The print campaign uses a line that feels wrong the moment you read it: “I WANT AI TO TAKE MY JOB.” The words appear in child labour environments such as workshops, factories, construction sites, and homes. In each execution, children are shown working instead of learning, playing, resting, and growing up safely.

The idea is not about AI as a saviour. It is about the kind of work no child should be doing at all.

When AI Fear Becomes a Child’s Hope

Most conversations around AI and employment are built around adult anxiety. People worry about careers, income, relevance, and replacement. I Want AI to Take My Job shifts the speaker completely.

Here, the person asking to be replaced is a child.
That change gives the campaign its force. For adults, the idea of losing a job to a machine can feel threatening. For a child trapped in labour, losing that job could mean returning to school, safety, and childhood. The campaign uses that contradiction without overexplaining it.

The supporting lines, including “So I can go to school” and “So I can be a child,” make the message clear. The closing line, “Some jobs should disappear. Not childhood,” gives the work a simple final punch without turning it into a lecture.

A Print Campaign Built on One Sharp Reversal

I Want AI to Take My Job works because it does not try to look futuristic. There are no shiny robots, no digital spectacle, no exaggerated technology language. The setting is grounded in places where child labour happens: physical, ordinary, and uncomfortable.

That makes the campaign feel more immediate. It uses AI only as the entry point. The real subject is not automation. It is the loss of childhood.

The line also has strong editorial tension. It takes a sentence people expect to hear from adults and places it in the mouth of a child. That switch forces the viewer to pause. The campaign does not ask people to feel sorry in a broad, vague way. It makes them face the absurdity of a world where a child could want a machine to take over their work because that work should never have been theirs.

The Human Cost Behind the Idea

The issue behind the campaign remains urgent. According to UNICEF and ILO estimates released in 2025, nearly 138 million children were engaged in child labour in 2024, including around 54 million in hazardous work likely to affect their health, safety, or development.

Those numbers give the campaign a harder edge. AI job loss is often discussed as a possible future. Child labour is already happening. The campaign uses a current cultural fear to redirect attention to a crisis that continues across industries, homes, and informal work settings.

Why the Idea Lands

The best part of this campaign is its restraint. It does not try to solve child labour inside one ad. It does not claim AI will fix the problem. It simply uses a familiar fear to reveal a deeper injustice.

For UNICEF, the print format suits the thought. A single image, a direct headline, and a short follow-up line are enough. The campaign does not need a long explanation because the reversal is already clear.

I Want AI to Take My Job is a strong example of social impact advertising using the language of the moment without becoming trapped by the trend. It is not really a campaign about artificial intelligence. It is a campaign about children being forced into roles they should never have had.

Credits
Copy & Design: Arun Anoop

This campaign is about:
Unicef, I Want AI to Take My Job, AI advertising, child labour campaign, creative print ads, print campaign, social impact advertising, child rights, human rights advertising, anti child labour, education awareness, nonprofit campaign, artificial intelligence campaign, childhood rights, public awareness campaign.

L’Enfant Bleu – 80% of Child Abuse takes place at home

 



 
To mark International Day of Children’s Rights on Saturday, November 20th, the association L’Enfant Bleu is launching a new public awareness campaign and calling on the candidates for the 2022 French presidential election to make strong commitments against violence against children.

Prisoners, the first TV film by L’Enfant Bleu, created and produced courtesy of Havas Sports & Entertainment, is conceived as a mini-thriller. With no dialogue, it focuses on the neighbor of a child abuse victim who has no idea of the drama that the latter lives through every day.

Despite having some suspicions, he hesitates to raise the alarm and ends up convincing himself that everything is fine. This is far from a fictional situation. Too often, a child could have been saved without the hesitation of a neighbor. These children are thus prisoners of their aggressor within the family sphere.

Since the #Metooinceste movement, the publication of various books of testimonies of public people, especially reports of child abuse cases during the lockdown due to the pandemic, has increased sharply. However, more than 80% of these cases are reported by a member of the immediate family circle. The film’s goal is to bring the viewer to a simple observation: abuse is not always obvious. But everyone needs to keep in mind that a simple call can save a life. At the slightest doubt, it is essential to alert,” declares Isabelle Debré, president of L’Enfant Bleu.

“With this film, we wanted to subtly create a disturbing moment to shake up the audience’s certainties and force them to answer the question: what would I have done in the place of this neighbor? We want to show that violence against children is not always visible and often occurs within the family home. It is everyone’s responsibility to pay attention to the slightest signals to raise the alert at the slightest doubt. By being attentive, we all have the power to save a child’s life,” says Fabrice Plazolles, creative director of Havas Sports & Entertainment.

Credits
Advertising Agency: Havas Sports & Entertainment
Client: L’Enfant Bleu
Tags: #MeTooInceste, Sexual Abuse, World Children’s Day

“COP26 Unaccessible Conference” a Public Awareness Campaign by Leo Burnett and Access Israel

Disability affects more than 1 billion people around the world. Yet, it is still often treated as a second thought when making mega-events accessible – the United Nations COP26 Climate Summit was no exception. Still, this time the ‘oversight’ sparked an international incident and a very timely campaign.

Karine Elharrar, Israel’s Energy Minister, suffers from muscular dystrophy and, as such, uses a wheelchair for mobility. But when she attended the Glasgow climate conference this week alongside Israeli Prime Minister Naftali Bennett, she found herself unable to enter the conference complex due to accessibility issues – and was left out.

Her wheelchair was not allowed into any of the entrances. While the Prime Minister’s staff tried to help her find a way in – including riding a shuttle, which was not wheelchair accessible either – she had no choice after two hours but to give up on attending the conference and make her way back to the hotel.

The problem was set straight the next day, and British Prime Minister Boris Johnson apologized to the Minister for the “confusion with the arrangements”. But Access Israel saw an opportunity to amplify what the Minister had implied in her tweet following the incident (see below) and send a message on behalf of the millions of disabled ignored every day to the world and its leaders:
“Safeguarding our future starts with caring for people”.

Credits
Campaign: COP26 Unaccessible Conference
Category: Public Awareness Campaign
Agency Credits: Leo Burnett Israel
Chairman & CEO Publicis Israel: Yossi Lubaton
Client: Access Israel
Creative VP Leo Burnett Israel: Ami Alush
VP Innovation & Creative Technology: Oded Lavie
Creative Director: Oren Ben Naim
Copywriter: Achiya Darshan
Art Director: Yael Yaakov, Nitzan Amir
Marcom Director: Eva Hasson
Video Editor: Rotem Gabay
Agency Producer: Menny Zarhia
Traffic: Danielle Barzilay

PETA New Ad Campaign Shows Dark Side of Animal Circuses: Your fun hurts animals

To increase the pressure on them, PETA has partnered with award-winning ad agency Ogilvy’s Honduras team to launch a thought-provoking and vibrant ad campaign that contrasts the pageantry of a circus with the misery of the animals who are forced to perform in it.

Your Fun Hurts Elephants
Elephants are highly social animals who live in matriarchal herds, sharing mothering responsibilities for the herds’ babies. In nature, they spend their days socializing, browsing on trees and shrubs, playing in the mud and water, and exploring vast habitats. While touring with circuses, they spend most of their lives in chains, unable to take more than a step in any direction. Trainers use fear and pain to force them to perform. The exhibitor who supplies elephants to Loomis Bros. has been repeatedly caught striking elephants in the face and jaw with bullhooks.

Your Fun Hurts Tigers
In their natural habitat, tigers are apex predators who control vast territories and raise their young. In circuses like Carden, they’re locked in cages. They’re whipped to force them to perform tricks that they don’t understand. Regardless of how long they’re kept in extreme confinement, tigers never lose their genetic drives.

Your Fun Hurts Zebras
UniverSoul continues to force zebras to perform even though, as a prey species, being in close contact with humans—whom they view as predators—is highly stressful. Circuses put these sensitive animals in danger: Frightened zebras have escaped from UniverSoul and run through city streets on two different occasions. Zebras who have escaped from other circuses have sustained deadly injuries. The crazed look on this scary clown’s face is how zebras must feel in circus arenas.

Credits
Client: PETA
Campaign: Your Fun Hurts Animals
Advertising Agency: Ogilvy, Tegucigalpa, Honduras
Chief Creative Director: Wanda Cálix, Andres Villalobos
Creative Director: César Chinchilla
Creative: Sebastisn Bullorini, Daniel Palala
Illustrator: César Miralda
Planning Director: Alan Cruz

About 258 million children and youth are out of school, and do not have access to education. Forcibly married, forced to work or enlisted in an armed conflict… governments urgently need to act.

Credits
Agency: Notchup
Advertiser: Coalition Education
Country: France
Creative Director: Philippe Robin
Art Director: Tristan Omnes
Copywriter: François Dupuy

In India, 2 in 3 women are raped by their husbands, and it is legal. The law has an exception where rape inside a marriage is not a crime. To fight the law, RIT Foundation needed to raise awareness. So they sent an activist to turn himself into the police, pretending he raped his wife. Within minutes, he was freed. They filmed the entire process — from interviews with lawyers & victims to him going into the police station with hidden cameras and authorities saying that raping your wife is not a crime — exposing how India treats marital rape cases. Online, the story sparked fierce reactions. Thousands tried to silence us and even managed to take down our content four times. Censorship tried but didn’t shut the debate — with the help of feminist activists and influencers who shared our videos & content, the conversation progressed and forced India’s patriarchal society to deal with the issue.

Impact of the campaign:
This integrated campaign created a support system for marital rape survivors. Soon after the campaign launch, women in India started sharing their own stories of marital rape privately with them. They managed to help them get in touch with local counsellors in their state to give them the support they needed.

Credits
Agency: Ogilvy, Singapore
Production: Knights Media & Films
Director: Sameer Lukka, Xavier Mairesse
Producer: Raghav Awasthi, Bijal Sunil Majithia, Tarun Jain, Anirudh Dhanak, Rahul Dhir
Director of Photography: Sai Gunuranjan
Editor: Jaspreet Ranjan, Nicholas Lim, Lorenzo Colugnati
Music: Sacha Chaban
Research: Ritu Bhardwaj

This campaign is about:
Delhi Shorts International Film Festival, RIT Foundation, Please Arrest Me, rape survivors, Marital rape, Public Affairs Campaign, Public awareness campaign, Best Documentary, India, One Show, Award winning film, D&AD

“Girls are most important part of this world.
Yes I like girl birth ..like girl’s education health voice and there rights.
Now time has changed. Girls force can change the world. Every girl take a important role in life. Let’s celebrate every girl child’s birth. Let’s give her a loud thunderclap and welcome her to the world.

Every girl has a legal & moral right to be born. Say no to sex-selective abortion.

Your thunderclap is to make your voice heard. Give us one. Get us two more.
lets come and celebrate her birth.”

What does Mean about LIKE GIRL BIRTH

Like girl Birth is a campaign to support the positive spirit of women and their never ending sacrifices. We here join our hands together to honor them and we celebrate the birth of every girl child with a hope, new spirit, rationalism protecting their rights & privileges.

We like girl birth and support the rights from which a girl cannot be deprived whether it is education, empowerment or employment. We stand together holding hands to support our cause & play a fair Gender equality

Even then, people kill intentionally their girl child and still are continuing at a fast speed. These kinds of acts show the double standards of our society. Every woman across the world is given equal rights of education, health and women empowerment. This female foeticide should be stopped through harsh laws and changing the mind set of people. Save the girl child for a better tomorrow!!!

Celebrate the spirit of womanhood across the globe. Hats off to all the girls from all walks of life that accessed the resources with equity and made recognize for them for their contribution made by them in the world.

Their Mission

Their mission is to, “Celebrates birth of every girl child”.

Let’s celebrate every girl child’s birth. Let’s give her a loud thunderclap and welcome her to the world.

Every girl has a legal & moral right to be born. Say no to sex-selective abortion.

Your thunderclap is to make your voice heard. Give us one. Get us two more.
Save every girl and celebrate her birth.

Their Vision

Like girl birth is a campaign for changing the mentality of common people about the value of girls. Now, it’s time to celebrate the girl birth change the behavior of those people who really think that girls are not important for our society. In India and all across the world, the celebration of a baby boy’s arrival to the earth is more noisy and gleeful in comparison of a girl, but now, it’s time to celebrate the girl birth.

The 30-second ad, “Text Talk” was created by Grey New York. It shows a text conversation between friends. One woman is questioned about her well-being and the ad ends ominously with the thought bubble icon, suggesting something has gone wrong.

Credits
Campaign: No More- Text Talk
Advertising Agency: Grey, New York, USA
Chief Creative Officer: Andreas Dahlqvist
Executive Creative Directors: Leo Savage and Jeff Stamp
Group Creative Director: Joe Mongognia
Creative Director: Evan Benedetto
Production Company: Brand New School
Executive Creative Director: Jonathan Notaro
Managing Partner: Devin Brook
Art Director: Jeffrey Welk
Designer: Angela Bac
Lead 2D Animator: Jim Forster
Head of Production: Julie Shevach
Producer: Johnna MacArthur
Audio House: One Thousand Birds
Sound Design: Andrew Tracy, Calvin Pia
Mix: Andrew Tracy

Credits:
Campaign: The real power lies inside you. Be a donor. Save lives.
Advertising Agency: Propeg, Brazil
Creative Directors: Ana Luisa Almeida, Fabiano Ribeiro
Art Director: Daniel Prata
Copywriters: Chico Lucas, Vitor Barros
Agency Producers: Ariana Guerra, Cleinice Bela, Thais Leite
3D-Studio: Z-Axis
Additional credits: Vivian Nobrega, Rubenia Rocha, Eder Galindo, Renata Lima