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In 2013, Australian graphic designer Ryan Atkinson was part of a team working on a rebrand pitch for the Dubai International Film Festival. Ten years previously its share was under 6%, but it is expected to increase slowly over the next two to three years.
As much as anything, though, this modest growth in share is due to the massive strides being made by the internet amongst advertisers and, at the same time, the continuing resilience of television. If expenditure on all forms of outdoor is totalled around the world, the medium would undoubtedly be both larger and faster-growing than the figures currently suggest. Outside the home, consumers can be exposed to advertising messages by the roadside, at airports, train stations, bus depots, taxi stands, in public restrooms, shopping malls, inside and outside supermarkets, in fields as they drive past on the road and much besides. Outdoor has always been one of the least well-researched media, with many countries having next to no comprehensive estimates of poster audiences. The UK’s POSTAR (6) and the Dutch SUMMO (7) approaches have historically set the pace for measurement of roadside panels. By carrying small devices with them, a large sample of people (20,000) will reveal both their travel patterns and exposure to any kind of outdoor media. The combination of individual site traffic, the travel survey and the modelling enables estimates to be made of the total audience passing any site.
Many attempts have been made over the years to demonstrate that people do notice poster advertising when they pass by. The importance of creativity in outdoor has been echoed (14, 15) by many commentators (24). The development of visibility adjusted impacts (VAIs) in the UK in the late 1990s was designed to quantify the effect of these factors on a poster’s visibility – which include the size of the panel, its distance from the road or pavement, its height and angle, whether or not it is illuminated, and so on (16, 17). Research commissioned by a transport contractor in the UK demonstrated, unsurprisingly, that people were more likely to remember and to be engaged with advertising messages to which they were exposed for longer periods (18).


The media multiplier argument states that a mix of any two media will reach more people and will communicate a message more powerfully than a campaign with the same budget spent in either medium alone (20,22, 23).
Using two or more media generally results in a higher total number of people being reached, as (for example) lighter television viewers not exposed to a TV commercial might be reached by outdoor instead (20). There may be an incremental sales effect from moving money from a solus television campaign into outdoor media. Since the client’s main business is selling tickets for all sorts of events ( sports, cultural, etc.
They had to develop a complete new visual identity proposal for this international film event.
It is also partly because many of the newer forms of outdoor are simply not captured in the advertising expenditure statistics.
Where it was once largely confined to roadside panels and public transport networks, now it can include advertising on ashtrays, beer mats, mugs, sandwich boards, balloons, airships, floors, doors, litter bins, bus shelters, supermarket trolleys, milk cartons, the backs of supermarket receipts and even within video games (3). Limited work has been done into measuring the audiences for taxi, bus or other outdoor media (8, 9). These, in turn, are adjusted downwards by applying the VAI scores calculated for each of them (see next section). But while what is said and how remains the most important determinant of attention and engagement on what is a pure advertisingmedium, there are also factors that make people more or less likely to look at a given panel as they pass by.
This is a challenge also being faced by other traditional media such as radio and print, which have not been as effectively integrated into these models as has television. C Velloutsou and C O’Donnell: Exploring the effectiveness of taxis as an advertisingmedium. M Pasquier and F Mende: Modelling and prospects for audience Measurement of Outdoor advertising Using GPS Devices.


Media planners are rightly sceptical of the vast numbers generated in comparison with other media – 90% reach at an average frequency of 40 would not be untypical of a monthly poster campaign in a city.
In 2008 POSTAR announced that it had awarded the first major industry contract to carry out a comprehensive measurement of outdoor sites using global positioning system (GPS) technology. Most people have specific, individual as opposed to random, travel behaviour, which is unlikely to be the same as anybody else’s. Although results will not be available until mid-2009, outdoor industry pundits believe this could represent one of the most advanced audience measurement systems in the world due to its electronic counting of both opportunities to see advertising (as television and radio can both do) and its method of estimating ‘eyes on’ the poster panels. People waiting for trains in the London Underground, for example, tend to be exposed to poster advertising on the platform for several minutes compared to perhaps fleeting opportunities if they are walking or driving by a roadside site. The main point of their services is that people buy tickets to go and see these events live, i.e. Experiments with the GPS approach have already been carried out in Italy, Germany, South Africa, the United States and elsewhere (10, 11, 12) but this will be the largest to date. As such, the samples required to properly represent every conceivable travel pattern in a population would be unaffordably large (13). But following the campaign, awareness levels of the campaign ‘message’ were very high, demonstrating on behalf of the poster industry that if the message cut through, the medium could carry it to the people.
A particular goal of the industry needs also to be to integrate all other forms of outdoor media into the measurement process for the first time. In addition, they produced design concepts for a range of communication tools, stationery, and several advertisement tools such as posters and promotional items.



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