Speaker A
2 and 1/2 seconds. Ten years ago, that's how long the brain needed to remember an ad. And most digital ads never got there. Two weeks ago, the same scientist published a new number for outdoor: 1 second.
Learn how to design effective billboards with expert insights on simplicity, dwell time, and creative strategies for outdoor advertising success.
Key Takeaways
- Keep billboard messaging extremely simple and concise due to limited viewer attention time.
- Tailor creative to the specific environment and dwell time for maximum effectiveness.
- Use strong color contrast to make outdoor ads stand out in a passive viewing context.
- Frequency and consistency in creative help build brand recognition and sales impact.
- Avoid repurposing ads from other media without adjusting for outdoor format nuances.
What the video covers
- The attention span for outdoor ads has decreased from 2.5 seconds to just 1 second, requiring highly concise messaging.
- Josh, Head of Creative at O, shares his background and expertise in outdoor advertising and creative innovation.
- Effective billboard design depends on understanding the dwell time in various environments like rail stations, retail centers, and airports.
- Simplicity is key; removing unnecessary elements and tailoring creative to the medium enhances impact.
- Traditional rules like 'seven words or less' still apply, supported by internal research correlating word count and color contrast with sales performance.
- Outdoor advertising is passively consumed and must stand out with strong color contrast and clear messaging to capture attention.
- Creative consistency and frequency help reinforce brand memory and engage consumers throughout their journey.
- Many advertisers fail by copying other media formats without adapting to outdoor’s unique characteristics.
- Josh emphasizes collaboration with agencies and clients to educate and inspire more effective out-of-home campaigns.
- Examples and case studies illustrate what works and what fails in outdoor advertising.
Chapters
- 00:00Introduction: The 1-Second Attention Span for Outdoor Ads
- 03:11Rules and Trends for Effective Outdoor Advertising
- 06:12The Role of Frequency and Consistency in Outdoor Creative
- 09:18Diversifying Reach and Tailoring Creative to Environment
- 12:13Challenges and Missteps in Outdoor Creative Execution
- 18:35Josh’s Take on What Works and What Doesn’t
- 24:18Case Studies and Examples of Successful Outdoor Ads
- 31:25Final Thoughts and Best Practices for Outdoor Advertising
Full Transcript — Download SRT & Markdown
Speaker A
So, what fits in 1 second? Is it six words, zero, a brand, a sale, or neither? Josh runs creative for the biggest outdoor network in the country.
Speaker A
So, what fits in 1 second? Is it six words, zero, a brand, a sale, or neither? Josh runs creative for the biggest outdoor network in the country.
Speaker A
[music] The [music] science science of advertising. Josh, give us a little background into yourself and your role at O.
Speaker A
He has opinions about your billboard, and he's probably already seen yours. Today we unpack a dozen pieces of work straight off the streets. We count the words. We find the brand. At least one of them is going to fail.
Speaker A
was definitely not the right fit for me and essentially you know law is all about mitigating risk and creativity is all about, you know, maximizing risk and I think I'm probably leaning more towards the the latter. So I actually
Speaker A
The science of advertising. Josh, give us a little background into yourself and your role at O.
Speaker A
a lead channel as a channel I love to plan and I sort of saw the creative opportunities that exist in out of home.
Speaker A
Absolutely. Thank you for having me here, Jonathan. My background is quite diverse and a bit weird and wonderful. I actually started off as a lawyer many, many years ago in a previous lifetime. I realized that was definitely not the right fit for me, and essentially, you know, law is all about mitigating risk, and creativity is all about maximizing risk. I think I'm probably leaning more towards the latter. So I actually got out of that into media as a media planner and a buyer, working on film clients across roadshow films and Disney. Throughout that, I realized I was always gravitating towards out of home as a lead channel, a channel I love to plan, and I saw the creative opportunities that exist in out of home.
Speaker A
which was awesome. But yeah, I've been at at O for yeah, almost 8 years now.
Speaker A
So that took me out of media agency land and into the supplier side, where I've worked at O for well on and off for about eight years. I did a short stint at Thinker Bell in between, which was awesome. But yeah, I've been at O for almost eight years now.
Speaker A
Absolutely. Well, I I uh my title is head of creative, but I work very closely with a team called Poly uh which is the in-house kind of creative innovation hub of O media. Um so I work we work uh very upstream uh with both
Speaker A
Beautiful. And your role at O, do you work directly with clients or agencies? Where do you fit?
Speaker A
Love it. Some hard questions now. Brilliant. Do you have any rules or trends that you have observed that either make great outdoor assets that are effective or that kill the format and it's really not going to drive outcomes for the sponsoring brand?
Speaker A
Absolutely. My title is Head of Creative, but I work very closely with a team called Poly, which is the in-house creative innovation hub of O media. We work very upstream with both agencies, creative and media, and clients. A lot of my role is actually going into clients, running workshops, providing education, and inspiration on how best to use out of home most creatively to derive maximum value from the format.
Speaker A
dwell time of the environments. I mean at O you know we don't just have large billboards. We have sort of seven seven different environments across rail stations and retail centers and university campuses office towers and u and street furniture and and um large
Speaker A
Love it. Some hard questions now. Brilliant. Do you have any rules or trends that you have observed that either make great outdoor assets that are effective or that kill the format and really won't drive outcomes for the sponsoring brand?
Speaker A
them is sort of that first step to really understanding how you can tailor your creative but always keeping it simple essentially you know uh applying the lens of what can I remove uh to make it more impactful because we do find you
Speaker A
Oh, absolutely. We talk a lot about simplicity in out of home, and ultimately, as a kind of hard and fast first rule, it really does come down to simplicity. It comes down to understanding essentially the dwell time of the environments. At O, we don't just have large billboards. We have seven different environments across rail stations, retail centers, university campuses, office towers, street furniture, and large formats. As well as airports, seven there. Understanding the different opportunities to engage the different dwell times apparent in each of those environments and for the consumer as they pass through them is the first step to really understanding how you can tailor your creative, but always keeping it simple. Applying the lens of what can I remove to make it more impactful.
Speaker A
we say about 3 seconds of dwell, you know, of of opportunity to see, you know, in in more walk by environments, it can be up to like retail centers or, you know, rail concourses, it can be up to 5 seconds. And in, you know, an
Speaker A
We find brands that are essentially trying to replicate other media in out of home, right? Taking a magazine ad and putting that on a street furniture panel, not tailoring accordingly, not understanding the dwell time. On road, it's typically about three seconds of dwell, of opportunity to see. In more walk-by environments, like retail centers or rail concourses, it can be up to five seconds. In an airport lounge, it's actually up to 43 minutes of dwell. Understanding those dwell times allows you to tailor the messaging accordingly and make sure you're having maximum impact.
Speaker A
It's so interesting because in my experience you get a lot of creative that is not tailored to the medium at all. It is they've come up with one big idea and it's just copy and paste. It doesn't matter what the medium is and
Speaker A
It's so interesting because in my experience, you get a lot of creative that is not tailored to the medium at all. They come up with one big idea, and it's just copy and paste. It doesn't matter what the medium is, and you don't really understand the medium. So creating effective messaging is really challenging. What rules or guardrails would you have that you could share for effective creative outdoor?
Speaker A
know the the traditional one has been seven words or less uh has typically been and we've conducted our own sort of internal studies uh using actually transactional data uh to look at you know what are some of the trends or what
Speaker A
There are a few. The traditional one has been seven words or less, which has typically been the rule. We've conducted our own internal studies using transactional data to look at trends or components that advertisers have used in their creative that correlate to strong brand and strong sales performance. Seven words was a strong one that came through, corroborating the common understanding that that seems to be the rule for a while. Color is another one.
Speaker A
corroborated that u which has been you know I think um there's been a common understanding that that seems to be the rule for a while. We saw the same thing with our research. Color is another one.
Speaker A
We talk about impactful color contrast. At the end of the day, out of home as a channel, I always say out of home doesn't interrupt the content; it is the content. So it needs to work a little bit harder. It's more passively consumed. It doesn't rely on specific consumption behavior like mobile, television, or even radio. It's organically integrated into our world.
Speaker A
little bit harder. It's more passively consumed. It doesn't rely on specific consumption behavior like mobile or television or even radio. It's organically integrated into our world.
Speaker A
Therefore, we really need to capture the attention of the audience and feed that value exchange. If we want audience and consumer eyeballs, we need to pull them in. Good color contrast allows out of home to stand out from the surroundings and really pack a punch with the key messaging.
Speaker A
Like if we want audience and consumer eyeballs, we need to pull them in. So good color contrast allows good out of home, you know, to stand out uh from the surroundings and really kind of punch uh you know um pack a punch with the key
Speaker A
Additionally, what we find, and it's less creative and more of a planning principle, is the use of multiple formats. This is a powerful way to leverage the "dirty f-word" in media, which is frequency. It's not dirty in out of home; it's actually very powerful.
Speaker A
dirty fword uh in in media uh which is frequency. It's not dirty and out of home. It's actually very powerful.
Speaker A
Frequency is your friend because the more we can reinforce memory structures and continue to prime audiences through their consumer journey with consistent creative. When we say consistent creative in out of home, because of that natural organic relationship and more passive relationship with the consumer, we need to draw them in with consistent but iterative creative.
Speaker A
because of that natural organic relationship and that more of a passive relationship with the consumer we need to draw them in having kind of consistent but creative that iterates.
Speaker A
A great example is the Uber Eats campaign with "No Yes," right? They had multiple different iterations of that "No Yes" territory using a multitude of different formats. That reinforces as the consumer passes through and is exposed to those. That's where we see real strong effectiveness because they're continuing to be primed but given a reason to pay attention with each exposure.
Speaker A
consumer passes through and is exposed to those that's where we see real strong effectiveness because they're continuing to be primed but given a reason to pay attention with each exposure.
Speaker A
It's really interesting, frequency. So would you suggest if you dabble in outdoor and don't have much frequency or consistency, the medium is less effective than someone who is consistent with outdoor?
Speaker A
There's different ways to use outdoor and I think that's kind of the key as well. We talk a lot uh about you know as many do the the banana and field long and short of it right and you know
Speaker A
There are different ways to use outdoor, and I think that's kind of the key as well. We talk a lot, as many do, about the banana and field, long and short of it, right? Short-term sales activation versus long-term brand building. I think out of home is unique because it really does and can play dual roles, dual roles at the same time or distinct roles in te...
Speaker A
on short-term or focus more on long-term. So for those brands who don't necessarily have the budget or aren't able per se to to have a long-term brand play in out of home consistent you know consistently showing up I mean we know
Speaker A
like brands who uh who uh are alive for eight plus weeks right are signific have significantly better ROI and out of home than those that just do short bursts but it's how you're using the short burst that actually is the power because when
Speaker A
we talk about the short of it and we talk about just you know pushing that sort of short burst of of of brand salience. The brands that use out of home most creatively as a way that actually captures attention and can even
Speaker A
drive sharability, you know, actually pulling, you know, prompting people to pull out the phone, take a photo, share with their networks, share online.
Speaker A
That's really the sweet spot of brands that are that are activating in the short term, but really leveraging the power of out of home as public space media. Uh, you know, and essentially, as I like to refer to it, public space art
Speaker A
that just happens to be sponsored by a brand. So that's how I would say you know brands in the short term activate those in the long term it is about consistent presence as we know from all the marketing science consistency you
Speaker A
know um um the more extensive and frequent our you know our exposure to a brand the more salience.
Speaker A
So why why would you suggest the higher the frequency the the better the ROI from the medium like what what is the science or rigor that you found that that leads to that success?
Speaker A
Well it's twofold. I mean, it's like any good um any good portfolio, especially if you're diversifying across uh across uh uh formats. So, you know, if you've got road and retail and airport, you know, you've got multiple formats. It's
Speaker A
like any good portfolio, you're just diversifying reach. You're diversifying your opportunity to reach your audience.
Speaker A
But then it's the reinforcement over time. It's essentially uh you know, as we know, it's it's not just a battle for attention, it's a battle for mental availability. So I truly believe that because of the passive nature of out of
Speaker A
home, it's more embedded in our world, the more frequency that the more frequently we're being co our brains are being coded with, you know, uh powerful attractive um uh messaging, you know, and engaging creative, the more I believe that is and and we've seen is
Speaker A
being coded, you know, mentally encoded and ultimately driving that, you know, that mental availability in those moments of physical need. So um unlike you know unlike other medium where it might just be you know one sort of hero
Speaker A
uh activation that drives that salience for us we see you know brands that are showing up over time as I say the ROI has been proven that they uh they they capture a greater share of that mental availability.
Speaker A
Is there any categories that work better within outdoor than others? That's a great question. Um uh the salesperson in me says absolutely not.
Speaker A
Uh no I mean we certainly see some categories well we we see the banking sector very heavy in out of home and I again I think that's you know for multiple reasons it's they they have very strong uh duality between brand and
Speaker A
kind of offer you know and performance and they use out of home for both they really use out of home to push um different new offers and different you know um um features of of their of their apps and of their offerings um as well
Speaker A
as just very consistent branding because it's such a battleground. We see auto as well really uh really strong in out of home. Um but again you know strangely we see auto uh actually like removing spend over summer which is an interesting uh
Speaker A
trend where well I think you know summer is seen as a bit of a you know a non-ratings period but what we actually have found is that those brands that go dark over summer that actually turn off um it takes them twice as long uh to
Speaker A
then rebuild that brand positioning once they kind of go back on after that summer period. whereas, you know, I think a I think it was like 25% of test drives I heard uh you know, are done over the summer period. So, it's
Speaker A
interesting to see kind of brands the way they activate, the way they're, you know, they're operating in.
Speaker A
It's really interesting with auto. I've got a good friend that um is really senior and he's like a mad scientist when it comes to auto.
Speaker A
Yeah. And he has a formula that's an unwritten formula. So he needs x amount of cars on the road in each city and there's a number there and he needs outdoor primarily to reinforce it.
Speaker A
And the reason is really the mere exposure effect is I need to see it inact use and proximity and I've got a high propensity to put that vehicle on my shopping list.
Speaker A
It's exactly it's the mere exposure. Exactly. And and that's what underpins the frequency. You know it's that mere exposure effect and just building those memory structures. I always had the idea I used to work at many years ago at
Speaker A
Mambo in Chadston uh back back in the day, rest in peace. Uh uh and um I just always thought around that summer period, you know, around the Christmas shopping time, all we should have done was just give out like, you know, even
Speaker A
even just pay extra like a little bit to just carry Mambo bags, like 500 Mambo bags around the shopping center because it's that mere exposure. the more you see, the more that's out on on the the cars out on the road and the signs, you
Speaker A
know, and street furniture and in center um advertising that we're being exposed to, the bigger it feels. We see definitely beverage brands, particularly alcoholic beverages. I mean, they are probably I would say they're some of our best uh advertisers and certainly some
Speaker A
of our most pervasive uh when it comes to using out of home, you know, most effectively um because again, it's so competitive. Um, but they use it so powerfully to really continue to prime, you know, particularly at times where
Speaker A
Well, it's really interesting because I agree with you. I [clears throat] think the FMCG category for out of home are really good friends.
Speaker A
Definitely. It is the mere exposure effect. It's a simple message that can get across in a few seconds compared to some others that might have some nuances, whether it's like aged care or even some health insurance if it's not offer based and
Speaker A
not a logo. If they've got layers to a message and you got to deliver a promise and some proof or evidence that that promise is true, outdoor can be challenging because it's such a short form style of medium. Whereas FMCG feels
Speaker A
like it's they're a match made in heaven. Is that your view? Yeah, I mean the products are very established as well. You know, we we the the understanding is is it takes very little to understand the offer and
Speaker A
understand what they're they're um positioning. What we find though and what I don't think enough brands think about enough uh is we're not actually they're not actually thinking enough about um natural consumer behavior because you know there there is this
Speaker A
desire and we completely understand there's stakeholders there there's often a desire to overdo it and to over complicate and to make sure that every possible nuance is included in the uh you know in the ad to cover. But
Speaker A
ultimately, you know, besides legalities, consumers, we are so trained now to to search, right? We we are so we we are so trained. We we have our phones on us at all times. And if something piques our interest, right, it is a natural
Speaker A
inclination for us to search that or to search for more information. Now using AI, I mean there's so many vehicles and avenues now we can use to learn more. So really when it comes to out of home, the
Speaker A
power of out of home is capturing attention by essentially leveraging emotion, right? By putting public space art organically in our world that captures that attention, makes us feel something has is branded enough, right?
Speaker A
It's branded powerfully so the brand really shines through and thereby we don't need multiple call to actions. we don't need your, you know, the the website and and the the search bar and stuff because as consumers in 2026, we
Speaker A
have to trust our audience that we know how to search. Um, and that we, you know, if we're giving them enough impetus and enough reason to search, right, that's a really strong job for out of home to make us feel something
Speaker A
and want to learn more. Yeah. I love system one, system two, uh, and breaking down how we process information. Mhm.
Speaker A
And most marketers unfortunately have this criteria that need to pass it if it goes to an executive, the bordering brain. I've ticked this, I've got this, I've got this checklist, but all it does is strangle the medium and confuse the
Speaker A
message and you don't want to process it compared to someone that goes a simple message, really big logo. At worst, I'm just building frequency on our logo. So, we've done something positive.
Speaker A
Yeah. We've got one rule you've shared. Yeah. Seven words or less. Some would argue six.
Speaker A
Yep. There are those who say six. Logo size, color. What What else is there that would be in Josh's toolkit of successful outdoor mediums?
Speaker A
Well, there there's several other nuances especially to out of home that that a lot of marketers also again just don't think about. For instance, we say in out of home, if it's got a roof, it can move, right? Uh so when I talk about
Speaker A
the different environments that we have you know when you talk about rail stations, retail centers, airports, universities and offices they are all fully digitized environments meaning and being roofed they can play motion right they whereas we don't see advertisers
Speaker A
thinking enough about how do I take existing powerful motion based assets that I have because not everything has to just be a static image or ad and use them in in these envirments. Have you seen any percentage uplift using motion
Speaker A
versus static if it's in those environments? Uh percentage uplift in terms of attention and uh and those uh attention or or effectiveness. Have you seen a delta within it or is it more we we've yes we've looked within
Speaker A
transactional data looking at those brands that used motion there was absolutely an uplift because naturally you know what we've actually seen is you know there's a continual uplift between a static image right a motionbased image and then even further a 3D anamorphic
Speaker A
image when we add that layer you know even further ultimately what as I've sort of said what out of home is about is maximizing attention relative to the dwell time of the environment. So naturally you I always say like I when I
Speaker A
present in market I will never sit you know this is this is very uncomfortable for me to sit and you know and talk like because I just love movement and presenting I use my hands because ultimately I we know that motion
Speaker A
captures the eye. So those brands that are taking powerful motion assets even lifting and shifting from social I mean we know that social portrait social video is not going anywhere and is absolutely you know uh just um fundamental in any media plan these
Speaker A
days. So a lot of assets already being captured right and used on social and that's a very easy you know repurposing potentially in into out of home to uh extend the reach of that extend the broadcast nature of assets that again
Speaker A
should be tailored to format but really powerful way to use that to capture more attention so motion is definitely another one another massive one is what I call the the aha moment right which is essentially breaking that I think it's
Speaker A
third wall fourth wall one of the walls right between the audience and the advertiser through context and through contextual relevance because out of home is such it's a it's a place-based locationbased format. I mean some of our networks are more just broadcast
Speaker A
networks but they're all real estate fundamentally they're real estate assets. So we're going to get to some contextual ads. We've got five examples you've bought that we're going to discuss and we've got five. We're going to have a
Speaker A
rapid five. We're going to have 30 seconds to give us Josh's take what's working, what's not on those assets. Before we get there, I just want to finalize this conversation of potential rules or guides for people to be more effective
Speaker A
with their assets. So, we've gone seven words, six words or less. Yeah, keep So, keep it simple, I would say, uh, you know, is critical where it's seven words or, you know, look, essentially what can you remove, right,
Speaker A
to be absolutely as pointed as possible. Um, color equally, you know, really important and just limiting limiting the amount that you are trying to include, right? In terms of to have we say typically sort of three key elements
Speaker A
whether it's a headline you know pack and brand shot right um you know uh and and some form of image how are we really making sure that we are not overdoing it and and another rule that we'd like to
Speaker A
think about is particularly where you know where it's product based FMCG and other let your product do the brand selling as well you know that that you don't need a heavily branded product plus logo plus brand name plus right let
Speaker A
the trust Trust the audience, trust the intelligence of the audience and trust the strength of your brand to shine through, but make sure it's heavily branded. So simplicity is key.
Speaker A
Understanding dwell is is critical. Emotion, as I sort of mentioned, I think anywhere where we can inject a sense of emotion to feed that into play between audience and advertiser and that value exchange. Frequency is really powerful.
Speaker A
Make sure we are using frequency but remaining consistent right with your territory. Is there any rules within frequency?
Speaker A
Yeah. Well, I mean, as Ritson sort of says, there's no such thing as as uh um as brand wear out as creative wear out essentially, right? So, when it comes, as I sort of mentioned before, when it comes to frequency, when we say, you
Speaker A
know, you want to be free, it doesn't mean changing up your creative, you know, campaigns every few, it means allow that creative to set, allow it to to really um set in and um resonate with your audience. Um but again, as we sort
Speaker A
of said, it is about the creative iteration. It's about uh Bank West have done a beautiful job of that as well with their just enough bank campaign.
Speaker A
You know, they have this one territory that they've been in market for almost 2 years now, but they continually change up based on context, based on what's happening in the world, based on what is trending online to to change that very
Speaker A
simple layered execution that they have of just enough bank um but to leverage frequency across a multitude of different touch points to give the audience something in return for their eyeballs every time. So I think that's really powerful and important when we
Speaker A
talk about frequency and out of home. You don't want to just become a wallpaper. If you are the same ad plastered for 8 weeks, for 3 months, whatever it is, that will wear out.
Speaker A
There's a there, you know, the long tail will absolutely dissipate. Uh so iterative is key.
Speaker A
So that's interesting. Different assets will tend to attract attention based on environment. You mentioned movement.
Speaker A
We've had Dr. Karen Nielsson Field come out a week ago suggesting the benchmark for effective advertising has moved from 2 and a half seconds to now it's been adjusted to 1 second based on a QM back study.
Speaker A
Yeah. Do you have a view on this piece of research that's just come out?
Speaker A
Yeah. Look, I think it it continues to support the principles that we talk about, right? if if what she's finding is that 1 second, you know, is is enough for that for that effectiveness in digital out of home, which they've
Speaker A
specifically looked at. Um what that comes down to then is is again the interplay between opportunity to see and I know she sort of talked about, you know, those sites with longer opportunity to see, you have higher active attention naturally for those,
Speaker A
but even the passive attention in out of home is really strong. So there's the the importance of of opportunity to see married with the importance of good creative. And I think you know the 1 second rule really just continues to
Speaker A
reinforce the fact that simple, effective, well branded. I think she talked about the importance of branding in that in that study. Well branded so that even at a glance or even at that 1 second of active attention, right?
Speaker A
Because of the nature of the format and because of you know um often the size of the format or just the you know the vibrancy of the creative itself that can capture so much active attention quickly. But it is about offer, you
Speaker A
know, allowing the creative to encode in that short period. Well, let's look at some examples. We're going to start with red rocks.
Speaker A
Yes. So, let's start red rocks before we go to rapid fire round. Wonderful. So, here is Red Rocks. Talk to us Josh. What what's going on here?
Speaker A
So, what I love about this Red Rock uh Delhi um uh creative is ultimately um it's it's using a lot of these principles, these design principles really effectively, right? They have absolutely let the um the the the packaging and the product itself do the
Speaker A
talking. Um it's prominent. It's prevalent. It's right there. So, it's unmistakable. They've absolutely kept it as simple as possible and using really good color contrast particularly in large form and in these outdoor environments to just shine through and
Speaker A
really make you know a maximum impact. So, they haven't overdone it. Ultimately, it's a brand piece, right?
Speaker A
But we see it's it's enticing and I think the hero is the product. They they have just used the hero, right? They haven't oversold. And again, when you see it in, you know, at this size and you look at
Speaker A
at the street furniture, that that lime green, you know, the power of that green, the way that that that contrasts allows the uh the product itself to also be centered. I really like they've just used really really simple but effective
Speaker A
hierarchy as well. You know, we our eyes are being uh really being drawn really nicely. It's very sequential. It's powerful.
Speaker A
Thank you for raising that. Looking at the hierarchy within outdoor I feel is absolutely critical. There's not a tangled hierarchy of three or four things competing for the message. The product is the hero. Chances of you recalling what
Speaker A
those words are are really low, but it enhances the product and that's all it is. It is the mirror again. It's product is the hero. I can imagine they've probably had big conversations going, should we have the product? Do we need
Speaker A
to put the logo on again? Is there anything else we need to put on there?
Speaker A
Stick on there. But to your point, subtraction is more important than addition with outdoor undeniably you know and but and subtraction but then um complemented by strong design you know because you're right if we're going to subtract which
Speaker A
is always our advice you know what can we take out to ensure that we have really clean effective creative but in doing that as you can again see here you know how do we make sure that our core
Speaker A
message there's a great example from Asahi from several years ago it was so simple it was to promote three their 3.5 5% alcohol, right? And it was a billboard and it just said 3.5% like it was just had this massive 3.5% and it
Speaker A
wasn't anything particularly out of the ordinary, but it was so prevalent. And what they did is they wrapped those those numbers, those digits uh in neon.
Speaker A
So at night time even it they really shone. And essentially we talk about how are you just like this how are you ensuring the audience's gaze the audience's um attention is being directed to your core proposition and framing that that product there having
Speaker A
it big enough having that do the logo be the logo and do the talking so that you know this is d this is in Melbourne central directly adjacent to Kohl's right there right so priming the audience with the product and we'll talk
Speaker A
more about that in the Kieran example a bit later um that that's really effective and framing that so That that's the core takeaway um is really I think and then what I love here um is the is again when we talk about
Speaker A
frequency using these pillars they've obviously use multiple creative to showcase different products um so it plays both a overall brand job as well as a product uh you know a product feature as well.
Speaker A
It's a great asset. It really is. They've leveraged medium well. It stands out from the environment so it grabs your eyes but really the hero is the product. Everything else becomes secondary.
Speaker A
That's it. And it wins. Yeah, let's go. Spec savers. Love it. Let's have a look at spec savers.
Speaker A
So, this is one of the great uh executions. I mean, I think this won the global out of um world out of home conference award like for it just it it absolutely uh has dominated, you know, from a from a press perspective, from an
Speaker A
a public appreciation perspective, and it's one of my all-time faves because look, as I say, if this was an ad in Sydney, it would be a just a regular ad, but this featured in Melbourne. So specs savers are one of
Speaker A
those incredible incredible brands when we talk about consistency um and understanding your brand and showing up consistently and a creative territory you know doesn't wear out like Ritson talks about no just about no one does it better than
Speaker A
spec savers cuz they have they've what I say they got one sticktick they got one gag should have gone to spec savers and they have been finding new ways across media but certainly in out of home to to
Speaker A
to activate this in smart funny irreverent ways So if we talk media and message, Spec Savers wins on TV video because how they leverage that medium with the message that's embedded with it.
Speaker A
Totally. If you look at outdoor, this is exactly what we're talking around. This is a Melbourne asset and it's welcome to Sydney.
Speaker A
Totally. Huge pattern interrupts, a prediction break. What on Melbourne stops you in your tracks, gets you thinking about it. So you've got attention, you're then thinking about it, you get the gag, you like the brand, and it links to their
Speaker A
proposition. Exactly. It's got all the genius in it. Is there anything else we're missing here, Josh, that we should be thinking about?
Speaker A
Look, I think what we talk a lot about is is irreverence. At the end of the day, you know, I kind of keep talking about the fact that at a home, um, we need to attract the eyeballs, right? So
Speaker A
to do that we have to offer the audience something in return for their attention and we know that comedy entertainment is just just about the most powerful way because we are trying to elicit and evoke a reaction right when we talk
Speaker A
about you think comedy and humor is hard in out well I mean they seem to to show how uh nailed it they've nailed I look I actually don't I I actually don't I think you know uh I don't think it's any
Speaker A
harder than than others because at the end of the day it it just takes, like we said in the beginning, tailoring to the format. So, you know, you see great ads, great television ads, 30 secondond TVC's, right? That can be really
Speaker A
humorous. And that's just a copywriter, you know, who has mastered the craft of writing a great 30-cond TVC or a great, you know, 15-second radio spot or or podcast spot, whatever it is. I think it's the same in out of home. It's just
Speaker A
a different skill set to to to and it's maybe maybe it is from a comedian's perspective slightly harder cuz it has to get to seven words to get the gag across.
Speaker A
So maybe that is the that that is the uh you know the sweet spot and it does take honing. But we've seen a lot of brands do it really well. I think we've got a Koala example coming up later. Koala are
Speaker A
a brilliant example of using irreverence right in out of home. But the thing about spec savers is it's actually not even copy. It's it's to your point it's the me it's use of format. It is and it's brilliant media planning
Speaker A
combined with creative exe creative thinking. It is. And this is what I love about Spec Savers. They're not optimizing for attention for attention sake.
Speaker A
They get attention with their asset, but they're optimizing for their brand and their promise that sits and the humor that is embedded. That's what I love about it's not this attention optimization. It's embedding for outcomes and it's allowing it's inviting the
Speaker A
audience in, you know, which is what I love. And I always talk about this uh one of these the the welcome to Sydney execution. A very good friend of mine um literally show it in my presentations uh sent me a photo of it when he uh when he
Speaker A
was passing through um the airport saw it sent me a photo saying like you know how good is this? And that's what we talk about when we talked earlier about the short-term effect, right?
Speaker A
That that amplification effect, putting something in public spaces, typically that entertains and is is is clever, is dissonant because, as you say, this this kind of stops you in your tracks because it it it actually is in congruous with
Speaker A
the environment. Doing something like that and placing art like that in public spaces elicits people's response and thereby drives, you know, that that propensity to take a photo and to share our appreciation. And that's great brands really understand that
Speaker A
the compounding effect of this is tremendous. It's been interesting to watch the last five, six years of outdoor, especially with how does outdoor work in a social media world.
Speaker A
I take a photo of that post to share with my friends. That one asset is working as hard as 20, 50, 100 assets cuz it's amplified and it hits harder and it's I think we got a few other examples of
Speaker A
that coming coming later on the show. IKEA. Let's talk IKEA. Let's talk IKEA. So, I love IKEA. One of my absolute favorite advertisers um because we we've spoken a lot about brand, right? And what we kind of haven't touched upon
Speaker A
maybe uh quite enough is um the use of distinctive assets, you know, in out of home. And I keep we've seen some brilliant examples. I mean, British Airways was sort of one of the the preeminent examples a few years ago
Speaker A
where they sort of had, you know, just a little bit of their British Airways logo and and someone peering out of the window. that was really regarded as just brilliant use of, you know, kind of their their logo is so distinctive you
Speaker A
don't even need to show the whole thing and people knew exactly what it was.
Speaker A
KitKat more recently have done that where one of my all-time favorite ads. I think it won some Khan Lions where it's just people instead of their phones, they're just holding KitKats. So, they've replaced the phone with the Kit
Speaker A
Kat, which is effectively the same shape that there's no words. It's just people holding Kit Kats instead of phones in a environment where they would otherwise.
Speaker A
That's the gag and that's the genius using the distinctiveness of the shape and the packaging and you know of their asset as the hero of out of home and IKEA are just about as good as they come you know when it when it comes to using
Speaker A
the distinctiveness of their assets in particular the bag I mean you know brands McDonald's are another brilliant one who when brands have built up equity in their distinctive assets over significant periods of time through consistent use of those assets and
Speaker A
consistent messaging cross channel and certainly in out of home. I I I believe they've earned the right to use them, you know, in ways that are creative that we don't need to oversell. This is one of the most creative ads I've ever seen
Speaker A
because it's taken from the perspective of inside the bag. Um, but we know exactly what what's going on here. This is so interesting.
Speaker A
If you look at process influency, this breaks that rule. Totally. Help us understand there's a rule of processing fluency which means it should be simple. I don't really want to think about it.
Speaker A
Specs savers does the opposite as well. It makes you think about it and stops you in your tracks.
Speaker A
This does exactly the same. Help us understand the difference between we're trying to optimize for processing fluency. You've just shared two ads that break that rule.
Speaker A
Well, it I think it's it's twofold. Not well I mean yes and no. I was sort of going to say not every brand can do it, right? when you have a certain level of inbuilt equity within your brand, right?
Speaker A
So, we are actually still circumventing a lot of the hard work that other brands have to do. So, we still I think are optimizing in that sense um because we don't have to do as much heavy brand lifting for audiences to to understand
Speaker A
faster than others. But having said that again when it comes to out of home what I think not enough brands really understand and and is most effective is that again because we are organically embedded in the real world there is such
Speaker A
a higher propensity and opportunity to miss right to actually not uh um stand out not be resonant not be effective.
Speaker A
And so by by us trying to optimize to the you in the same way as we would on other channels right we we can potentially to our point before trying to wedge everything in and trying to make sure we're covering and trying to
Speaker A
you know we can potentially miss because we are uninteresting but we know that 41 from analytic partners data 41% of ROI in out of home comes from the creative execution itself.
Speaker A
And ultimately when you do something and certainly in IKEA's perspective where you already have a significant salance with audiences awareness and then you do something that is in congruous with those normal thought patterns as we glance you know as we have that sort of
Speaker A
non-active attention that's just naturally because it's surrounded in our world. That's what we're looking for. We're looking for the moment of of actual peaked interest and peing interest and intrigue, you know, and c peing curiosity is I I just don't think enough
Speaker A
brands are tapping into the power of that because audience, you know, we are consumers by nature, right? Consumers of products, but also consumers of media and entertainment and all sorts. We are constantly scanning and we exposed to thousands of messages per day. The in
Speaker A
the only way to break through that scan in my view is to be more interesting than your competitors. And I think IKEA do a great job of that.
Speaker A
They do a great job. I believe it's a double-edged sword. If you become too interesting and it's too complex and you don't actually stop it, it is completely a waste of money. You need that branded equity. This stops you in your tracks
Speaker A
and you're like, "Whoa, what's going on?" It's the double take IKEA laundry bag. Oh, wow. It it really hits you on a different level. But I I think you're right in terms of you need that branded equity, but the idea also needs to be so
Speaker A
simple that you join the dots quite quickly. Totally. And that's that's where simplicity still. We have seen ads that have jumped the shark, you know, that have tried to be too clever um and maybe didn't have that that equity established
Speaker A
and it was going to ask too much. I will say though that that is again where frequency comes in. I mean not if it's too complex then they might have missed the mark but something that is a little
Speaker A
bit jarring again through repeated exposure and iteration I mean that that um IKEA example I think has multiple different you know uh executions looking from the vantage point of within the bag the more the mere exposure and the more
Speaker A
exposure the more that starts to resonate and the the more your interest is peaked because you're starting to piece it together it's the same with bank west it's the same with Uber Eats [laughter] okay again the bag you know I mean That's
Speaker A
just so simple that there's there's nothing to that other than let's hero our assets.
Speaker A
But that's really optimizing for attention. You'll never see that. And as soon as you see it, got attention links to a key uh memory.
Speaker A
Exactly. Exactly right. Coopers. We've got two examples here. We have Coopers that we're going to share and there's another one that leveraging context which is brilliant.
Speaker A
Yeah. Let's have a look at Koopers. So what's the backstory to Coopers or or what's it's quite similar Red Rocks.
Speaker A
Yeah. It it is uh I love this campaign because the the forever original territory they have there. The way that they brought this to life was actually uh I and I don't want to get the numbers out, but it is literally it's at least
Speaker A
over a thousand different creative iterations of this one territory. So what they did is they essentially engaged a myriad of of artists of uh influencers of just regular pe of of of employees within the business of regular people all creating their essentially
Speaker A
their Kooper's artwork and they've then run these each site that they ran has a unique creative attached to it. Now, what they've done here and what I love about this is they've used our Balty Bridge assets, right? Um, sequentially
Speaker A
to just immerse the audience in that territory. I I I mean I tell the story years ago. So, O Media now owns or has the contract for TransUb and and this Balty all these Balty Bridge assets, but that was only recently acquired sort of
Speaker A
last year. For many years, it was fragmented. We had different companies owning different sites across that um you know that that uh highway. Um, and it was that it was a long time ago. I was driving, it was when the Book of
Speaker A
Mormon was first coming to Melbourne and I'll never it was one of the most it pretty much solidified my love of out of home because I was driving back from the airport and I then started to see these
Speaker A
Book of Mormon ads and they were sequential. They were like it was like hello and they literally they had taken the entire highway uh entire freeway um and had you know sequentially put that cred and I thought well that is powerful
Speaker A
use of out of home that would have been so difficult to execute because of all the multiple suppliers. So once when we then won the contract to have this journey and to own this journey naturally we've you know had uh
Speaker A
advertisers and Cooper's here as as a beautiful example taking advantage of of repeated exposure of frequency and of consecutive um assets that immerse the audience on a two and a half minute journey through your brand.
Speaker A
These these are some of the most powerful assets in Melbourne in my view. Undeniable. You can't miss it. like it's you can't inbound outbound you you cannot miss it and I think the way you know what I love about their creative
Speaker A
again is I mean these are like I I I keep coming back to it out of home must be thought of as public space art that is the foundation of attention I believe but it's new but it's consistent
Speaker A
totally totally I mean that's what works they would have they you know it's a beautiful example of a of a creative agency I think special uh did this just understanding um the you know understanding the idea and putting
Speaker A
really nice guard rails around the create around the manifestation of that idea and then you know allowing inviting in a myriad of different creators to be part of it but all with a really strong sense of consistency.
Speaker A
How clever engaging the PR angle you have with Koopers and the media buy. Exactly.
Speaker A
Like interesting ads that get social content off the back of it. needs leverage. One of the best examples we saw uh a while ago was Jet Star did that. They did a one-day takeover of Melbourne Central Station and they had planes
Speaker A
flying all across it with unique QR codes you could scan to win, you know, free flights and it was such a beautiful use of like of of an environment, but it was about the PR they generated. It was,
Speaker A
you know, they used breakfast um radio and and and morning shows and to drive people down as part of this promotion.
Speaker A
So they essentially used a do out of home domination as the canvas and foundation for a PR stunt and that similar to this it's beautiful.
Speaker A
Outdoor is not a cheap medium. It's an expensive medium. Anyways you can leverage it by other channels feels genius.
Speaker A
Which is why you know we talk about 41% of creative. It's why it plays such an important role because the more you can leverage the creative the more attention and sharability you generate.
Speaker A
It's that amplification. Speaking of booze Kieran. Yeah. So, this has been, you know, one of my favorite favorite executions of this year um because it leverages several different aspects, right? Um we talked about 3D anamorphic being really the, you know, the the the most powerful
Speaker A
um exemplification of of attention, you know, grabbing uh motion out of home and motion creative. Um, so they've put, you know, in these pillars that we saw earlier with Red Rock, they've put cans in those pillars that that that is a
Speaker A
motion asset where the can falls and and again it's emotive. It's really enticing. It's it's visually stunning and I love that they're using and we're seeing um several different brands now using uh these these pillars in that way. Um it's just a really powerful
Speaker A
usage of of that format to to bring that 3D element to life, which I love. But equally what I love is they use the Melbourne central domination which is definitely one of our most powerful environments to immerse you know we talk
Speaker A
about um the Balty Bridge and Cooper's immersing the audience in that journey. Well, this is sort of that physical immersion within center. But what I love, you know, they they've, you know, it's a beautifully simple creative. This is a motion asset, so that's actually a
Speaker A
motion um creative. But it's the inflatables, right? You know, when we talk about priming an audience and we talk about really trying to um embed our product and our brand in the minds of consumers so that in that moment of
Speaker A
physical need, we are most salient. What a way to bring your product to life through giant inflatables that both bring joy because at a home should just bring joy to to public spaces but also bring absolute salience um you know
Speaker A
because you're bring you're putting that product in an oversized fashion in the real world.
Speaker A
I absolutely love this. Yeah, it's just it was just really expertly uh executed. Um really powerful. And you know the beautiful thing is I went down there and I saw people with my own eyes standing there taking photos. And as we've talked
Speaker A
about, that's the power. The medium is the message. Spot on. This is so impactful that you couldn't get in any other medium. And the associated trust within the medium is also something to be considered. TV has historically been a more trusted medium
Speaker A
than display ads. Y outdoor is also an incredibly trusted medium because the barrier to entry is so high. The perceived trust and associated trust is really high is is that what you've seen in your journey as well Josh? Most definitely.
Speaker A
You know, yeah, we talk about there's still, you know, an armslength relationship with out of home and the consumer, you know, in the sense of I talk a lot about, you know, whenever I present in in a room, I often say that,
Speaker A
you know, anyone in this room could potentially be Insta famous or Tik Tok, you know, fame. Like, it's very possible there's no barrier whatsoever for any one of these people to actually have achieved a certain level of of digital
Speaker A
fame, right? You know, real world fame, but through digital means. out of home as a channel is just different because it's not it's still not open per se to the consumer. There's still an arms length relationship. So thereby there's
Speaker A
a there's a a certain credibility afforded to brands that are activating in public spaces and the fact that they are in public spaces and are so heavily governed you know by by council regulation and it means that it is a
Speaker A
safer environment but there's an elevation uh because this the consumer ourselves you know otherwise known as people um we can't necessarily um achieve that but not all branded impacts are the same. This is such a huge impact and branded experience.
Speaker A
Th this could do the job of 30 other exposures or it could this one exposure experience could trump 100 exposures on different mediums which is why we talk about the power of impact in out of home you know and and doing things like this
Speaker A
like you know center or rail station dominations where you can immerse an audience in your brand. What better way is there to bridge the gap between brand and consumer than effectively allowing them to experience your brand, you know,
Speaker A
in such a powerful way. We're going from FMCG to furniture. Yeah, Koala. Let's go.
Speaker A
So, let's have a look at Koala. There's a couple of assets here. There's two assets that we want to talk about.
Speaker A
Yeah. So, the beautiful It's just such a smart execution and and so much what I talk about is Kutzbah. They are just they've got so Koala are one of the great uh out Australian out of home advertisers because they really
Speaker A
understand their brand tone and they really take it uh to the market. This is an old example but ultimately what they did is in proximity to an IKEA who we spoke about earlier you know who are naturally a major competitor and a major
Speaker A
brand in their category. Um they uh they put up uh quite a cheeky execution uh that you know poked a bit of uh a bit of bit of fun at that uh you know um leveraging uh that client naturally
Speaker A
again understanding that that creative would uh resonate in in in online channels, right? People would see that would share that uh and that was going to garner um conversation online because of the the nature of that of that ad.
Speaker A
And what they then did is it did garner so much attention that they took in the next Luna, the next posting period, they took the uh the the second um uh billboard below and they kept that consistent and they wrote their their
Speaker A
apology uh to to to our care again. All adopting that irreverent cheeky tone, excuse me. And um uh you know, in a way that was only going to get drive more sharability.
Speaker A
It's like a human. If someone's funny and entertaining, you like them more. And that is what this brand does.
Speaker A
Exactly. I absolutely love this. Who ever thought of writing scrolly handwriting on a outdoor billboard which you've never seen? And this is probably the first time you've ever seen it.
Speaker A
Well, that's and what I should point out here is this goes completely against the rules we established earlier on. And that's why all rules are made to be broken in at a home. You know, again, when we're this is not to be consumed on
Speaker A
roadside which has three seconds dwell, right? This is all about the picture that is going to be circulated online.
Speaker A
So, we do see brands breaking rules for the distinct po, you know, purpose of garnering attention online.
Speaker A
We've worked with a few that will only buy one asset and this is their playbook.
Speaker A
Exactly. And their entire hope is it gets picked up and and it gets amplified.
Speaker A
Now, Josh, we're going to have a new segment right now. This is going to be rapid fire. There's going to be five assets. You have 30 seconds to unpack each. Good, bad, indifferent. We're going to break them down now. Rapid fire. We are going to
Speaker A
start with Steph Carry. Oh, gorgeous. Just gorgeous. Right. Again, this is for the photo because this the moon is not always going to be uh in that uh in that uh line of sight, but it's simple. It's elegant. It's a special build, which I
Speaker A
love. So, it it it immediately just protrudes from the ad. Um but again, when when you get that photo, that photo is going to be celebrated online. Uh which is the entire point of this. But but even from a design perspective, I
Speaker A
think they've done a really nice job of keeping it super simple for years. See how the hands are sitting up the top there. Is this something you have seen in outdoor and that to be effective as well?
Speaker A
Hugely. Um absolutely. Again, from our uh transactional data um research that we've seen um when brands go that extra step when they think what I you know outside the box right but inside the box or you know um they really you know
Speaker A
adding these elements. I talked about the neon lighting extensions, right? 3D molds that we can put anything we can do to to your point before to transcend normality. You know, the audience expects to just see a simple billboard,
Speaker A
a banner, a banner. But when we exceed their expectations and we provide something that cuts through, naturally again, it becomes more interesting. And then you do something like that. There we go.
Speaker A
That'll be around for a long time. British Airways. Look, as I I mentioned British Airways before, and they're one of the absolute goat advertisers. Uh, and this was beautiful. Um, again, you know, this is this was super effective
Speaker A
when you had the planes flying over. This is contextual. They were using actual real live data, right, to tailor the message, you know, based on the moment. And I think that's that's context. That's aha moment.
Speaker A
Brilliant. McDonald's. Oh, I haven't seen this. Fantastic. Context again, right? leveraging data feeds and weather where the triggers or you know where the creative is is really sort of simple. It positions their brand. Um sorry, this isn't this Coke.
Speaker A
Sorry. Um here uh oh no, it's Mackers. Sorry. Mackers with the Coke. I didn't see the Could make the logo a bit bigger if I'm honest, but maybe it's just cuz it's behind me. Um but I love the usage
Speaker A
of uh you know of of weather there. Um uh and you know I also like just they haven't just embedded weather in the same font. They've used that right in terms of uh as as a bit of dissonance
Speaker A
there as a way to really represent weather. um and to stand on its own.
Speaker A
But it's a really clever way of using outdoor and roadside. We're not allowed to have movement and animation, but you are allowed to have contextual triggers.
Speaker A
Exactly. And that's, you know, a really elegant way, I think, to to have done that. And also, who doesn't like It's enticing. I want a Coke now, especially if it's hot.
Speaker A
Yeah. Chicklet. I love I've seen this before. I love this. Um again, special build. Eat eat more chicken by the cows. It's humor.
Speaker A
This is humor. this this resonates online but also in reality when you see it gives you a giggle um it's just a great idea executed simply effectively well branded still right um and really powerfully you know that that special
Speaker A
build there is is that added piece of joy that that uh that execut is also very different to what you would ever see similar to koala what we were just referring to a total prediction break totally but it brings the idea to life
Speaker A
Netflix yeah this example uh broke the internet uh not long ago uh with the the person inside uh you know in inside the billboard. I love this. I mean it's not the first time it's been done. Um but
Speaker A
they did it so so well. Uh and again it's about PR. This is pure PR.
Speaker A
I can't imagine that guy was up there for all that long but they leveraged the moment so beautifully to make it feel like he was. I think it's it's brilliant.
Speaker A
There's a real opportunity with PR and outdoor thinking. We had uh Sy's from 12 months ago with a liquid nails.
Speaker A
Best one of my all-time faves. Like like people trying to rip it off. Correct.
Speaker A
That is such a great example of using one site and doing it in a way that naturally it's going to attract a lot of PR, a lot of sharability. You can create a great video asset off the back of it
Speaker A
and use that in your own and earned socials. Um it's beautiful. It's a great example.
Speaker A
So the opportunity, the summary is this. Understanding the medium and how to best leverage the medium with the right message is the opportunity. If you think all medium are the same, that is the biggest problem. Media and creative
Speaker A
should not be siloed. Every medium should be thought about in its own format. What are your thoughts on that Josh?
Speaker A
I couldn't agree more. We've found through analytic partners uh ROI study that those uh campaigns that actually neurotested uh their their out of home creative so really like tailored to format tailored to you know maximize the impact were I think it was something
Speaker A
like 250% higher ROI than those that just you know lifted and shifted and that didn't actually take that time. What it's telling us is that out of home as a channel, yes, we talked about, you know, there there is a certain level of skill,
Speaker A
you know, uh, needed to make sure you nail it. But the ability, you know, the impact that you can generate when you when you understand the principles, when you understand simplicity, irreverence, right? Um, you know, just just hierarchy
Speaker A
and what we know to encode best. Um there's so much payoff to not just lift and shift but to really tailor accordingly you know and and thereby understand each of the different environments. What is the mindset of audiences in those environments? Who are
Speaker A
we who is the consumer? Who are we talking to? What do they need in those environments? And what is going to naturally attract their attention most?
Speaker A
Josh, thank you for coming on. There's two things that I've learned today. Number one, how do you get attention?
Speaker A
Then how do you optimize what that attention drives? It's not just about optimizing for attention. And it's what you can do with it off the back of it.
Speaker A
And two, what can you subtract rather than add when it comes to outdoor? Absolutely. Uh and just, you know, thinking of it as public space art sponsored by your brand is probably the best place to start u to attract that
Speaker A
that attention in an environment that is just naturally embedded in our human world. Well, that is the science of advertising show. Josh, thank you so much for coming on and until next time, I'm Jonathan Rolley. Over and out.
Speaker A
[music] The science. Science. The [music] science of advertising.
Topics:billboard designoutdoor advertisingcreative strategyadvertising effectivenessdwell timesimplicity in adscolor contrastbrand recognitionmedia planningadvertising tips
