War Child works with former child soldiers and displaced children. The aim of the charity is to give these children the tools to lead a normal life in light of events they’ve been subjected to.
To illustrate this powerful transformation we created an online content campaign, which we called ‘Go Free’.
‘Go Free’ tells a powerful narrative about what it's like to live through displacement camps and be a refugee in an alien country. The thought is to populate this with many stories, all crafted, which illustrate the journey of many different people.
The first in the ‘Go Free’ series is Nyakor, a Sudanese model who was born into a war conflict zone and had been on the move since she was a child.
• Bronze, Cannes Lions
• Finalist, Cannes Lions (x2)
• Merit, One Show
• Best of show, ADMA
High end microscopes can cost thousands of dollars.
Olympus wanted to update their client database while reconnecting with their customers in a memorable way.
'The Time Well Spent' campaign used the duration of the media to make a simple point - those who have to make time, use it wisely. Unlike the viewer.
This cheeky, wry campaign let viewers re-evaluate what they were doing with their wasted minutes.
Those who are truly ambitious, put in the hours at work, getting in early and staying late.
If you’re ambitious, you should be a Wall Street Journal reader. So in order to reach these potential subscribers, we created a campaign only they would see. That’s because our work ran only between 5:30-8am and 9pm-midnight- hours when less ambitious people are asleep or at home. So if you had never seen the campaign you’re not ambitious enough.
The new global WSJ features the breadth and depth of content necessary to fuel the most ambitious professionals worldwide.
One minute you could be reading about how Israeli tech investors are looking to Hong Kong, the next you could learning about how Mexico's labor laws have a knock on effect to Brazil.
In order to capture the publication's point of difference, we created a campaign that showed how business in today's climate was truly global (just like One Journal). Our visual hook, was to change the flags' colors in order to reflect topical stories.
The ‘Kit the Crew’ campaign was aimed at driving donations for the Royal National Lifeboat Institution (RNLI). The RNLI encompasses lifeboat crews and lifeguards in the United Kingdom and chiefly relies on donations for operations.
The thinking behind ‘Kit the Crew’ was to directly buy equipment for these coastguards so they can do their job.
As the iconic yellow boots were the most identifiable kit item, true stories from coastguards were drawn onto the boots that belonged to them. A range of type artists were used.
This was part of an outdoor, press and direct campaign. The boots were then auctioned off at a charity fundraiser.
Results: The ‘Kit The Crew’ campaign aimed at increasing donation memberships in the July-October period by 12%.
As a result of the campaign memberships were up 23% (an increase of around £280,000 over the previous year) with a campaign continuation greenlit for summer 2015.
Rather than showing fresh food, the thought was to take a different approach to sell Burger King’s salads range.
NCS is a once-in-a-lifetime opportunity open to all 16-17yr olds, a program "for the lessons they don't teach in class". NCS has already changed 130,000 young lives since 2011.
Tasked with a launching a fully integrated campaign in under 6 weeks, short form documentaries were created, which championed lives that had transformed via this program.
These stories of transformation were told across TV, radio, digital and social formats and drove teenagers as well as their parents to enquire about NCS.
Michael Lynas, CEO of the NCS Trust: “As I’ve said before, we’ve all felt the power of the work we do through real stories, not abstract statistics. We want the #OurFuture campaign to tell these real stories that are rarely told in the media. This will make sure that the true face of young people – and the crucial role of the sector – is front and centre in this important year.”
Results included a significant uplift in enquiries: 26% over the year previous, and also included other unexpected benefits such as the music soundtrack being the most Shazamed track over the campaign launch period.
To see more of the case study connected to the #OurFuture campaign see here.
The Wall Street Journal app keeps those seeking the best quality news, up-to-date.
At no other time is this more pressing than when people escape for their vacations at summer. Just because they’re having a break, doesn’t mean the markets stop for them.
Picking up on this insight, we brought the news in real time to them.
Introducing the WSJ Summer Scoops truck.
It not only fed ice cream to those who downloaded the app, it more importantly fed live breaking market news to those who passed by.
We ensured people made time to keep in touch with the latest news and understood that whilst the markets don’t take a break for summer, they could, and still be up to speed.
Faced with little money and the expectations to surpass the previous year’s Amnesty International National Week fundraising total, the thought was to do something effective and simple to execute.
After reading case studies of political prisoners it came apparent that without Amnesty International these stories simply wouldn’t exist.
The Blackout campaign was created. It powerfully provoked people into thinking by asking the simple question, ‘What would be seen (or not) without Amnesty International?’
Black on black actual prisoner testimonials were only just visible for the print ads. And the TV spot ran a recreated torture scene that wasn’t seen, only heard. Blackout challenged people’s perceptions about Amnesty International’s role and importantly increased donations by 14% on the previous year’s drive.
NB: increase your screen’s brightness in order to read the print ads.
WSJ+ is an offers and events program with a difference. It lets readers of the Wall Street Journal go beyond the page and book tickets to events and offers that relate to articles that appear in the publication.
The problem was simple- no one knew about it. And when told about WSJ+ people were still confused. I’m even confused speaking about it here.
The communication objective was simple (yet complex). Impart this information, and do it via all the different experiences WSJ+ offer.
This campaign was brought to life by the impeccable eye of still life photographer, Molly Cranna.
Example body copy: THE STORY IS JUST THE START WITH WSJ+
We’ve taken what you love to read in the Journal and brought it to life. As a WSJ subscriber, you can activate your complimentary WSJ+ membership for an exclusive range of offers and events.
Discover more at wsjplus.com
'The steps' is an integrated campaign built around educating the public as to how domestic abuse can develop slowly and insidiously.
The campaign was arrived at after I developed a strategy alongside the client with a series of one-on-one workshops that unearthed the insight that people in domestic abusive relationships quite often don’t realize they’re in one.
Verbal abuse one month, slowly descends over a series of months into a slap, which slowly transforms into continuing stream aggregated violence.
This campaign talked to the community as well as the victims and educated them to look for ‘the steps.’
Everything was built in-camera and included working with three typographers and then recreating everything out of foam core. From here, four very different houses were found to reflect an accurate cross-section of society (including one that happened to be a scene of a murder one week before the shoot).
Results: Ran on bus-backs, billboards, posters, print and fliers in two major cities the campaign spawned much needed dialogue on the subject.
Media companies subsequently gave up more free media space (equalling $200,000) and an increase in donations meant the South Island chapter of the Women’s Refuge increased donations by 38% in the period when the campaign ran as compared to the year before.