JCDecaux Africa is proud to be the Loeries branding partner and sponsor of the 2017 Outdoor and Out of Home category.
See some of the work they have done this year:
JCDecaux Africa is proud to be the Loeries branding partner and sponsor of the 2017 Outdoor and Out of Home category.
See some of the work they have done this year:
Outdoor Advertising and Media Company, Marketing Kraal is assisting Nkukhu-Box CHICKEN to create awareness about the new Grilled Chicken brand in the townships.
Utilising their cost-effective wall murals advertising media platform, the advertising campaign intends to create brand awareness and market share growth.
Nkukhu-Box is a home of grilled chicken embracing Kasi “township” flavours and lifestyle. The first Nkukhu-Box store was launched in Mamelodi West in July 2016 according to CEO Itumeleng Mpatlanyana. The store concept is made from specially designed shipping containers, making it cost-effective and movable in around township spaces. There are currently stores in Mamelodi,Shoshanguve,Atteridgeville and Jouberton Klerksdorp.
We are honoured to be working with Nkukhu-Box on this exciting marketing campaign, says Lebona Moleli, Founder and CEO of The Marketing Kraal. We are not only in the business of advertising and marketing but we also support entrepreneurship in line with our core values of innovation and wealth creation, concludes Lebona.
By Brent Lindeque
The taxis will travel on conventional routes in the cities of Tshwane, Johannesburg, Cape Town, and Bloemfontein and also in the rural areas of Mpumalanga and Limpopo. Certain of the taxis will also be highly visible in the creative hubs of the metropolitan areas.
“Because one of the aims of the SA Taxi Foundation Art Award is to provide opportunities for emerging artists to expand public awareness of their work, we felt that it was important for the finalists’ pieces to be constantly on view in areas, such as Maboneng and the Market precinct, where people are pro-actively looking for fresh, innovative products,” says SA Taxi Foundation project co-ordinator, Queeneth Brown.
“At the same time, the taxis running on conventional routes will promote the finalists’ work to people who would not otherwise have the time or funds to go to a creative hub or to an art gallery. As they do every year, these taxis will do a crucial job in terms of giving the broader public access to art of a globally high standard.”
Having finalists’ work circulate the country on minibus taxis is an essential part of the role the SA Taxi Foundation Art Award plays in deepening South Africa’s pool of multi-disciplinary creative professionals.
It is the only award that requires artists to create an original work and then translate it into a decal that can be wrapped around a minibus taxi – as a form of mobile art. Mobile art is a growing trend around the world.
In addition, artists and designers must work to an external brief and a deadline as they would in the corporate sector. For artists, this exposes them to a different process from the one used in creating an artwork, where the parameters and creative expression are self rather than client defined. From the perspective of designers, the competition allows for freer expression than they usually experience in their professional lives.
Entrants also work in more than one medium in order to deliver a product that works as well in 3D format, on the taxi, as it does in its original medium.
Every year, therefore, the Award engenders among progressively more artists and designers multi-disciplinary creative capabilities that are also professional.
“These skills are essential if South African creatives are to benefit from a global art market industry that, according to the 2016 Art Market Report issued by the world’s pre-eminent art and antique fair, TEFAF, achieved total sales of $63.8 billion in 2015,” Brown says. “Consistently participating in even a small section of such a market would contribute significantly to our economy overall and it would put our own art sector on a nicely sustainable footing.”
The minibus taxi sector also benefits directly from its involvement in the Award, with the vehicles that carry the decals drawing more commuters, thereby improving profitability and helping to brand the operators’ businesses.
Freddy Matotoka, the operator of a vehicle that has carried finalist decals since the Award was launched in 2014, says that having an artwork on his vehicle illustrates his values as an operator: being concerned for the safety and comfort of his passengers.
“Also, you can’t see all four sides of the taxi at once and there’s a different picture on each side. This gives commuters the sense that they are seeing a new taxi each time they approach it from a different angle. It causes a lot of discussion among commuters. They will actually hurry to get on it so that they don’t have to ride in a boring taxi.”
“I’ve noticed, too, that, passengers enjoy being looked at by other people when they are riding in my taxi. Everyone likes to be part of something special.”
Each of the six decals will be carried by 10 minibus taxis for the next six months. The specialised work of producing the decals and mounting them on the taxis is undertaken by Taxi Media, a division of SA Taxi geared to helping taxi operators generate more income by carrying advertising inside and on the outside of their vehicles.
Members of the public are encouraged to upload their photos of the art taxis on their social media platforms using #spotthesataxi as a hash tag.
In this guest piece, Posterscope business executive Theodore Buscemi (pictured above) explains why marketers shouldn’t look past the out-of-home media channel to control how their brand appears in market.
The ad industry never fails to breed controversy. Like a hot summer sun and dry dead grass, it is just a spark away from a full-blown firestorm.
Digital is stealing all the attention these days – everything from fat-fingers and ad fraud to flawed metrics and evil algorithms. Not to mention the proliferation of fake news, which has garnered widespread attention since the 2016 US presidential election cycle.
Meanwhile, giants like Facebook and Google suffered as a result of the recent online video debacles. These issues went beyond financial implications of misspent marketing dollars – brand image itself was the real victim. And when a brand entrusts Google with a portion of its marketing spend, it is Google’s responsibility to protect the brand image of the client.
Why is it so important for brands to consider where and how they are represented in market?
As Scott Goodson, author of UpRising and founder of global cultural movement firm StrawberryFrog, puts it: “Products have life cycles; brands outlive products”.
Brand is power. It represents a company; its products, services, and the value code it operates by. Brand is trust. It is reputation. It has its own intrinsic value. Brands take years to build and can be crippled overnight.
Pepsi’s recent campaign fail illustrates this well. By numbers alone, the campaign did great. It received global attention with plenty of video views, comments and social amplification. This, of course, is not the full story. Widespread backlash damaged the brand and alienated the very audience the campaign aimed to engage.
Once a campaign is released into the wild, it is anyone’s guess how the public will respond. McDonald’s also saw this firsthand after pulling an ad using a child’s grief for his dead father to tell a brand story.
So, how do clients exert some control over how their brand is viewed in market? Well this is where the power of out-of-home media comes into play.
Attribution and ROI measurement is increasingly more important to clients, and digital channels provide strong metrics in this area. However, it is crucial that clients don’t just look at media channels through this lens – particularly out-of-home.
Out-of-home traditionally hasn’t been used in this way, though there are new tools and technologies being developed to illustrate the medium’s role in the conversion process.
One of out-of-home’s greatest strengths is its role in creating impact and awareness. Don’t just think about static billboards here – think about the new, dynamic, digital out-of-home technologies helping brands tell more engaging stories.
Out-of-home media also has the ultimate trump card up its sleeve: it can’t be switched off. Unlike other media, consumers can’t avoid out-of-home. There are no out-of-home ad blockers.
As such, out-of-home gives the client maximum control over where and how ads are displayed. The promise of control in digital media has proven difficult across content-rich platforms like Facebook and YouTube. Out-of-home doesn’t face these complexities.
What this means for clients is greater power to align brands with an audience or environment that enhances its image. Premium clients can target affluent audiences in c-suite office towers, and brands rooted in family values can play in retail and entertainment spaces where the risk of appearing alongside offensive content is almost zero.
Sales are crucial, conversion is key, but brand is power and needs protecting. So, take back that power and use out-of-home to control how your brand appears in market.
Golf Ads™ is proud to announce the launch of a brand new promotional segment on Golf TV™ – the Golf Equipment Segment. The segment is specifically designed to showcase golfing equipment, which is extremely relevant to the golfing audience.
The Equipment Segment is a new feature on the digital television network, which flights in golf club houses nationwide. The new feature offers product news space to golf equipment brands that want to showcase product to an audience that is relevant, discerning and, because of the environment, captive.
Golf TV™ has become synonymous with content that is niche, informative, entertaining and completely relevant to the golfing community. The channel airs to an audience of 500 000 viewers every month, providing excellent exposure and assimilation for brands advertising on it. It is for this reason in particular that the new equipment segment will appeal to brands that want to showcase their range of products exclusively and directly to this target audience.
Golf Ads’™ Golf Equipment Segment includes advertising space where brands are not limited to a single product, but may use the platform to showcase various items related to golf including golf clubs, golf balls, clothing and other related elements.
Golf TV™’s Golf Equipment Segment is the ideal space to showcase your brand to an audience that is characteristically attentive to golfing merchandise. For more information on how your brand can benefit from exposure on the golf course, contact Peter KohlÖffel on 0861 776 826 or [email protected] or go to www.provantage.co.za/golf-ads
Air travel is booming. The number of trips taken by plane somewhere in the world could increase to around 13 billion by 2030 and demand for air travel has doubled every 15 years this century, according to Global Construction Review magazine. The global industry is expected to grow by an average of 4.7% a year, which means a huge increase in passenger numbers. All this suggests that airports are changing in a way that works in the marketer’s favour – who wouldn’t want to reach a burgeoning market of largely affluent business and leisure travellers, some of whom are the SADC region’s key decision-makers?
In addition, not everyone visiting an airport is a passenger. Airports are now destination brands in their own right, with food and retail outlets bolstering their non-flying revenues, and for every passenger in transit a further 2.5 people accompany them to airports.
Although Africa’s aviation market accounts for only 3% of global passenger traffic, this still equates to millions of passengers every year. South Africa’s OR Tambo International takes the prize for most passengers –20 million passengers a year – while Cairo International Airport in Egypt has the second-highest number of passengers and services over 65 international airlines. Other countries in the African top 10 include Morocco, Nigeria and Kenya.
The latest figures from Airports Company South Africa indicate that there has been a year-on-year increase in the number of passenger numbers, with the exception of the 2013/14 fiscal year. According to 2016/17 figures, 39 877 142 passengers passed through ACSA’s airports, up from 38 643 284 in 2015/16.
South Africa’s busiest airport, O. R. Tambo, exceeded 20 million passengers in the 2015/16 period and is expected to improve upon that figure for the 2016/2017 period; meanwhile, Cape Town International Airport is to be commended on exceeding one million passengers for the first time in a single month in December last year. The airport clocked up an impressive 10 211 390 passengers from June 2016 to May 2017.
What this will mean for airports is an ever-increasing investment in infrastructure – many airports are expanding to accommodate a growing number of travellers. Lanseria is in the process of building a multi-storey parking facility – part of its proposed upgrade, which includes a renovated passenger terminal and improved road access to the airport itself. Cape Town International Airport is expected to upgrade its runway and taxiways to the tune of approximately R3.18bn and O. R. Tambo International Airport is set to construct ‘remote apron stands’ that will house larger aircraft and provide space for passengers who need to be bussed from the aircraft.
As already world-class airports expand to accommodate more passengers, so an increasing number of upper-LSM consumers will pass through their doors – many of whom stay for a number of hours (airports are known for their high dwell times). Advertisers could find their brands at the centre of these ‘aerotropolises’, which are known for their retail and entertainment services as much as their ability to get passengers from Point A to Point B.
A study conducted by the UK’s Civil Aviation Authority has shown that travellers are receptive to brand messaging in the airport environment – 85% of passengers claimed to enjoy airport advertising, while 85% were open to finding out about new products and services through these channels. In addition, 73% of air travellers said they took time to read advertisements.
With its ability to reach targeted audiences in 13 airports (12 in South Africa and also Kenneth Kaunda International Airport in Zambia), Airport Ads® is well placed to assist brands wishing to reach consumers. It enjoys access to all ACSA-owned airports in South Africa, and exclusive rights at Lanseria, Kruger and Polokwane International Airports.
When marketing and brand managers are ready to expose their brands to the right target markets, Airport Ads can deliver the exposure, revenue and ROI desired.
Primedia Outdoor has recruited a “KasiKrew” – community based videographers – for four of its Rank TV sites, according to Peter Lindstrom, Primedia Outdoor’s Sales and Marketing Executive.
Much like a reporter from a local newspaper, the videographer’s job will be to cover events within local communities – everything from weddings to soccer matches, interviews with community personalities and beyond. “Our intention is to create vibrant local content for the people of a specific community,” says Lindstrom. “Content that tells stories about familiar people and places, and that is relevant and interesting to the people using a particular rank.”
The Screen Scene
Rank TV is a South African outdoor commuter channel with large LED (and LCD) screens situated in over 12 sites, nationally. With a viewership of around 2 million a month and programming aimed specifically at the day-to-day public commuter, the platform hopes to cement itself as the people’s channel – and the locally based KasiKrew are a concrete step towards making this happen.
Recent Wi-Fi research has been conducted by Primedia Outdoor and Visualitics to provide figures detailing the unique reach, impacts and frequency for each of these installations. With sites located in eight of the nine provinces, the entire network (excluding Vryheid and Bloed Street, which are set to be measured at a later stage) offers a unique reach of 1 914 600, with impacts of 8 622 999, and an average frequency of 5 per month.
Ranks are the new shopping centres
According to Lindstrom, these figures aren’t surprising. “Ranks are the new shopping centres, where thousands of people converge on their way to work, shopping and other destinations,” says Lindstrom. “They are also often a last point of contact before a purchase decision is made, making them a good location from which to reach out to the mass market. They play to an economically active audience, who are receptive to trends and marketing that focuses on their lifestyle.” “Ideally, we’d like Rank TV to help build a sense of community that transcends geographical locations,” says Lindstrom. “Rank TV should transform a dull commute into a journey filled with the discovery of new places and stores, the sharing of stories, and the chance to ‘meet’ new people.”
The client’s ‘Stay Wider of the Rider’ safe cycling campaign aims to change the mind set of motorists by providing them with a visual picture as to why it is essential for a motorist to pass cyclists with a berth of at least one metre. The campaign is ideally suited to the animated/video capabilities of our network and it is especially satisfying when the client produces clever and engaging creative as they have done.
Forecourts are an obvious OOH platform, and now being digital, the dwell time allows for the creative to be fully absorbed and enjoyed. The hope that the wide geographical coverage and the large number of sites will further add to the “Top of Mind” and start changing road user’s behaviour towards cyclists.
We look forward to growing this relationship with this client so that we can really add value to their efforts.
On Tuesday, 9 May, learners, teachers, and Provantage Media Group (PMG) executives came together to celebrate the two-year anniversary of the founding of the PMG Training Academy, as well as kick off two new learnerships.
The Academy was founded in 2015 by ProActive™, a division of PMG, to provide opportunities for unemployed learners interested in pursuing careers in marketing. The first SETA-accredited 12-month learnership was intended to complement the brand ambassadorship training already offered by ProActive™.
Upon completion of the course, learners received an NQF Level 4 FET certificate in marketing. PMG has subsequently introduced new learnerships that will broaden the learners’ skills base.
Provantage CEO, Jacques du Preez, welcomed the new intake of students with a talk about setting goals. “Never underestimate yourself. There is nobody on the planet like you – you are unique,” he told the 200 assembled learners registered for the business administration course.
Only unemployed learners who do not have the means to study are permitted to sign up for the course – the Services SETA equips learners with a stipend and course material, while PMG provides training, support, and work experience.
The PMG Academy will run two learnerships this year – business administration and project management (which will conclude in May and June 2018 respectively).
Renee Fouche, Provantage Media Group training manager, says, “We teach skills and competencies that are useful in the workplace, but beyond that, we offer mentorship, which impresses upon learners that they should never give up and not be afraid to try something new. Confidence and self-esteem are important components of the life skills we impart.”
Tshego Sefolo, Provantage Media Group chairman and CEO of Agile Capital, who attended the event with Agile co-founder Londeka Shezi, says, “These types of initiatives make a dent in our unemployment statistics – learners are no longer sitting at home unable to find work. They are taking a valuable opportunity to gain skills and expertise. PMG then either absorbs learners into the business or sends them out into the world with marketable skills. This is a critical intervention we are proud to support.”
Shezi adds, “Many companies talk about empowerment, but few can make a difference at a granular level. PMG benefits by incorporating learners into its activations business and learners benefit by supporting their families and communities – this is a strategic business model that other companies should emulate.”
In just two years, the PMG Training Academy has developed a contingent of skilled brand ambassadors and marketing graduates who have already impressed with their capabilities and professionalism.
“If you want to achieve something in life, and you want it badly enough, and do whatever is necessary, you can do anything,” says du Preez. “Learners who make the most of these learnerships will go a long way and become an asset to their communities and to society. We are very proud of our graduates and wish the new learners success.”
Michael ‘Mike’ Tyquin, cofounder of goa Billboards, and his brother Brian, founder of Outdoor Systems were honoured last night in Stockholm for their outstanding contributions to the Out-of-Home industry with the prestigious Lifetime Achievement Award by FEPE, the worldwide association of outdoor advertising companies.
The first Australian recipients of the award, Mike and Brian were recognized for their outstanding contribution to Out-of-Home in Australia over their 50+ years in the industry at the 58th FEPE International Conference held in Stockholm, Sweden.
The event has seen delegates and industry professionals gather from all over the world, each with their unique viewpoints on how Out-of-Home will continue to thrive. Each year, the congress recognises four individuals, presenting the Lifetime Achievement Award, Leadership Award, Technical Innovation Award and Creative Award.
Appearing in Stockholm to collect the award in person, Mike expressed to his peers that he was “very honoured and humbled” to receive it.
Having worked in Out-of-Home for over 50 years, Mike’s nomination for this award is a testament to his significant impact on the evolution and growth of ‘outdoor’ within Australia, since his start in the industry back in 1959.
Starting in the street poster business, Mike purchased a small company in 1959 which became Australia Posters in 1970 and later, the development of new technologies in the 1980s saw the introduction of digitally printed vinyl skins that allowed a production quality not obtainable previously.
Mike is a cofounder of goa Billboards which started back in 1983, operating out of a humble shed in Bowen Hills, Brisbane. Today, goa is Queensland’s largest billboard and signage company and launched Australia’s first digital billboard network in 2009.
goa is still family owned and operated with Mike’s three sons managing the day to day running of the business. With the head office in Brisbane and sales offices in Sydney and Melbourne, goa Billboards develops the best solutions for some of the top brands in Australia to get them noticed.