Dairy products Metzgerlehner Worldwide Partners has been entrusted with a partial budget by dairy company Emmi to launch Emmi's new premium yogurts called Création Yogourts. A TV commercial will be shown at the end of April in combination with other measures.

Kilian Gasser wants to sell even more commercial advertisements for the WoZ and also Work with his advertising acquisition & publishing consultancy.one director had the stump fall out of his mouth when he discovered the WoZ on the media plan for his image campaign. "I have to be able to live with that when I sell such titles," says Kilian Gasser. After three years with the collective of the left-wing WochenZeitung, the former Facts advertising manager set up his own Kilian Gasser Werbeakquisition & Verlagsberatung at the beginning of March. The publishing professional will continue to acquire advertisements independently for the WoZ and the new trade union newspaper Work. Gasser also plans to generate sponsorship money "for meaningful film productions" and generally offer his services "wherever a bridge is needed between non-profit institutions and the commercial marketing world".
As a self-employed person, he could have chosen more profitable products. "But there are no more interesting ones for positioning." For the young entrepreneur, who left the collective again, it is "one of the biggest challenges there is in the advertising sector" to create a commercially viable basis for titles that don't actually work commercially.
It was a change "to a completely different system" when Gasser "left" Facts for WoZ three years ago. "But you can only have good experiences if you have extreme experiences."
This attitude to life only matured in his professional life. Kilian Gasser grew up in a middle-class family in Altdorf. There wasn't much more to freak out about than the ice hockey games in nearby Ambri Piotta. So the man from Uri moved to Zurich 15 years ago and soon found himself "drawn to the glamorous world of the media". Market research at Media Focus, advertising salesman at the now defunct advertising magazine Idée à jour and finally four first years as an area representative at Facts were the stations. Then he was tempted to take a detour to an advertising agency. "But that wasn't my world." Another two years at Facts followed, this time as advertising manager.
During all this time, Gasser's work "increasingly became a qualitative concern". He developed a defensive stance "against pure commerce", and when he felt that he was increasingly feeling the influence of the stock market at Facts as well, "finally there was almost no choice but to switch to the WoZ".
Nevertheless, for him there is no classic left and right. "Economically, I've never been against the market, otherwise I wouldn't have joined the WoZ and tried to bring the newspaper closer to the market so that it could survive."
It was his motivation to be able to sell commercial ads for an avowedly left-wing paper. This not only required persuasion within the editorial team. It also took "very small steps" with customers. Nevertheless, in his three years at the Kollektiv, Gasser managed to increase advertising sales from 0 to CHF 1,500,000,000 per year.
It takes a lot of time to find media people with such a high level of understanding that they can recognize these "untapped target groups" at the WoZ and now also at Work. "After all, these people also consume."
Gasser also finds it a good argument that customers who advertise in such titles "are almost alone and therefore stand out". Nevertheless, the inhibition threshold is very high, and he notices "that very often only 08/15 principles and solutions are used in planning, because that is easier to justify".
He would like to offer this as an opportunity to show sympathy and achieve advertising impact at the same time. Often, however, the path to this leads directly via a politically minded customer rather than via the anonymous statistics of media agencies. Migros, Coop, Denner, Emmi, Swisscom, Swiss Post, Rivella and Bluewin have so far been won over by Gasser for the WoZ. "What's interesting is that everyone who joins helps to break down other people's inhibitions."
Selling advertisements for the new trade union newspaper Work was almost more difficult than for the WoZ. Although with the 100,000 Unia members, there are an estimated 200,000 readers of a very clearly defined target group. "There is almost no wastage."
Kilian Gasser is interested in getting to know different systems. It also became clear to him that he was not cut out for long-term involvement in a cooperative collective. "But it was a valuable experience."
He was the first not to be paid the standard wage. With a better salary than the editorial team, the WoZ was keen to employ an advertising professional who was urgently needed in the daily competition. However, Gasser himself abolished his privilege after six months.
Nor is it the money that motivated him to found the company. It was "a logical step", because in large companies "once you reach a certain hierarchy, you just have to please some people". Conversely, he does not believe that pure self-administration on the scale of the WoZ is still possible. In any case, he felt that his involvement in the collective was not enough
efficient. "You have to be able to set yourself apart, otherwise you run the risk of being a good-natured bird, doing too much and neglecting your actual job." With his own company, Gasser wants to "dedicate himself to the cause in a more concentrated and efficient way" - namely: helping to ensure that titles such as WoZ and Work can continue to exist.
Kilian Gasser: Building bridges between non-profit organizations and the commercial marketing world.
Andreas Panzeri

Column There is only one reaction to the dumbing down of the people, as exemplified by the commuter paper: the founding of a media-ecological movement - by journalists. If he were standing at platform 6 of Lucerne railroad station today, waiting for the Interregio to Zurich, he would see that training has long been internalized and that postmodern man takes care of it himself. Joystick in his left hand, whip of self-discipline in his right, he hurries through the glittering wasteland; jumped on at every turn by shoppers, plump bottoms and war-is-peace slogans, he hurries to platform 6 and fights for his 20 minutes - driven by a cold fire of accomplishment.
Interesting phenomenon, this free paper. Its stories break off where the stories actually begin. It's full of news that isn't news. Four lines about a helicopter crash in Mexico, stuck in the corner, signalize: You won't find out anything here, but that's what you wanted.
If one look still openly dallies with seduction and the baser side of us, 20 minutes needs neither nudity nor the hot affect. Here, the sheer simulation of reality prevails. Replacement. Arousal through nothing. Icy affect.
Just minutes behind Lucerne, the product is stuffed into garbage cans, thrown on the floor and disposed of as seat protectors. Some do it with a certain vigor. Fascinated, but left alone with the world, they will greedily reach for the new issue of the paper again the next morning.
A clear case of environmental pollution, both externally and internally. There should be a warning on 20 Minuten and its ilk: "Kills your intelligence." TV programs should be preceded by the insert: "Endangers your emotional and mental health." Internet programs should be accompanied by the announcement: "Corrupts your libido."
We media makers don't like to talk about the impact of our work. Many find the very question inadmissible. It's not the media that promotes violence, stupidity and isolation, they say; social reality does that.
Such products also seem to be anointed by the market. What is successful must be right. Millions can't be wrong. You will be helped. You will be thought of.
It won't. The reality argument would be more convincing if we were to fulfill our age-old task. The media should make the world and the prevailing conditions in it legible. To enable people to organize their public affairs, to elect and control politicians. Media should produce discernment on a massive scale. Empower the reader. Entertain them, following Kant: "Stupidity is lack of judgment without wit."
It is now apparent that the media are increasingly destroying the public sphere instead of creating it. Chopping up the world, where it should be exploratory, into ever smaller pieces. Producing illiteracy on a massive scale and using it as a "fond de commerce" for new products. It's hard to admit to ourselves: In our permanent party we are killing sense, emotion, meaning and language, the tools of our consciousness. We have become the driving force behind a dumbing-down industry.
One reader writes: "I can't hold it together anymore, I can't hold myself together anymore. Everything shreds, I disintegrate, it's all over then. Burnout, the epidemic of our time." No wonder we are becoming increasingly hostile. Somewhere, we hear, these days
a media ecology movement has been founded. It wants to enforce the careful use of emotions and intellect. Sustainability of information and more. Their action plans include blockades, boycotts and raids, including on Lucerne's Gleis 6.
It would be strategically wise for us media makers to take the lead.
> Oliver Fahrni is a freelance journalist. Until 2001 he was deputy editor-in-chief of Weltwoche and most recently foreign editor of Hamburger Woche.

Newspapers The German publishing group Holtzbrinck is launching a second edition of its low-cost newspaper 20 Cent, which will be published by the Saarbrücker Zeitung. 20 Cent Saar will be available throughout the Saarland. The initial print run will be 50,000 copies and the daily edition will consist of 32 pages.

Outdoor advertising Public transport is still little used as an advertising medium in Switzerland - although the price-performance ratio is very advantageous.
A bus operated by Autobus AG Liestal travels through the Frenkental valley to Reigoldswil. The lettering "Basellandschaftliche Zeitung" stands out on the public transport, an advertising message that the bus carries to the most remote villages in the canton of Basel-Landschaft. Autobus AG Liestal was founded exactly one hundred years ago as a private company with 5 high-legged motor coaches. Today, with 43 buses, it is the most important public transport provider in the canton of Basel-Landschaft. "The advertising on the vehicles and in the coaches earns us CHF 250,000,000 a year," says Hansruedi Bieri, director of the company, which is still operating as a private enterprise in its hundredth year of existence. The vehicles of Autobus AG Liestal have become popular advertising media, especially for local companies, as practically all residents of the region use the vehicles used for public transport or see them passing by. APG Traffic as market leader
Advertising on public transportation has been around for around ninety years. The market leader in this still unrecognized advertising segment is APG Traffic, a company of Allgemeine Plakatgesellschaft (APG), which in turn belongs to Affichage Holding (see box).
APG Traffic places advertising on no fewer than 3,600 buses, streetcars and trolleys in the country. According to the Swiss Advertising Statistics Foundation, the transport advertising segment generated sales of around CHF 35 million in 2003. 110 public transportation companies cooperate with the company, which together with APG operates 18 branches close to the market in all parts of the country. Motto: "We get your advertising moving."
More than 90 percent of all Swiss transport companies have chosen APG Traffic as their exclusive contractual partner, including PostBus Switzerland, the transport companies of large cities such as Bern and Lausanne as well as small local transport companies. Individual, locally tailored solutions are the trump card: the local bus service in Klosters, for example, is managed by APG Traffic in Chur, while Autobus AG Liestal is managed by the office in Basel. "We want the advertising on our buses to be associated with the region," says Hansrudi Bieri from Autobus AG Liestal, "we are happy to advertise for local companies or the Basellandschftliche Zeitung newspaper; cigarette advertising on our buses is out of the question." Thanks to the cooperation with APG Traffic, however, the buses also carry the messages of national advertising campaigns across the 111-kilometre route network, which stretches from the Liestal hub to Basel, Rheinfelden and Lausen across a region with high purchasing power.
Advertising in transportation ...
Every day, Switzerland's streetcars, buses, S-Bahn trains and Postbuses transport around 4.1 million people, around half of whom use local transport in the major conurbations. According to a study by the Federal Statistical Office, 90 percent of the population use the Swiss transport system every day, one of the best and densest in the world. Even if passengers in cities only spend an average of a few minutes per journey on public transport, there is still enough time to take in advertising messages.
The potential for advertising in means of transportation is high. According to a 2003 study, the example of Zurich's public transport company (VBZ) shows the purchasing power that is concentrated in streetcars and buses. 41 percent of passengers have a household income of between 4,000 and 8,000 francs, 25 percent are above that. Half of the passengers are well to very well educated.
The classic form of advertising inside the car is the hanging box, a system that has been used for decades and achieves maximum reach at minimum cost. A nationwide poster with around 6,200 hanging boxes for a week costs CHF 68,000 and, according to APG Traffic documents, generates 28.7 million contacts. The price per contact is twice or three times as high in print media, but the two forms of advertising cannot be compared exactly.
Hanging boxes with dispensers for brochures or reply cards are another popular advertising medium for buses and streetcars. Window banners made of printed transparent film are gaining ground, although passengers sometimes find this advertising medium annoying. Displaying these banners takes an average of four weeks, which costs 30 francs per banner.
... and on the exterior surfaces
Advertising on the outside of means of transport is highly visible. Roof-mounted side or rear panels and rear window films trumpet the compact advertising messages; often just the company logo, a telephone number, a web address and perhaps a short slogan.
More controversial are the large-scale printed films, some of which also cover the windows and impair the view to the outside. The so-called traffic boards are usually booked for a whole year and cost between 4,000 and 1,500 francs. Finally, the jumbo design, a painting that covers the entire bus, has a high advertising effect, but is often perceived as ugly, depending on the design. Rental contracts for such advertising vehicles usually run for a year and cost between 20,000 and 12,000,000 francs, not including the production of the advertising.
Advertising on public transport achieves a wide reach and high contact values at sometimes unrivaled prices. The Lucerne public transport company (VBL) was able to determine a weekly reach of 95% for outdoor advertising spaces in the city; for advertising spaces inside the carriages it was 74%. A new study by VBZ and APG found that around half of passengers frequently notice advertising in and on public transport. 44 percent make frequent use of flyers and brochures. 67 percent of those surveyed remembered a poster advertising an apprenticeship and 65 percent remembered an advertisement for a rock concert.
High contact potential: Around two million people use public transportation in the agglomeration every day.
Backing: Rear foils or traffic boards send out a strong advertising signal - provided the design is successful.
Hanging boxes: A Swiss poster for one week generates 28.7 million contacts.
Eye-catcher: window banners made of printed transparent film.
Rear film: VBZ show their muscles on their own behalf.
Affichage Holding - the parent company of APG TrafficAffichage Holding SA, Geneva, generated total sales of CHF 300.23 million in 2004, 2.9 percent more than in the previous year. The domestic share of sales amounted to 89.3 percent, while foreign sales accounted for 10.7 percent. Consolidated net income rose by 5.1 percent to CHF 20.1 million. Affichage is the market leader in Switzerland and Central Europe together with JCDecaux.
The holding company comprises the segments APG, Europlakat International, Specialty Businesses and Investments. APG Traffic, domiciled in Aarau, is an organizational unit of APG. After a period of stagnation, the out-of-home advertising business is recovering and sales are increasing.
Werner Catrina

Banks Following a competitive presentation, Neue Aargauer Bank (NAB) has entrusted the Wallisell agency FCB Leutenegger Krüll with its account, which includes sales promotion and publications in addition to traditional advertising tasks. According to agency head Peter Leutenegger, it is still too early to provide specific details of the measures.

The Weber Harbeke shopping center literally sends out a signal for the Würenlos freeway service area: the Würenlos freeway service area is to the A1 freeway what the Matterhorn is to the Valais or the Kappellbrücke is to Lucerne. Anyone who has ever driven to Zurich by car knows the striking building above the six-lane carriageway. It is probably no coincidence that the shopping center in Würenlos is the only shopping paradise with a nickname. However, not everyone who drives under the "Fressbalken" at 100 kilometers per hour is likely to know that in addition to the two restaurants, more than 20 stores are now waiting for customers in this newly renovated center. Full throttle after the waiting period
The Zurich agency Weber Harbeke now wants to change this with a witty campaign. After the pitch success at the beginning of March, Weber Harbeke delivered the first work for its new client Autobahnraststätte Würenlos at Easter. "We knew something might come up. But because there were delays with the conversion, the advertising had to wait. And then suddenly it had to happen quickly ..." It was therefore immediately clear to CD Thomas Harbeke that his ideas had to be "quickly realizable".
A welcome side effect of this way of working: The subjects are also understood very quickly. Weber Harbeke's campaign dramatizes in a striking way that a stop in Würenlos is no longer only worthwhile for eating, but also for shopping. The well-known highway sign was surprisingly modified: The shopping bridge has been replaced by items from the range offered by the service station tenants. In this way, the wide range of offers can be communicated with one campaign idea. Who expects to be able to conveniently buy products from Migros, Beate Uhse, Herren Globus or Lolipop on the highway?
Following its renovation last year, Würenlos is also the largest shopping mall in Switzerland. It offers a comprehensive range of goods and services on two floors. The aim of the campaign is therefore to demonstrate the wide range of food and retail outlets on offer. "The center is well known. It is therefore not the image, but the specific new offers that should be communicated," explains Harbeke. The knowledge objective should now become a behavioral objective.
The budget was not particularly large. However, the advertising has to cover a very wide target group. "The target audience is everyone who drives through down there."
Joint appearance at the start
The campaign was launched with a full-page advertisement in the SonntagsZeitung at Easter, in which all 25 stores and service providers at the Würenlos highway service area are featured. "It seemed impressive to us to start with such a summary.
demonstrate what Würenlos has to offer." The campaign will continue "to remember" in the coming months with selected subjects in Blick. Here, too, the bridge has been replaced by items from the wide range of products offered by the service area tenants.
Weber Harbeke has extensive experience in campaigns for the retail trade. For years, the agency designed the non-food appearance for Migros.
Shopping paradise above the highway: Weber Harbeke demonstrates that you can buy and eat almost anything in Würenlos.
Andreas Panzeri

The industry eagerly awaited the HandelsZeitung's advertising trend study at the beginning of spring. 650 guests had registered for the presentation before Easter. Fortunately, only about 500 came - the venue was full enough as it was. This feedback must have made many a publishing strategist green with envy. So maybe it's worth digging a bit for the reasons of such success.Nullo (i. e. of course): In addition to a generous offer of drinks and appetizers, the event features surprising speakers every year.
Primo: Since I have been attending the advertising trend study event as a shortlist author, i.e. for just over five years, apart from minor fluctuations the 500 or so guests have remained largely the same. Although in the meantime they have certainly improved their employer, position in the hierarchy and level of income, in some cases massively and several times. Most of them, anyway. And have thus become more potential customers.
Secundo: This testifies to consistent work on the organizers' relationship database. The distributed list of participants was the epitome of a scene who-is-who, including employer and his postal code. Best material anyhow. It never ceases to amaze me that such up-to-date data is often disclosed in our competitive industry.
Tertio: And finally it's a personal business!
Trends were also set elsewhere: The longer, the more substance the Cannes Open competition launched by Keystone gains. It was held for the fifth time. Young creatives can take part, see box on page 22 for definition. Another condition is that the work is agreed with the respective client and is placed at least once. Otherwise, the subject would not meet the Cannes entry criteria - participation in the advertising world championship is part of the prize. Likewise, a hotel arrangement on the Côte including a festival pass is part of the prize.
Posterity was one of the most important selection criteria, said juror Simone Fennel at the award ceremony. And in this respect, the winning Adidas motif by Nina Rentschler and Björn Burkhard actually outshone the other works (see also page 8). The subject is universal and works just as well on half a newspaper page as it does on a mega poster or cut into grass in an approach corridor.
The judging had been a hot affair, one heard. In the attic of Keystone's headquarters, temperatures were already high in the spring sun, and this was still noticeable in the evening. This little warm-up was just what the young creatives needed - they can expect similarly hot and humid conditions in Cannes.
Respect must be paid to all the teams at the Cannes Open. What was extracted from the Keystone stock images was highly professional and, in part, tantalizingly clever. The fact that mastering image composition via Photoshop is a must was also demonstrated when the shortlisted subjects were broken down into their individual images. Aha!
Beat Fritsch went to the Lakeside Casino Zürichhorn last week with a spring-like sprouting beard for the presentation of the HandelsZeitung's 2005 advertising trend study. He was joined by almost another 500 (!) advertisers and marketing people who wanted to know whether the thumbs were pointing up or down for this year.
The Keystone Cannes Open was also trendy. Young creatives - by definition Keystone means those under thirty - submitted various works in the competition for a ticket to Cannes. All of them worth seeing and all of them created with images from the Keystone stock - and of course a lot of imagination and creativity.

Corporate Identity Three years after the merger of the card publishers Hallwag and Kümmerly + Frey, the company produces its first image film, produced by Allcomm Productions in Allschwil. In the film, various maps are shown in close-ups on human bodies. A tracking shot over the body leads to important destinations in Switzerland and around the world. From there, the film switches to real images to introduce the publisher.

Lingerie fragrances are known to lodge themselves deep in our subconscious - so deep that we don't even superficially remember our first encounter with them. Only when we smell it again does it click. But this ad doesn't click. Because you can't find out more about the history of the "snuffy" beau at www.lejaby.com, nor is it clear why his memory scent should boost sales of this lingerie. What is provoked here is the desire to switch on the washing machine and pour in enough Omo, Persil and whatever else they are called. The main thing is that it smells fresh as a flower afterwards. (ck)

Awards This year, Switzerland will be represented on the Clio Awards jury by Frank Bodin, Chairman of Euro RSCG, who will judge the entries in the Print & Poster category. The judging of the US creative competition will take place next week in Santa Fe and the awards will be presented on May 24.

Corporate Design CSD Geoklock, Brazil's leading company for environmental geology and engineering, has a new corporate structure to mark its 25th anniversary, and the company is headed by a director from Switzerland. Conversely, the Brazilian Domenico Pereira runs the advertising agency Push'n'Pull Communication in Bern. This in turn also has an offshoot in São Paulo. The fact that Pereira was able to design the new corporate identity for CSD is therefore "obvious", even from afar. The environmental company is currently involved in the clean-up of Brazil's north coast. Push'n'Pull Communication in Bern works as a full-service agency with six employees for clients such as Novartis, Billag and Hotel Ambassador, as well as for the Federal Office of Public Health.