Television: The Bern-based content design agency Haltestelle is creating the visual identity for SF DRS’s new celebrity show «Glanz & Gloria.» The agency boasts in advance that the «glittering» design is sure to turn out «glorious.» «Glanz & Gloria» will air for the first time on SF 1 on March 29 at 6:45 p.m.

Outdoor advertising Sounding posters fill the stations of Rüebliland with the sound of Kanal K. It does look a little strange: There is actually a transistor radio hanging from an APG F12 poster, blasting away. Anyone who spends time in the train stations of the larger towns in Aargau or Olten and Solothurn these days will get used to this picture. This is because the radio posters are part of an advertising campaign by Kanal K. Just in time for its 15th anniversary, the community radio station based in Aarau is going public with an unusual campaign. The sounding posters are the acoustic-visual implementation of the slogan "Listen - join in". "This is how we communicate our two USPs," explains Richard "Ritschi" Blatter, Marketing Manager at Kanal K. "Listen" refers to the station's daily program - non-stop music beyond the pressure of hits and charts. And "join in" is a serious invitation to listeners: from 6 p.m., Kanal K's frequency is open to a wide range of broadcasting interests. "We are a classic participatory radio station," says Blatter.
In total, there are around 300 program makers who shape the evening program on a voluntary basis. In the past, this opportunity to participate was hardly communicated, or at least not communicated enough, says Blatter, who is an economist and former
Publisuisse employee laid the foundation for the current campaign. In addition to the F12 posters at eleven different locations, a thousand A2 posters will be displayed and a total of 10,000 monthly programs and 15,000 stickers will be distributed.
This campaign is not only unusual in formal terms. Advertising has been a foreign concept for Kanal K until now. Although the community radio station's license allows it to generate income through advertising, this option is deliberately not used. The reason: there is an agreement between Kanal K and Radio Argovia, which belongs to the AZ Media Group, which guarantees the co-broadcaster around CHF 200,000 per year from the coffers of the commercial private station in Aargau. In return, Kanal K refrains from appearing on the advertising market itself.
Radio Argovia sees no problemThis "standstill agreement" also applies to self-promotion. Paradoxically, Kanal K is not even allowed to advertise the fact that the station is advertising-free. The current campaign, on the other hand, is within the scope of what is contractually permitted. "We were able to act completely autonomously," confirms Michael Berger, Managing Director of Kanal K. However, Argovia was informed of the campaign in advance. "For us, however, this was and is not a problem at all, as we are not competing with each other in terms of programming," says Argovia Managing Director Roland Baumgartner.
The special deal linking the Aargau radio stations is generally praised by both sides. There is even talk of a win-win situation. Berger and Baumgartner are unanimous: "We complement each other perfectly." Indeed: Radio Argovia regularly passes on hobby DJs who would like to get a taste of radio to Kanal K. In return, presenters and editors who have taken their first steps at Kanal K always find their way to Argovia.
Safe until the new RTVGOven though there is currently no indication of a change, the cooperation model is by no means set in stone. The case of Radio 3fach shows how quickly such a contract can become history. The youth radio station in Central Switzerland received funding from the radio stations Pilatus, Sunshine and Central in return for its decision not to advertise. Since negotiations on the continuation of this funding broke down last December, 3fach has had to look for new sources of funding. Those involved are convinced that the deal in Aargau will last for a while yet. "At least as long as the current legal situation applies," says Argovia man Baumgartner. Once the new RTVA comes into force, the situation will be reassessed. However, it is quite possible that the agreement will continue.
Advertising customers have ever more unusual wishesThe poster alone is no longer enough. Radio Kanal K in Aarau was of the same opinion and, for its current advertising campaign, had the F12 billboards hung with radio equipment. APG Sales Manager Ivan Schultheiss has also noticed that customers are increasingly no longer satisfied with two-dimensional paper. The market leader in the field of outdoor advertising is increasingly confronted with unusual ideas. "We treat such requests with due care," says Schultheiss.
The existing regulations therefore rarely allow what customers now want. In Lausanne, for example, three-dimensional elements of any kind are not permitted on billboards. While in the Anglo-American region, entire cardboard furniture sets are used to draw attention to corresponding offers, here in Switzerland the
E-board remains the ultimate in creative outdoor advertising. Electronic posters have not yet achieved a breakthrough. The still too high investments, including for high-quality screens, make an attractive "return" impossible.
"Even with the large e-boards in the highly frequented train stations of Zurich, Bern, Basel and Geneva, we found that the bar for market entry is relatively high." Schultheiss suspects the main reason for this is the well-placed poster sites in city centers, where analog paper posters continue to achieve top results. (nil)
Unmistakable: The Aargau community radio station Kanal K uses the slogan "Listen - join in" acoustically and visually as its own advertising.
Nick Lüthi

Online Swiss Radio DRS has renovated its website. The design has been streamlined and the search functions simplified. SR DRS has expanded the program guide and the radio-on-demand offering, and the new "Rat & Tat" section brings together advice topics from all programs. The website is now more than ever "the essential complement" to the radio program, writes SR DRS.

Sales promotion The collaboration was great, the result a flop. Valora and the publishers' association say after the "Take2" campaign. "Take2", the autumn joint campaign by Valora and the Swiss Press Association (CHP), did not generate "any significant additional sales", the distribution of points collection cards at around 2000 Valora-owned and independent kiosks "was moderate to unsatisfactory", and in terms of response and subscription sales "the hoped-for figures did not materialize". These are the blunt words of a recently published CHP report. A depressing result for a campaign that ran throughout German-speaking Switzerland for several weeks. Several thousand people were involved, hundreds of advertisements were placed and thousands of francs were spent on life-size cardboard figures and other advertising material. So nothing but expenses?
Far from it. In any case, those responsible for the project team draw "a cautiously positive balance". "The important thing is that this first joint action took place ...", the report states succinctly. And: "The cooperation, which took place for the first time on this scale, was optimal."
Some people may rub their eyes. But those responsible insist. "It was our first such large-scale campaign with the CHP. Previously, we've only done single-title promotions," says Jürg Stauffer, Head of Marketing at Valora Retail. The advertising implementation was also very good, he adds. "This was the first time Valora and CHP had worked together in this way, and we knew it wouldn't be easy," says Toni Vetterli from CHP. The weak points of the campaign have already been analyzed. On the one hand, the handling of the campaign and perhaps even the English name was not clear enough. "Kiosks with high footfall don't like long explanations," says Vetterli. Secondly, in many places the kiosk staff were not well informed or motivated enough.
Stauffer also found the campaign too complicated. "It wasn't clear and flashy enough," he says. The system with the points and the collection card also required constant interaction between kiosk staff and customers. However, too much explanation was tiring for the staff.
Nevertheless, the campaign is set to continue. "We have now laid a good foundation that we can build on," says Vetterli. Although the next campaign will not take place in the spring as originally planned, it will probably be in the fall, but then also in French-speaking Switzerland. "Naville and the publishers in French-speaking Switzerland have also expressed their interest," says Vetterli. However, the project group will go over the books again beforehand and examine new ideas and simplification options.
"The most important thing is that the message of the campaign becomes clearer," says Stauffer. This is a condition on Valora's part. Stauffer points out that scratch-off games or even handing out a Blick collector's CD at the kiosk are not a problem. On the contrary. "They work really well," he says. "But it has to be simple, straightforward and easy to understand." When it comes to training kiosk staff, who are often only employed part-time, Stauffer sees only limited scope. In addition, although Valora supplies the independent kiosks, it has no influence over the staff there.
This is how "Take2" should have worked Between October 26 and November 21, 2004, kiosk staff should have given all potential buyers a collection card. This did not happen everywhere. For every purchase of two Swiss newspapers or magazines, the customer was entitled to a self-adhesive voucher. That didn't always work either. A card with five receipts stuck on it represented an immediate value of 10 francs. It could be redeemed in certain stores (e.g. Coop City) until the end of January, provided a minimum purchase of 50 francs was made.
In addition, each card was entered into a prize draw. In total, around 10,000 cards were redeemed and 20,000 more were sent in. (mk)
"Take two," advised the brisk gentleman. Two Stimorol or what?
Markus Knöpfli

Competitions Survey on the Cannes Open 2005: What has helped the careers of successful advertisers to take off The Cannes Open is being promoted with a witty website from the Jung von Matt/Limmat creation. On www.cannes-open.ch, jury members and other creatives give funny tips on how to make a career in advertising. Werbewoche took up the idea and asked a few personalities from the Swiss advertising scene:What was an important tip that really helped me in my career?
What was the decisive factor in my career that led me to where I am today?
Reini Weber "Practice, practice, practice - and not just in the rehearsal room, but live on stage! That's why I would definitely want to take part in Cannes as a youngster.
In addition: stay hungry, then the course will set itself. For example, I was always at the hottest, but also the most uncomfortable, stingiest and 'toughest' agencies at the time: at Lürzer, Conrad, GGK Düsseldorf, Aebi and then again at GGK Basel. There were simply the best teachers, from Conrad to Jacoby and Schirner to Jean Etienne - and the most opportunities to help shape the agency with other 'conspirators', to conspire against the boss, etc. I didn't have a penny to my name when I came back to Switzerland from Düsseldorf, but a big bag full of good and bad experiences - and I would want to keep it that way again."
Markus Ruf "I still find what the former CD of Publicis, Claude Martin, once suggested in Cannes helpful: that we would probably do better advertising if we assumed that the people we want to address only have a limited command of our language or limited knowledge of our culture. This would help us to place less emphasis on superficial stylistic devices such as puns. And more on finding really relevant ideas. Because they know no boundaries.
The Toni yoghurt campaign in Tagi-Magi at the age of 15 set the course for me: Hey, there's a job where you can come up with amazing ideas and earn money with them. I quickly buried my career aspirations as a journalist and only wanted to go into advertising."
Jean Etienne Aebi "As an advertising enthusiast, I read Howard Gossage's book, which says: 'People don't read advertising. They read what interests them, and sometimes it's an ad. From then on, I took advertising less seriously and tried to get it right instead."
Markus Gut "'To reach people, you have to like them. I always keep this saying by Beatrice Tschanz in mind when things get a bit elitist again and people are spoken of disparagingly.
I also have an apt quote for setting the course. 'A definition by Winston Churchill turned me away from my original intention of becoming a diplomat: "A diplomat is a man who thinks twice before he says nothing."'
Patrick Lienert "I can't remember a groundbreaking tip, and I still have a number of goals ahead of me. In this respect, I'm still happy to accept suggestions.
The legendary Max Hofer in Bern, who has since passed away, forced me as a creative to take the exam to become an advertising manager. That stank beyond belief, but in retrospect it was a stroke of luck. Because if you try to understand advertising as a whole, you are also more credible to your customers."
Markus Cavegn "Keith Reinhard told me: 'Because ideas also need nourishment, you should go out into the world. Read books, look at pictures and meet people. If we spend all our time sticking our noses in ADC books, sitting in front of show reels for hours on end, we become dull.
I've wasted enough time and energy trying to predict what might be 'in' at next year's ADC Awards. And I tried often enough to please the jury. But in the end I had to realize: Only if you stay true to your idea will the reward come. Under certain circumstances."
Simone Fennel "The most important tip was a question: (but I've forgotten who asked it). 'Can't this be done even better?
If you keep asking yourself this question, there is no getting around a hard-hitting analysis of your own work. It (the analysis) requires absolute honesty - towards the matter at hand and towards yourself."
Pius Walker "After dozens of job interviews in London with a positive response to my portfolio, there was finally one interview that really got me going. Tim Delaney said to me at the time: 'Most of your book is crap, but you can start here on Monday.
Setting the course: "The beauty of a creative's life is that every moment can be decisive."
Philipp Skrabal "There is no one decisive tip in my career, that would be too easy. If there is, then there is one crucial insight: if you want to create something creative beyond fictitious commissions, you shouldn't wait for briefings. After all, if you know your customers, you can also surprise them with apt ideas without being asked. Without a page-long briefing in your head, it's usually the customer's gut that decides."
Dominik Imseng "'Everything that comes into being is worth destroying. This insight is from Goethe. And it also applies to ideas.
The decision to start a family was a turning point."
Jürg Brechbühl "The most important tip comes from Mathias Babst: 'There is a life beyond advertising'. The decisive factor in my career was that I met Hannes Weber at the right moment at the Berner Märit. Sometimes it's as simple as that."
Matthias Freuler "Never settle for the second-best idea. And I can tell that I've found a really great idea by the fact that I want to show it to my office neighbor right away. And that I immediately want to throw away the 9 other ideas that I also found super sensational up to that point."
Survey:
Fifth year launchedThe Cannes Open was founded by Keystone in 2001 to promote young talent in advertising and provide them with a creative platform. Realized together with the agency Jung von Matt/Limmat and supported by Werbewoche, Cinecom, Clear Channel Plakanda, Reprotechnik Kloten RTK and Helvetic Airways, the project has developed into a recognized and coveted competition in the industry.
Creative minds up to the age of 30 are invited to take part. The conditions: the use of image material from the Keystone archives and a real client. A selected jury lends additional weight to the work: Simone Fennel (Simone Fennel Atelier), Daniel Comte (Advico Young and Rubicam), Matthias Freuler (Wirz Werbung) and Markus Ruf (Ruf Lanz).
The winning poster will be published in F12 size in various Swiss cities. In Zurich, Bern, Basel, Lucerne, St. Gallen, Lausanne, Geneva and Lugano, the poster will find a prominent place. Additional motivation: the winners are invited to the renowned advertising festival in Cannes and thus have the chance to win a Golden Lion in the "Print & Poster Award" category.
The deadline for submission is March 18, 2005, and the vernissage with the submitted works, the announcement of the winner and the shortlist will take place on March 23 at Keystone at Grubenstrasse 45 in Zurich.
Registration and further information since the beginning of February 2005 at www.cannes-open.ch or at Keystone, Ms. Cristina Tonitto, 044 200 13 00 or [email protected]
Place of honor: The winning work 01 "More Hair" by Marietta Albinus hangs in Zurich's Weinbergstrasse (top left).
Winning work of the Keystone Cannes Open 04 "Ohr - Extreme Carving", Hanna Zimmermann and Chantal Ehrensperger from Wirz Werbung.
The winning work 03 "Haar-M. Der Theatercoiffeur" by Team Staar, Art Direction Martin Stauch and Text Armin Arnold.
"The power of carots" is the title of the winning poster 02 by Moritz Staehelin, Text, and Gian Andrea Maurizio, Art.
Tips from creative minds at www.cannes-open.ch
The jury during the judging.
Andreas Panzeri

AwardAfter the Rapida 74 G had already received the EWPA's 1st Innovation Award at Drupa and the "Emission tested" and "Emission Reduced Waterless Offset" certificates, the sheetfed offset press from Koenig & Bauer took second place in the German Printing Industry Innovation Award 2004 in the printing category. It is the first inline press to be equipped with keyless short inking units instead of conventional inking units. It thus combines the advantages of flexible in-line design with the benefits of short inking unit technology and waterless offset printing.

Public transport The Basel advertising agency Versus is now in charge of the "nightliner-bl" night bus project. The "bus for night owls" runs at weekends from Basel, Sissach and Liestal to surrounding communities, and the partner companies involved decided in favor of Versus following an evaluation. A communication campaign is planned with advertisements, posters, cinema advertising, timetables, a Hengartner system, POS stands and a website as well as streetcar and bus advertising (hanging boxes with dispensers, roof and rear advertising). Versus is also developing a new logo with claim.

Takeover LZ Medien Holding has taken over Calendaria from Lediberg and Biella-Neher, the office supplies manufacturer Biella-Neher having previously sold its minority stake in Calendaria at the end of 2004. With the takeover of the Swiss market leader for picture calendars, the company location in Immensee and the 39 jobs will be retained.

Energy market The electricity trading company Entrade has entrusted the Zurich advertising agency Department with the creation and implementation of its 2004 annual report, and further communication measures are being planned. Entrade is a subsidiary of the Swiss electricity company Atel and operates in 16 countries

Awards I To mark its 50th anniversary, Headline, the Aargau/Solothurn Communications Club, is launching the Corporate Communications Award, with Mittelland Zeitung, APG and Schober Information Group among its partners. The competition for integrated corporate communications is open to concepts that have been developed since 2004 and implemented by the closing date for entries (July 31). Applications and further information are available at [email protected].

AcquisitionThe Eastman Kodak Company announced in mid-January that it will become the sole owner of KPG through the acquisition of Sun Chemical Corporation's 50 percent stake in Kodak Polychrome Graphics (KPG), a joint venture founded in 1998. The transaction will increase Kodak's sales and earnings, expand the global distribution network for Kodak Graphic Communications Group's digital printing systems and broaden its solutions portfolio. Kodak expects this to strengthen its position in the graphic arts market.

Production The Lucerne-based printing company UD Print has received further certification for environmentally friendly production: UD Print has held ISO 14001 environmental certification since last summer, and the company was also FSC-certified at the end of the year.