Hockney’s LA Garden receives premiere on DOOH across the UK

In a digital out of home first, Ocean Outdoor and Posterscope are collaborating with Tate to broadcast artist David Hockney’s iPad paintings across city and roadside out of home screens in seven UK cities.
For seven days from Thursday, February 9 up to 20 million people across the UK will see animated clips of Hockney’s brushstrokes, building to reveal a painting in the artist’s inimitable style.
The work – Untitled, 382 – depicts Hockney’s garden in Los Angeles and this will be its European premiere.
The campaign coincides with the public opening of the Tate Britain exhibition David Hockney on Thursday, February 9. Ocean will broadcast the creative clip across Signature’s The Loop in Manchester and Birmingham, The Grid city network and Ocean’s roadside Collections. The biggest canvas of all will be the Birmingham Media Eyes. The other cities are London, Edinburgh, Glasgow, Leeds and Newcastle.
Hockney has written a call-to-action that will appear at the end of the clip: Keep Calm and Carry On Drawing.
Hockney wholeheartedly embraces new technology and has painted with iPads since 2010. These works will be the focus of the final room of David Hockney – the most extensive retrospective of Hockney to date.
David Hockney said: “It is a very exciting moment to see this painting of my garden revealed for the first time in Europe, and on its biggest ever canvas. When I created this work I always imagined it would look rather good on a large scale, and I’m delighted that people from across the UK will see this picture come to life. I encourage everyone to keep calm and carry on drawing – and to come see my show at Tate Britain.”
Ocean Group marketing director Richard Malton said: “Being invited to premiere a work which David Hockney has generated in a digital format has to be the purest form of content. This is a highly anticipated retrospective and the fact that we can share it across the UK with 20 million people is an incredible honour.”
Posterscope UK managing director Glen Wilson added: “As an organisation that embodies creativity and innovation, Tate Britain was looking for a unique way to premiere David Hockney’s amazing digital work and its new Hockney exhibition.  This campaign takes advantage of the high impact, real-time, broadcast attributes of digital out of home and we are excited to be part of this DOOH media first.”
Alex Farquharson, director of Tate Britain, said: “We are so pleased to share the brilliant artistry of David Hockney with the country in such an impactful, innovative way. It will be fantastic to see the painting build on these huge screens. I am sure the size will amplify the nuances of Hockney’s working process. I hope that people will be inspired to try new ways of drawing and to visit the exhibition at Tate Britain to see 60 years of Hockney’s creativity first hand.”
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Via: Ocean Outdoor

It's Pimm's o'clock for outdoor advertising writes Glen Wilson

The rise in weather-activated ads shows how the barriers to real-time campaigns are finally coming down, writes Glen Wilson, managing director of Posterscope.
You can always tell when summer is here. The sun is (mostly) shining, the beloved flip flops emerge from deep down in the wardrobe, and of course, posters of particular drinks brands that we all associate with summer start appearing.
One of those inescapably summery brands is Pimm’s. The brand positions itself as being the iconic drink of the Great British Summer, which means it’s making the most of its marketing now that we’re beginning to enjoy sunny temperatures.
This year, the brand is enhancing its relevance for consumers with a new digital out-of-home (DOOH) campaign that uses real-time weather-activated dynamic triggers to activate digital ads when the temperature reaches or surpasses 21 degrees, making a Pimm’s ad appear whenever it’s hot.
A new element of the campaign brought location into the real-time data mix in a partnership with Taylor Walker pubs. Using a beacon network, the posters count the number of smartphones at local venues using non-personal anonymised data, to tell punters where there are free seats to enjoy a jug of Pimm’s.
Using weather and data to plan marketing campaigns has been around for a while; however, now real-time dynamic triggers are enabling advertisers to use it in a way they never have before, and not just in hot weather.
In February this year, Vauxhall Corsa launched the first automotive campaign to use real-time activation, using weather-activated triggers to promote their new car’s heated features. Whenever the wintry temperatures fell below 5C, the ads highlighted the new Corsa’s weather-related product features, such as the heated windscreen, seats and steering wheel.
Tate Britain has also capitalised on weather activation using real-time technology. In June last year, the organisation launched a digital OOH campaign in which the weather was reflected by an appropriate work of art.
Different paintings, drawn from more than 500 years of British art, were automatically triggered across screens according to specific events or conditions such as weather, time of day, traffic flow and flight arrivals. For example, when the Met Office forecast bad conditions, the ads might display an image of Turner’s “The Storm”. This campaign produced a vast 14,400 creative executions over the course of its execution.
Advertisers’ increasing proclivity toward weather and temperature activation is indicative of their growing understanding of the potential real-time technologies hold for OOH campaigns, helping to create experiences for consumers that are relevant to the world around them using data such as time of day, weather and travel information.
According to Posterscope’s OOH Consumer Survey (OCS), in which in which over 5,500 people were surveyed about OOH campaigns, weather and location are cited by consumers as content they are interested in seeing on OOH screens. The technology’s potential was recently identified in an infographic by IDC which shows that there has been an 80 per cent increase in real-time ad sales year-on-year in the UK.
Additionally, Posterscope recently conducted research with its DOOH partner Liveposter, which found that respondents who were exposed to dynamic vs non-dynamic DOOH were almost three times more likely to recall adverts, citing “relevant messaging” as the reason behind this.
The industry is reaping the benefits of rapidly evolving consumer expectations – as they increasingly demand clever, connected ads that are worthy of captivating their attention.
The Outdoor Media Centre (OMC) put the OOH industry’s value at £250m in 2014, and we believe this figure could become as large as £500m in just five years, with the industry estimated to be delivering four billion impressions every two weeks.
When DOOH first came about, the industry represented just 2 per cent of all OOH spend. Jump forward ten years and according to Posterscope’s estimates 2015 will be the year that DOOH’s share of the market will increase to more than 30 per cent.
However, in spite of the growth potential, a roundtable discussing the current state of real-time that Posterscope hosted with leading brands and agencies such as British Gas, Microsoft and Starcom MediaVest Group found that whilst they had vastly reduced over the years, barriers to adoption still existed.
There is still a gap between the desires of advertisers and the ease and cost-efficiency with which real-time OOH can be applied at scale as the full necessary standardisation of systems doesn’t yet exist across the industry to provide the scale, consistency and agility to fully deliver the full potential of the technology.
However, such barriers are more than on the way to being overcome, in part thanks to the recently launched Liveposter Ad Container (LPAC) product, which is starting to provide the standardisation needed across the multiple media owner networks.
The app, built specifically for each media owner network, gives advertisers the ability to implement dynamic campaigns at easily, cost-effectively and at scale.
Furthermore, the entry costs that apply to an advertiser when thinking about dynamic campaigns have been reduced to such an extent that we will hopefully now see an increased level of optimisation and relevancy in campaigns.
The good news is that there is vast untapped demand for real-time DOOH campaigns. According to our research, 61 per cent of marketers say they want to integrate real-time in their DOOH campaigns, and an additional 47 per cent believe it would make their brand’s DOOH advertising more effective.
As evidenced by the increasing amount of weather-activated campaigns we’ve seen particularly over the course of this year, it would seem that as the barriers to real-time campaigns come down, advertisers are finally beginning to embrace the full benefits of real-time.
This article appeared in Mediatel

Tate Britain Art Campaign Adjusts to the Weather

Tate Britain is running a digital outdoor campaign featuring art that reflects the current weather and road conditions.
Tate will use real-time data to display travel conditions on Ocean’s Two Towers West, the two seven-metre high digital screens on the elevated section of the A4 Hammersmith Flyover. Images such as Turner’s ‘The Storm’ will be used to accompany Met Office forecasts of inclement weather.
The campaign, which was created by Liveposter in collaboration with Total Media and Posterscope, won the Creative Techniques category of Ocean’s annual The Art of Outdoor Digital competition, in association with Brand Republic.
Martin McCully was the art director behind the campaign and Christina Edwards and Emma Lamden were the copywriters. All work at the real-time outdoor specialist Liveposter.
Jesse Ringham, the digital communications manager at Tate, said: “Tate Britain’s showcase is a data driven campaign using hundreds of images from our extensive collection to re-engage with Londoners, visitors and international tourists.
“Different paintings, drawn from more than 500 years of British art, are automatically triggered across the two screens according to specific events or conditions such as the time of day, the traffic flow, the weather and flight arrivals.”
Dan Douglas, founder of Liveposter, added: “This campaign is a great example of a brand using data sets to create the most relevant copy for the moment and maximise their chance of engaging the audience.”
Ocean’s Art of Outdoor competition entries were judged by a panel of industry experts for their innovative approaches, including layering, augmented reality and data streaming.
The 2014 Art of Outdoor Digital competition opens for entries on 30 June.
Tim Bleakley, the chief executive at Ocean Outdoor, said: “This campaign is striking. The link between our screens as a live canvas to showcase the Gallery’s spectacular art collection reflects the dynamic capability of digital out of home.
“The matching of artworks to the out of home environment as it changes across the day is a fantastic concept.”
Via: Brand Republic

Art Everywhere Launches Facebook and Twitter Search for Next Outdoor Exhibition

Art Everywhere, the initiative that brought works of art to thousands of outdoor sites last year, is launching a social media campaign to find the public’s 25 favourite artworks, to be displayed this summer.
Art Everywhere wants members of the public to select the pieces they most admire from a longlist of 70 British artworks, which range from the 1500s to the present day.
The artists Anthony Gormley and Grayson Perry will reveal the winning pieces on 16 July.
Reproductions of the top 25 selected artworks will then be displayed on poster sites, bus stops and billboards across the UK for six weeks, from 21 July to 31 August.
The public has three weeks to cast its votes and can do by visiting or on Twitter, by tweeting @arteverywhereUK.
Out-of-home media owners have donated sites to enable the art to be shown across the UK, including Underground stations, shopping centres and roadside billboards.
The project, now in its second year, is a collaboration between Posterscope, Vizeum, Clear Channel UK, Exterion Media, JCDecaux, Richard Reed, the co-founder of Innocent Drinks, the Art Fund and Tate galleries, among others.
The organisers said the 2014 version of Art Everywhere would be bigger and better than last year, by showcasing a new set of British artworks sourced from public collections across the country.
This year will also feature the project being tripled in duration to six weeks, as well as a featuring a cinema exhibition film about the project and winning entries, to be shown at 1,000 Vue cinema screens.
The public has been invited to become patrons of the exhibition through crowd-funding it, with donations used to fund the production costs of printing the posters.
Anyone who donates £10 or more will have their choice of limited edition rewards, from a postcard set, through to a 48-sheet billboard poster.
The organisers hope to build on the success of last year’s inaugural show by making the campaign an annual event, as well as expanding it to include a separate project in the US during August.
Reed said: “Art Everywhere is back to showcase great British artworks for a summer of art. We want the British public to crowd fund and vote for their favourites. This year goes bigger and better, including a specially created artwork exclusive from a world-renowned artist.”
Artists have been involved in every stage of the Art Everywhere project and Caroline Collier, the director of partnerships at Tate, chaired the longlist panel.
Emma Newman, the marketing director at Clear Channel UK, said: “Like all the best ideas, [Art Everywhere is] wonderfully simple and is a brilliantly effective way of bringing inspiring artworks to people right across the country.”
Via: Brand Republic