How do you view this medium?
Melanie PENNEC : My experience as chairman of the jury for the 47th Grand Prix for External Communication, as a jury member in previous editions and on the occasion of the Cannes Lions, made it possible for me to observe that this medium is much more than a simple poster or than a digital screen . It’s for advertising communication what piano is for music: an original classical and traditional instrument that can be used in a modern and new way, like this year’s External Communications Grand Prix. On the occasion of the launch of the documentary series about Orelsan, Amazon bought all the billboards along the road from Caen, where the artist is from, to Paris to show a photo gallery that tells about his life for miles.
Pierre-Henri BACHOT : Outdoor communication, through the many different formats, is truly a creative space in itself. The practice of the “poster” is also often regarded as the nobility of art for advertisers. As for advertisers, they can hardly do without this medium, which speaks to the largest number on the street and invests massively in the creation of original campaigns with more and more often an event dimension.
What are the creative guidelines to consider in the display?
PM : First of all, consider posters as a medium for collective emotion. Then creation must simply be at the service of the idea! Which can then be expressed in vastly different ways. Sometimes very talkative, like the DDB campaigns for the team, sometimes very refined, like most luxury campaigns, and then from time to time completely different, for example when France Télévisions records the real actors from Carrément Craignos on a 4×3.
PH.B. : The more the creation takes into account the context – format, location, period etc. – the more efficient and relevant it is. The power of contextualization is proven as it improves memory response (+18%), ad recall (+17%) and has a positive impact on sales (+16%) 1. We have a duty to advise advertisers and media agencies. Posters come into their own when the idea, creation and staging are in perfect harmony. At JCDecaux Live, we create interactive campaigns that use all the possibilities of OOH and DOOH. We did a really powerful stunt for Disney Parallels, with a character who seemed to be locked inside the bus shed box and communicated with passersby to get out of it. Brands are getting more and more creative on digital signage and they can go much further.
Does creativity have a measurable impact on advertisers’ goals?
PH.B. : Of course, and we have accurate KPIs on this topic. For example, at Peugeot’s branding campaign 2, which equated the consumer’s face and brand logo, the impact indices measured by Ipsos are excellent: 158 recognition, 189 attribution, 163 approval and 117 fire connection. Like the Dior J’adore campaign 3 with 177 recognition, 460 attribution or 279 brand link. Other spectacular creations by JCDecaux Artvertising, our department dedicated to XXL formats, have made a lasting impression. 10 years later we are still told about the incredible Live Painting by Jean Charles de Castelbajac at the Conciergerie for Samsung or about this campaign for a famous perfume whose bottle was rendered with 800 mobile sequins on the facade of the Musée d’Orsay. This lasting memory trail is not really measurable, but it is the most beautiful reward!
PM : The desire to get out of the codes, which has been shown recently by some advertisers, especially the automotive sector, is a good indicator of the role of creativity in the advertising effect.
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Sources: 1. “The Moment of Truth” study, UK 2021. 2. Ipsos post-test April 2021. 3. Ipsos post-test February 2021. Photos: DR.