR 18. The third innovation is the ‘Live Score’ board that keeps football lovers up-to-date with the live match scores.

Sharad Singla, senior manager activation – Adidas India said, “We wanted to create a memorable experience and live the football fever. Through the OOH campaign we wanted to push the needle and surprise the fans with something new and innovative that can be carried out throughout the World Cup.”

Aditya Goel, assistant vice president – Posterscope (North) commented, “As Adidas is one of the prime sponsors of FIFA World Cup 2018, Posterscope tried to bring the experience and updates of all the matches to the Football lovers. The team went ahead and integrated the data and technology and showed live scores of all matches during the World Cup in real time so that the commuters can catch up with the live updates. We were glad to meet the client’s expectations and ensuring smooth execution of the campaign.”

This Outdoor campaign is about:
Adidas, Adidas Telstar 18, FIFA, Football World Cup, OOH, OOH campaign, Posterscope, Russia

The Indian Outdoor Advertising Association has launched an outdoor industry campaign to highlight the ‘Power of Outdoors’. Conceptualized by Taproot and brought to life by the veteran advertising photographer, Prashant Godbole, the campaign serves to reinvigorate the outdoor medium. This creative team had partnered a year ago to make the Cannes Lion winning effort ‘Hated by Some’ for Mumbai Mirror.

Credits:
Brand name: Indian Outdoor Advertising Association
Country: India
Category: Advertising & Communication
Agency: Taproot Dentsu, Mumbai
Country: India
Creative Director: Santosh Padhi
Creative Director: Agnello Dias
Photographer: Prashant Godbole