“This represents an unprecedented experiment in hiper-individualizing a commercial print publication”
Nick Gillespie, Editor-in-Chief of Reason, in the June 2004 issue
Monthly libertarian magazine Reason pulled off the ultimate in customized publishing when its 40.000 subscribers received their June 2004 copy with a satellite photo of their own neighbourhood on the cover and their house circled in red. On the back cover readers found adverts customized to them and their neighbourhood. The stunt accompanied the magazine’s cover article about the power and importance of databases to customize information.
When the 40,000 subscribers to Reason, the monthly libertarian magazine, receive a copy of the June issue, they will see on the cover a satellite photo of a neighborhood – their own neighborhood. And their house will be graphically circled.
On one level, the project, sort of the ultimate in customized publishing, is unsurprising: of course a magazine knows where its subscribers live. But it is still a remarkable demonstration of the growing number of ways databases can be harnessed. Apart from the cover image, several advertisements are customized to reflect the recipient’s particulars.
Nick Gillespie, editor in chief of Reason, said the magazine, with an editorial mission of “Free Minds, Free Markets,” used the stunt to illustrate the cover article about the power and importance of databases.
“Our story is man bites dog,” Mr. Gillespie said. “Everybody, including our magazine, has been harping on the erosion of privacy and the fears of a database nation. It is a totally legit fear. But they make our lives unbelievably easier as well, in terms of commercial transactions, credit, you name it.”
Rodger Cosgrove, president of Entremedia, a direct marketing firm and a member of Reason’s board, assisted in coming up with a program that allows the subscriber list to be integrated with satellite photographs. He also worked with Xeikon, the manufacturer of the printer that made the endless customization possible.
“They were interested in showing what this technology could do,” he said, “and we were interested in demonstrating the power of databases to customize information.”
The cover article, written by Declan McCullagh, suggests that while databases can lead to breaches in privacy, it allows Dell to provide instant credit to computer buyers, grocery stores to stock goods that their customers want, and mortgage lenders to keep their rates down.
“It’s obvious that databases provide enormous benefits to modern life,” said Marc Rotenberg, president of the Electronic Privacy Information Center. “We could no more operate without computer databases than we could without electricity.”
“That doesn’t mean that there aren’t still some serious debates to have about government databases,” he added, “including the monitoring of the general American public under John Poindexter’s Total Information Awareness program and the passenger profiling that has gone on.”
In some respects, Reason’s cover stunt is less Big Brother than one more demonstration that micromarketing is here to stay. “My son gets sports catalogs where his name is imprinted on the jerseys that are on the cover,” Mr. Rotenberg said. “He thinks that’s very cool.”
In his editor’s note describing the magazine’s database package, Mr. Gillispie left open three spots – commuting time, educational attainment and percentage of children living with grandparents – so he could adapt his message to individual readers. Mr. Gillespie said that the parlor trick could have profound implications as database and printing capabilities grow.
“What if you received a magazine that only had stories and ads that you were interested in and pertained to you?” he asked. “That would be a magazine that everyone would want to read.”
Agency: Entremedia, USA
All adults know: healthy eating is important. The organic supermarket chain Fresh`N´Friends benefits from that situation. There is just one small problem: kids hate healthy food but they love sweets. Actually, that´s even a big problem. In Germany every fifth child is overweight. “Instead of calling attention to that problem with a traditional ad campaign we chose to solve the problem.”
The solution was a new product: fruit figures. “To make fruits as appealing as sweets for kids we designed fruit arrangements that suit children. Boring fruits were designed in shape of teddy bears, kittens, flowers – all the things kids love.” Just like ordinary fruit salads the fruit figures were sealed, put in a tray and sold in Fresh´N´Friends stores.
Additionally, they were promoted with advertising specifically targeted at parents and their kids – direct mailings, email newsletters and posters. In order to involve the kids directly in the campaign a contest was started. We placed cut-out sheets in every package. So the kids could make their own fruit figures by hand. They also could design them digitally on the Fresh`N´Friends website. All ideas were published and judged online. The figure with the most votes was added to the product range. Over 3,500 designs from children were submitted. The rabbit figure of five-year-old Dario got the most votes and was therefore added to the product range.
Advertising Agency: Scholz & Friends, Berlin, Germany
Creative Director: Martin Pross, Matthias Spaetgens, Wolf Schneider, Mathias Rebmann, Florian Schwalme
Art Director: Alexander Doepel, Sandra Krebs, Bjoern Kernspeckt, René Gebhardt, Loic Sattler, Jinhi Kim
Photographer: Attila Hartwig
Graphics: Peter Schoenherr, Simon Rossow
After fielding roughly 6,000 questions online about its food, McDonald’s Canada is taking the conversation “offline” with a new advertising campaign.
In June, McDonald’s Canada launched an interactive digital platform, “Our Food. Your Questions.” in an effort to be more transparent with consumers about where its food comes from and how it’s made. Consumers asked everything from calorie counts of certain menu items to why McDonald’s burgers and fries don’t rot when left out for a long period of time.
McDonald’s has now launched an integrated advertising campaign to reach even more Canadians and invite them to join the conversation online.
“The initial success of the program is a real testament to the power of creating meaningful and open dialogue with customers,” said Joel Yashinsky, chief marketing officer at McDonald’s Canada. “This level of transparency has resonated with our guests and has created the type of conversation we want to have with them about our food. We’re excited to see how far it can go.”
The campaign from Tribal DDB Toronto includes television, digital and various outdoor media. Since its inception the company’s response team has covered almost 6,000 questions at the site. Answers have been posted using text, photos and video.
“The program exceeded all our expectations and we learned from customer feedback that this is an important opportunity for us to continue and evolve the dialogue with our customers,” said Joel Yashinsky, chief marketing officer at Toronto-based McDonald’s Canada. “We wanted to broaden it so that the reach allowed all customers in Canada to be aware of the program and ask any questions they had about our food.”
The TV spot shows questions from the website with behind-the-scenes shots from McDonald’s operations, for example a burger getting prepped for a photo shoot after the question, “Why does your food look different in the advertising than what’s in store?” Meanwhile, video projections on buildings in urban centres will feature select questions and answers–some still and some full-motion with answers that were done on video. “It will [give] a surprise to people in those areas to see the projection of these questions that are very provocative and raise the awareness of the program,” said Yashinsky. Yashinsky said the platform “is going to run forever… We think this is a great two-way conversation for us to have with our customers that we don’t want to end.”
How McDonald’s Canada Makes their World Famous Fries
Did you know that McDonald’s World Famous Fries are made from whole potatoes harvested mainly from farms in New Brunswick, Alberta, and Manitoba? Watch and see exactly how our fries get made, from the farm to the fryer.
“What is in the sauce that is in the Big Mac?”
Christine H. from Oshawa asked, “What is in the sauce that is in the Big Mac?”
Where McDonald’s Canada Gets Our Hamburger Patties From
You’ve probably heard that every McDonald’s Canada hamburger patty is made with 100% pure Canadian beef. But what does that really mean? To find out, we visited Cargill’s processing plant in northern Alberta to give you an all-access look at exactly what our hamburger patties are made from and how they get made.
“Why don’t you guys grill the patties? Better than microwaves!”
“Why don’t you guys grill the patties? Better than microwaves!” Jeffry B. from Oshawa asked. McDonald’s Canada Manager of National Operations Drew Sadler answered.
Is 100% pure beef the name of a company?
“Is your beef actually 100% pure beef or is that just the name of the company?” That’s what John R., from Toronto asked. Our answer: a corporate title search to see if the company actually exists.
Behind the scenes at a McDonald’s photo shoot
Isabel M from Toronto asked “Why does your food look different in the advertising than what is in the store?”
The McNugget under the microscope
Sheri N. from Saskatoon asked, “Is the thing about the Chicken McNuggets true? They are made from a processed pink sludge of meat and bones ground up with chemicals?”
Real Egg Crackdown
“Does your Egg McMuffin use real eggs? They look to perfect” To answer this question our Crew Members were brought in to prove that McDonald’s® Canada uses real freshly cracked Canada Grade A eggs so often, they’ve got skills.
“Why is the food at McDonald’s so cheap?”
“Why is the food at mcdonalds so cheap?” Joanne S., from Toronto asked. McDonald’s Canada President and CEO John Betts answered.
Advertising Agency: Tribal DDB, Toronto, Canada
Creative Director: Louis-Philippe Tremblay
Art Director:Benson Ngo
Agency Producer: Melanie Lambertsen
Account Director: Miles Savage
Production Company: Family Style
Directors: John Weyman, Torey Kohara
Line Producer: Liz Dussault
Post-Production Company: School – Various
Editor: School – Various
Audio House: RNW
Talent: Real People (McDonald’s Employees, suppliers)
Usually, when someone sneaks up to a rich guy’s house and drives off with a Porsche, it’s a reason to call the police. This time, it might be a reason to call an auto dealership. In a clever spin on direct mail for Toronto’s Pfaff Automotive, Canadian agency Lowe Roche photographed one of the dealership’s Porsches in the driveways of affluent homes, then used each image to create an ad left at the home where it was shot. The headline: “It’s closer than you think.” The result, according to the agency’s case study video below, was a 32 percent response rate to a site where recipients could schedule a test drive. Direct mail is typically about hitting as many people as possible for as low a cost as possible, but this creative idea shows that for luxury brands, a smaller effort can sometimes go a long way.
Advertising Agency: Lowe Roche, Toronto, Canada
Creative Directors: Dave Douglass, Pete Breton
Art Director: JP Gravina
Copywriter: Simon Craig
Video Production: Motion Pantry
Director / Cameraman / Editor: Dean Vargas
Banco do Brasil, the Latin America’s biggest bank with approximately 23 million clients, rebranded 300 of their entrance banners in nine Brazilian states to include client’s name. The rebranding was part of a bigger campaign to celebrate the fact that people were free tp change to another bank without paying an additional fee.
Banco do Brasil has 15.000 branches, and only a fraction of those were personalized, but the symbolic gesture created the sense that every Banco do Brasil client is unique. The campaign doubled the number of new accounts and spawned spontaneous media coverage.
Advertising Agency: ARTPLAN, Rio de Janeiro
Creative Drector: Roberto Vilhena
Copywriter: Gustavo Tirre, Daniell Rezende
Art Director: Marcos Hosken, Sergio Carvalho
Lion Nathan wanted to find more occasions for young adults to drink Tooheys Extra Dry, so it introduced a longneck, TED696ml. However, the longneck market is crowded and not an easy one for “cool” brands like Tooheys Extra Dry.
Longnecks are traditionally sold in brown paper bags, covering the bottle’s branding. The bags represented an inexpensive medium that could be used to engage buyers and establish creativity.
Working with the insight that 18 to 24-year-old drinkers have a desire to express themselves, ZenithOptimedia worked with BMF to bring together the world’s best street artists and TED696’s target market to design brown paper bags around the theme 696.
Local designers were invited to submit designs in a competition that would be judged by the Luca, David Homer and Aaron Hayward at Debaser, Sydney artist Ben Frost, Murray Bell and Andrew Johnston at Design is Kinky, Colin Blake at MTV Sydney, and Tokyo/Sydney painter Numskull, the prize being a 15 ” MacBook, software and a framed set of designs signed by the three celebrity artists. The ten finalists would each receive a case of Tooheys Extra Day 696. The people’s choice, selected online by members of the public, would receive two cases of TED 696.
PR, events, advertorials, online seeding, search and a project website were activated, all with the humble brown paper bag at the core. The campaign created a new advertising medium, sending 700,000 paper bags with 696 designs to bottleshops. In the process, competitor longnecks were wrapped in 696-branded bags too.
The winner of the competition was Mike Watt, a Sydney based illustrator and designer.
In the first 8 weeks, over 500,000 longneck bottles of TED were sold representing $9 in sales for every $1 invested. The website received unique visits from 104 different countries, with each person spending an average of 9.5 minutes at the site.
During the 5-week competition period, we received a cutting edge design every 84 minutes.
MTV held a gala exhibition evening to announce the winning design. The exhibition is now touring nationally.
The bag design promotion was so succesful that it is now an ongoing project, with submissions being printed and distributed throughout liquor stores around the entire country.
Ironically, the brown paper bag that all longneck bottles are sold in, covers the branding of the product inside, yet it has never before been used as an advertising medium.
The 696 campaign won a Silver Pencil at the One Show 2009 for Point of Purchase and In Store Promotion, a Silver Lotus at the AdFest Awards for Direct Marketing, and a Yellow Pencil at the D&AD Awards 2009 for Printed Material in Branding.
Advertising Agency: BMF Sydney
Executive Creative Director: Warren Brown
Creative Director: Simon Langley
Art director: Shane Bradnic
Copywriter: Michael Canning
The brief was to create a newspaper ad to advertise the desirable (yet affordable) Volkswagen Polo. Our research showed that when you see a Polo, you want one, so we targeted people in the market for a new car and placed our ad in the Motoring section.
The creative solution
Working off the “love at first sight” strategy, we ran a double-sided ad. The front set up the desire, while the back allowed a unique response. Using the ad helped readers to sell their current car, while at the same time helping us advertise the Polo. In effect, this symbiosis turned a print ad into an ambient one. Our expectation was that if just a small fraction of readers (even 1%) used the ad, it would extend the message of Polo’s desirability to a far wider audience than just that of the paper.
It was a simple, cheeky idea, asking people to get rid of their car upon seeing ours, and getting them to use their own vehicle to help punt the Polo – ideal for a brand that has always relied on simple, cheeky communication.
The interaction between consumers and the ad turned car windows into a new media space. Our target market’s own cars (most of them competitor models like Toyotas and Fords) became mini billboards for the Polo’s sheer desirability. Furthermore, anecdotal evidence suggested that approximately 3% of readers used the ad – meaning that our simple, low-cost idea generated thousands of dollars in earned outdoor media.
Advertising Agency: Ogilvy Cape Town, South Africa
Executive Creative Director: Chris Gotz
Creative Director: Chris Gotz
Art Director: Prabashan G. Pather
Copywriter: Sanjiv Mistry
Have you ever wondered what really goes on inside everyday machines? A clever recruitment agency in Germany has created a series of adverts depicting just what they think goes on when you use an airport scanner, ATM, washing machine, kiddie ride and petrol pump. In the airport scanner a man appears to be hunched over a suitcase shining a torch on a pair of pants. In another ad, a child rides a toy truck while a man pedals underneath. And in a laundrette, a woman appears to hide inside an industrial washing machine cleaning clothes by hand on an old-fashioned washboard. The ads are for German recruitment company jobsintown.de and were first shown in 2009. But they proved so popular they have now become a worldwide viral internet hit. The wording on the ads simply reads, ‘Life’s too short to be in the wrong job’.
The wrong working environment campaign (2005)
The task was to increase the brand awareness and to communicate it as a serious challenger to the established competitors. Regarding the small media budget, we had to reduce losses due to non-selective advertising, by exactly targeting people who are willing to change their job or employer.
The Media Strategy
Only 13 % of employees in Germany are satisfied with their job (Source: Gallup Organization, 2005). So we decided to show bad working conditions by a surprising insight and provoke a “this is exactly how I feel” emotion. By pointing out Jobsintown.de as a perfect solution for such a condition we stayed in the mind of our target group. We even managed to reach potential customers when they are already dealing with the topic involved: on their way to work. That, combined with a new use of media – service machines – had a strong impact on the target group.
By providing a surprising insight to cash machines, photo booths and coffee dispensers, we created an interaction with the medium it was placed on. Showing really bad working conditions in a humorous and innovative way, we provoked the recipients’ identification with our motives (in case they are dissatisfied with their jobs). Thus we provided the recipients with the idea of changing their jobs and pointed out Jobsintown.de as the best solution to do so.
The full-sized billboards on the side of service machines were situated on highly frequented subway stations and their nearby environment. Thus we could reach our primary target group effectively: commuters on their way to work. This anchored Jobsintown.de as a relevant portal in the mind of the target group.
In 2005 visits on the website Jobsintown.de increased by more than 25 % compared to 2004. The feedback from the target group was very positive. Moreover, jobsintown were able to increase their brand awareness among other companies, as they received a great amount of enquiries.
The wrong working environment campaign (2006)
The task was to increase the brand awareness and to communicate Jobsintown.de as a serious challenger to the established competitors. Only 13 % of employees in Germany are satisfied with their job (Source: Gallup Organization, 2005). Regarding this fact we decided to dramatise bad working conditions with a surprising use of media: Full-sized billboards on the sides of service machines located in public spaces that are highly frequentated by working people.The Creative Execution
We placed billboards in public areas where people would least expect them: On the sides of petrol pumps, cigarette automats and washing machines. This interactive use of media provides a surprising insight into these machines. Instead of the expected machinery there are people working under hair-raising conditions. This provokes a ‘this is exactly how I feel’-reaction. So Jobsintown.de stayed in the mind of the target group: As a perfect solution to change ones personal job-situation.The media Strategy
The target audience is everyone who is dissatisfied with his actual job. The billboards where placed in three different environments, to reach the target group when it’s allready dealing with the topic involved. On their way to work (petrol pumps), or after work in bars and clubs (cigarette automats), as well as in laundromats (you’ve got a lot of time to think about your future while waiting for your laundry).Results
The campaign anchored jobsintown.de as a relevant portal in the mind of the target group. In 2006 visits on their website increased by more than 20 % in comparison to 2005. Moreover, jobsintown increased their brand awareness among other companies, as they received a great amount of enquiries.
The wrong working environment campaign (2007)
The target was to increase the brand awareness of the employment agency Jobsintown.de and to communicate it as the best solution for a job-related improvement. Considering the fact, that only 13% of employees in Germany are satisfied with their job (Source: Gallup Organization, 2005), we decided to deal with the dissatisfaction of our target group. We surprised them with an unexpected placement and motives they could identify with.
We dramatized the situation of having the wrong job: We converted service machines into advertising media. Billboards on the side of jukeboxes, ice-cream machines and kiddie-rides provided surprising insights into these machines. Instead of the expected machinery there are people working under hair-raising conditions. This humorous way of advertising not only provided the target group with the idea of changing their jobs, but also pointed to Jobsintown.de as the best solution to do so.
The Media Strategy
We created an interaction with the medium it was placed on. Service-machines are doing mundane and unpopular work. So they are the best medium to provoke the recipient’s identification with our motives. It’s an analogy with their own dissatisfying job-situation. Thus we provided the recipients with the idea of changing their jobs when they are already dealing with the topic: After work in bars and clubs as well as in shopping malls.
The campaign anchored Jobsintown.de as a relevant portal in the mind of the target group. Moreover, Jobsintown.de increased their brand awareness among other companies, as they received a great amount of enquiries.
The Screensaver Project (2007)
The target was to increase the brand awareness of the employment agency Jobsintown.de and to communicate it as the best solution for a job-related improvement. Considering the fact, that only 13 % of employees in Germany are satisfied with their job (Source: Gallup Organization, 2005), we decided to deal with the dissatisfaction of our target group. We surprised them with an unexpected placement, they could identify with.
We dramatized the situation of having the wrong job: In your own computer. A downloadable screensaver first looks pretty normal, but it turns out to be hard work as well, when we get a look behind the scenes. Instead of the expected software, a real man is carrying the visual effect of the screensaver on a lantern across the room. The screensaver can be downloaded at Jobsintown.de.
The Media Strategy
The screensaver provided the recipients with the idea of changing their jobs when they are already dealing with the topic: Every day while working in an office staring bored on their computer monitor. The downloaded file could also be shared with friends and colleagues, to suggest in a humorous way, that it might be time to think about a job-related improvement.
The innovative use of media anchored Jobsintown.de as a relevant portal in the mind of the target group. Moreover, Jobsintown.de increased their brand awareness among other companies, as they received a great amount of enquiries.
The wrong working environment campaign (2008)
Advertising Agency: Scholz & Friends Berlin
Creative Directors: Matthias Spaetgens
Copywriters: Daniel Boedeker, Axel Tischer
Art Directors: David Fischer
photographer Hans Starck
2 Silver Lions, 2 Bronze Lions and 3 Shortlist
Insights, Strategy & the Idea
Our brief was to promote Canon EOS, a leading brand of DSLR cameras. We began with a simple insight that great photography is not about technology, it is about inspiration. Our solution was ‘EOS Photochains’ – A new way for people to be inspired, that would literally spread from one photographer to the next as a new creative experience. By transforming photography from something people traditionally do on their own into a unique way to connect with others, Photochains is growing as its own social network of photography, and a new creative experienceWe began with a simple insight that great photography is not about technology, it is about inspiration. Our solution was ‘EOS Photochains’ – A new way for people to be inspired, that would literally spread from one photographer to the next as a new creative experience. By transforming photography from something people traditionally do on their own into a unique way to connect with others, Photochains is growing as its own social network of photography, and a new creative experience.
Photochains was created by integrating the advertising, live social media network and photographers as one:
Our first step was to create a photochain, which we showcased in national television, print and online advertising. This directed people to the photochains website, where they could upload photos to continue the chain we had started. Once online, people could also start their own photochains, or join those created by others. People soon became the medium for the campaign, inviting friends, family and colleagues to join their photochains. As the photochains network grew, we ran real photochains and the photographers who had created them, in our national advertising. This constantly showcased the live network of photochains, integrating the growing community with the advertising itself, as a way to constantly attract a growing audience. Photochains is now growing as its own social media platform, which continues to grow with every photo.
Results and Effectiveness
Photochains has created a new way for photographers to connect through photography, as well as a new dialogue between Canon EOS and the photographic community:
– 94 photos uploaded every day since launch, which is 4 photos an hour
– 12 minutes average time on website
– Over 20,000 photos uploaded from around Australia to date
– Canon EOS has risen to a record 67% market share in Australia since launch
Advertising Agency: Leo Burnett, Sydney
Executive Creative Director: Andy DiLallo, Jay Benjamin,
Creative Group Head: Michael Canning
Art Director Kieran Antill
Digital Creative Director: Kieran Ots
Lions Grand Prix for Media
Gold, Silver and two Bronze awards in the Direct category
Silver award for the Promo and Activations category
Silver award in the PR category