Objective: To generate traffic to the website www.progres.ch and increase online applications and awareness of Progrès health insurance among the young target group.Progrès/Helsana advertising material: Flash game. Use: Since October until further notice.
Client: Progrès/Helsana. Agency: Parameter GmbH, Zurich.

TV 3 and SF DRS focus on freshness, warmth and humanity in their new visual identitiesBy Luca Aloisi The TV 3 and SF DRS channels had their visual identities refreshed at almost the same time. Both design packages originate from Zurich agencies: TBS was used for the public broadcaster and Regardez for the Tamedia broadcaster.
The visual profile of a channel plays a decisive role in successful viewer loyalty, as it gives the soul of the channel a face that can be modeled according to the various formats, but should also be recognizable. Around six years ago, TBS Identity, Zurich, created the new channel logo for SF DRS, which reflects the crystal and its
replaced an abstracted subsequent version, the "sphincter".
Because the corporate logo was initially only used in the print area of the Swiss stations, the later implementation of the program logo - at the launch of SF 2 in autumn 1997 - was branded as a plagiarism of the similar, equally versatile and simple ORF corporate design module. The English star designer Neville Brody had already created this for Austrian state TV in 1992.
Whoever came first, the SF DRS logo has since undergone considerable development, culminating in the recent computer-animated resolution of the logo itself, which beautifully and boldly visualizes the moving world of the medium. TBS Identity has thus created one of the most frequently seen, if not the most frequently seen logo in Switzerland.
It is obvious that a moving logo suitable for television screens should be designed. After all, this is the language of the medium and also its best business card. This is confirmed by the many animated logos of other broadcasters as well as the new station identity film realized with Screen Eleven, which expresses closeness and emotionality with a ballet sequence.
The station dynamics should also be visible in print
TBS also redesigned the screen interface in September. What is revolutionary about this is not so much the aforementioned self-dissolution of the logo, but rather the previously rare feedback of the screen aesthetics to the print. This is intended to establish the clear and differentiated recognizability of SF DRS more strongly.
The agency presents the decomposition of the six refreshed logos, like a flip book, in all of the station's corporate and marketing communication products. "Even in the print sector, strong visibility and recognition can be generated with a logo and design that remains the same in essence but changes in appearance," explains Creative Director Christian Tobler.
The fact that this dynamism can also be felt in the printed media is what is really new about the work of TBS. The aim is to demonstrate the dynamism of the TV company offline as well in order to position it permanently and credibly.
The wealth of facets is bundled in the kaleidoscope
After two years of broadcasting, TV 3 has also recently been given a modernized look. At the start of the important television season, the Tamedia channel had the entire design package, consisting of 15 subjects, renewed by the commercial and design agency Regardez in favor of a "fresh and human-warm look".
The key visual of the new look of TV 3 is the ornamental pattern of the kaleidoscope. The fascinating effect of surreal image staging has enjoyed great popularity not only since video art. Artists such as Philippe Halsmann have already demonstrated the magic of mirror effects in static photography.
A conical kaleidoscope was specially made for the shoot, into which a special lens could be inserted, reports Jürg Steudler, Executive Producer. With the various protagonists - from astronauts to flamenco dancers - the kaleidoscope concept is intended to stand for the multifaceted program, with this look suggesting entertainment and forming a content bracket. However, the fact that the station's self-image does not currently match its image is not so much due to the elaborate Station ID films, but rather to the content of the program, which, despite all efforts, is anything but multi-faceted.

After 30 years in business, Klaus and Charlotte Lüthi have converted their one-man firm Agor Werbeagentur into a public limited company, which is still located on Rötelstrasse in Zurich under the new name Agor AG, Marketing, Advertising, Public Relations. The agency sees itself as a full-service provider and employs ten people. Its core competencies are the development of corporate design, the conception and realization of image and product campaigns, technical documentation and websites as well as POS support and trade fair appearances. "The aim of the conversion to a public limited company was to broaden the basis of management responsibility and to facilitate a succession plan," says consultant Eduard Ulli. Together with Klaus Lüthi (Chairman of the Board of Directors), consultant Markus Günter and CD Oliver Hug, he forms the new management team. Agor's clients include the Swiss Association of Master Builders (SBV), Zürcher Erdgas AG and Messe Schweiz, Basel. (dz)

For subway passengers in the U.S. cities of Atlanta and Philadelphia, the windows of the subway cars are transformed into screens for commercials. In the process, the flip book celebrates its resurrection: glowing images in the tunnel merge into films at high speed.
Since late September, users of the MARTA (Metropolitan Atlanta Rapid Transit Authority) subway system in Atlanta, Georgia, have been surprised with new visual stimuli on their way to work. Through the dark windows of the subway cars, they see moving neon signs of fresh, sparkling water, the words "Treat yourself well everyday" and the logo of Dasani, the mineral water of the Coca-Cola company, pass by. The spectacle is an innovation in the advertising landscape, created by Coca-Cola in collaboration with Submedia, a New York-based company specializing in outdoor advertising.
To create film effects, Submedia mounted light boxes on the wall of the subway tunnel between the Dunwoody and Sandy Springs stations of the North Line in Atlanta over a length of 300 meters. The illuminated signs look like moving pictures as they pass by - based on the principle of the good old flip book. For subway users, the Dasani images are hardly different from a 20-second TV spot. "We use a series of compressed images and achieve a high number of frames per second that give the impression of a movie," explains Matthew Gross, president of Submedia. The images were designed by Phactory Productions in New York.
The Dasani subway advertising in Atlanta is a test limited to three months. The same subway advertising is also being tested in Philadelphia. In New York, a test on trains from New Jersey to Manhattan was planned at the same time, but the realization of this underground advertising was postponed indefinitely after the attacks on the World Trade Center.
Three companies can offer subway advertising
Since Subway passengers have few alternative options, Submedia hopes to capture the full attention of passengers with its tunnel advertising. The transit systems, in turn, expect this to generate new sources of revenue. Submedia estimates that a transit system such as MARTA in Atlanta could earn $15 million over five years with "tunnel ads," while a larger city with a more widely branched subway network could earn up to $50 million in the same period.
Critics complain that the new technology is misusing another public space for advertising purposes and that Subway passengers are being exposed to inescapable advertising messages without being asked. However, Submedia President Gross counters this: "The moving ad images do not obscure a beautiful view of urban architecture or mountains. This is an industrial environment, it's just dark outside the windows."
Submedia is one of three companies offering subway advertising worldwide. Oxfordshire-based MotionPoster in England is planning similar projects in Budapest, Athens, Seoul, Frankfurt and Munich. Sidetrack Technologies in Winnipeg is creating tunnel ads in Kuala Lumpur and plans additional projects in America.

Felber Kristofori&Pinzon bends wire coat hangers for the new Terlinden imageAs a premium company, the textile cleaning company Terlinden wants to clearly differentiate itself from the competition through its services. A new communication presence is intended to increase brand awareness among a target group with high purchasing power and maintain existing customers. Offering more service than is available elsewhere is the motto. This principle is also reflected in the visual implementation: the simple wire coat hanger, the same for all dry cleaners, has been given a new look at Terlinden. The wire constructions are designed by the Zurich agency Felber Kristofori & Pinzon, which positions Terlinden sec and simply as a modern, quality-conscious company. page 6

Monica Glisenti is leaving Cash at the end of the year to become Head of Communications at MigrosHead of the week "I want to communicate Migros' strengths"
Chatty" was written on Monica Glisenti's school report at the end of every school year. And because she loves talking, writing and was interested in politics from an early age, she took the plunge into journalism after completing her business studies at high school and working for six months at the psychiatric clinic in Marsens FR. She ended up as a trainee at the Bündner Zeitung, where she worked in the regional, national and international sections and introduced a daily business page.
After two years, she moved to London for a language study trip. Back in Switzerland, she moved from the Engadin to Zurich. There she applied for a job at the then newly launched Blick für die Frau. "I was very impressed by the professional way of working at Ringier and fascinated by the demanding craft of tabloid journalism," she recalls. The next offer came from Schweizer Woche. She turned it down, but only two months later she married her current husband and former Schweizer Woche editor-in-chief Urs Brotschi. She then accepted the offer that came at the same time from Schweizer Illustrierte.
After a long trip with her husband, during which they spent four months in Hawaii, among other places, she began working as editor-in-chief at SonntagsBlick. When the then editor-in-chief Philipp Löpfe moved to Cash in 1992, she followed him shortly afterwards as editor-in-chief. There she supported the former editor-in-chief Markus Gisler in setting up a politics section. Three years ago, she was responsible for the concept and editing of the lifestyle magazine Cashual, which was discontinued after six issues. She then returned to Cash as head of politics.
"I had planned to reorient myself professionally at the age of 40," says Glisenti. The change from journalism to corporate communications is a demanding challenge for the now 42-year-old. What does Migros mean to her? "For me, Migros is a diverse company that bears a high level of social responsibility. Migros is the strongest brand and the largest employer in Switzerland. Migros invests over 100 million in culture every year. These strengths need to be communicated."
As a supporter of a federal state system, which she compares to the often criticized structures of Migros, she says: "Such a system often leads to sensible compromises and better results overall."
In her free time, Glisenti often attends cultural events or enjoys cooking for guests. Daniela Zivadinovic

Bernhard Schneider, Head of Radio DRS 1 for many years, is setting up his own business as a communications consultant and has founded Schneider Communications AG, based in Ottenbach ZH, whose core competence is "formulating content for specific target groups in target group-specific media". Bernhard Schneider supports the development of communication strategies and concepts, produces publications and offers media training and analysis. He has particular expertise in the field of new media. Schneider, an active triathlete, sees a direct link between sport and his consultancy work when he says: "In endurance sports, I develop skills that flow into my consultancy work. Enjoying the challenge and motivation are just as important in triathlon as the right strategy and handling resources." (pan)

Objective: Positioning UBS E-Banking as the banking website and publicizing new offers, such as mobile course inquiries via various handhelds.UBS advertising media: Full banner. Usage: October.
Client: UBS, Zurich; Responsibility: Ilona Occhiodori, Monika Schreiner. Agency: WHS, Zurich; Judith Wick. Media: BG Media AG, Zurich. Marketing agency: Qualiclick AG, Zollikon.

Advico Publicis McCann- Guye Weber Wirz Jung von Lowe RØSA Wyler Young & Erickson Benker Hodel Werbe- Matt/ Lintas Werbung
Rubicam Schmid consulting Limmat GGK
Rank 2001 (2000) 1 (2) 2 (1) 3 (3) 4 (5) 5 (4) 6 (7) 7 (-) 8 (8) 9 (-) 10 (6)
Cannes (6) Gold (4) 1 Silver (3)
Bronze (2)
Shortlist (1) 1 1 2 1 1 1 1 1
Clio (USA) (6) Gold (4) Silver (3)
Bronze (2) 2 1
Shortlist (1) 4 5 1
ADC Switzerland (5) Gold (4) 4 2 1 1 1 Silver (3) 13 6 5 6 7 5 3
Bronze (2) 29 42 23 23 21 14 7 9 3 8
ADC of Europe (5) Gold (4) Shortlist (1) 2 2 1
London Festival (4) Gold (3) 1 Shortlist (1) 2 1 3
New York Festival (4) Gold (4) 1 1 Silver (3) 1 1
Bronze (2) 1 1 3
Finalist (1) 1 1 4 1 4
ADC New York(4) Gold (4) Silver (3)
Distinctive Merit (2) 1
Merit (1)
The flap (D) (3) Gold (4) Silver (3) 1
Bronze (2) 1
Finalist (1)
Eurobest (3) Winner (3) 1 Finalist (2) 5 3 2 1 2 1 1 1
Epica (F) (3) Winner (3) 1 1 1 Finalist (2) 2 3 2 1
Edi (2) Edi (3) EDI Posters (2) Award (3) 3 2
The Golden Ear (2) Gold (3) 1 Silver (2) 1 1
Bronze (1)   
Effie (1) Gold (4) 5 Silver (3) 3
Bronze (2) 3 1 1
Shortlist (1)
DM price (1) Gold (4) 1 1 2 Silver (3) 2 1 2
Bronze (2) 1 1
Total Total 796 662 498 362 353 248 137 114 81 80

Solothurner Zeitung and Berner Zeitung fight each other with a lot of money and shrill tonesBy Markus Knöpfli In the economic area 32, the battle is currently being fought with tough bandages. The Solothurner Zeitung is fighting back against the Solothurner Tagblatt launched by the Berner Zeitung with advertisements, interviews and stop stickers. The BZ publisher Espace Media Groupe, on the other hand, is keeping a low profile and is digging all the deeper into its marketing pockets.
"There are fewer and fewer newspapers in Switzerland. Traditional titles are disappearing or being merged with other papers. So it's all the more pleasing that the exact opposite is now happening in our region: A new newspaper is being created! The Solothurner Tagblatt." This text appeared in a full-page advertisement published by Espace Media Groupe on
October 11 in the Group's own free newspaper Solothurner Woche.
What sounds so nice, however, caused emotions to run high at Vogt-Schild/Habegger Medien (VS/H) in Solothurn, publisher of the Solothurner Zeitung (SZ). "This is hypocrisy," wrote SZ publishing director Christian Müller in large letters on October 18 in an advertisement that was addressed as an open letter to Charles von Graffenried, Chairman of the Board of Directors of Espace Media Groupe. Müller accuses von Graffenried of saying that the Berner Zeitung has caused more other newspapers to disappear "than any other publishing group in Switzerland". If von Graffenried had had his way, the SZ should also have become the BZ's front page. But because VS/H had rejected this, the Espace Media Groupe now wanted to "bring the SZ to its knees". And further: "They are only creating the Solothurner Tagblatt so that the Solothurner Zeitung will soon no longer exist."
On October 19, VS/H director Rudolf Rentsch doubled down in an interview with the SZ: The Solothurner Tagblatt had "the declared sole aim of weakening the SZ over the coming years so that it ends up in the BZ stew". And he added to WerbeWoche: The ad war in Bern at the time showed the true style of Espace Media, "which is why we are on our guard and are putting on the tough clothes". But VS/H is not afraid, "the troops" are motivated, and the Mittelland-Zeitung project with SZ, Aargauer Zeitung, Zofinger Tagblatt and Oltner Tagblatt is also in the making.
Espace Media Groupe keeps a cool head in heated dispute
He is still of the opinion, Rentsch continues, that this project is more promising than a cooperation with the BZ. Presse 99, for example, a former combination with SZ, BZ and Bieler Tagblatt, was "not very successful". In addition, VS/H would have had to give up all newspaper and customer printing in favor of the Bern printing center in the event of a cooperation with BZ.
Espace Media takes these accusations in stride. Board delegate Albert P. Stäheli said on request: "We will not be provoked and do not want to comment on this." Stäheli is optimistic that Solothurn has a modern zeitgeist that will prevail. Espace Media is also spending a few million on marketing for its seventh headline: the 12,000 copies will be distributed to all households in Solothurn, Biberist and Zuchwil for six months by early delivery, the subscription costs only half as much in the first year (WW 38/01), advertisers receive four advertisements for the price of two until June 30, 2002. In addition, there are mailings, radio and TV commercials, dispensers in buses and trains, advertisements and posters with nine different subjects. This is astonishing for a company that announced in the summer months that, in view of the slump in advertising and the poor TV business, savings and, in some cases, redundancies were the order of the day.
Stop the free newspapers - except for vested interests
So far, Rentsch has countered the heavy artillery from Bern with "the quality of our newspaper". He is also consistently trying to pin the label "free newspaper" on the Solothurner Tagblatt - with reference to the six-month free early delivery campaign. Accordingly, he had thousands of letterbox stickers with the inscription "Solothurner Tagblatt - Nein danke!" distributed. "Help stop the flood of free newspapers," reads an accompanying flyer. Which is not entirely free of hypocrisy. After all, Rudolf Rentsch would love to print part of the circulation of the free newspaper 20 Minuten (see box).

Espace Media Groupe strengthens its bulwark against Edipresse and cooperates with Freiburger NachrichtenBy Markus Knöpfli Espace Media Groupe has only just offered its neighbors Freiburger Nachrichten and La Liberté help against Edipresse. And now it can already take both titles in hand. In return, it is foregoing the expansion of its Fribourg split.
From September 1, the Freiburger Nachrichten (FN) will obtain its national pages from the Berner Zeitung (BZ), filling the gap left by the Solothurner Zeitung due to the forthcoming cooperation with the Aargauer Zeitung.
The FN needs one page each for foreign, domestic, business and miscellaneous. The cooperation with BZ is surprising, however, because the BZ sections are usually more comprehensive. This is why the FN had initially looked for smaller partners. However, the BZ offered to tailor its content to the needs of the FN. But that was not all, the federal government also offered to do this.
The BZ and its publisher Espace Media Groupe (formerly Berner Tagblatt Medien) were awarded the contract because they also offered the FN membership of the Bern newspaper pool (BZ, Bieler Tagblatt BT, Walliser Bote) including the corresponding advertising management system. Although this still has to be approved by the combined partners, Albert P. Stäheli, Chairman of the Espace Media Group Management Board, is confident. "From the market, we sense a strong need for a comprehensive offering in Espace Mittelland, and there is interest in a modular offering system," he says on request.
Another important point that led the FN to choose the BZ as a partner: according to FN Director Paul Stritt, the BZ has decided not to expand its current two to three-page Fribourg split. The people of Fribourg were apparently unable to get any more from Espace Media. Stäheli states: "The Fribourg split of the BZ will not be discontinued, but we want to cover the needs of the Bern-oriented population in German-speaking Fribourg to a greater extent, while the FN clearly focuses on the traditional local readership. We are therefore offering complementary services." The BZ will also take over individual FN articles.
Nobody in Freiburg is talking about threatening gestures
In the past, this expandable split was one of the fence posts that Espace Media sometimes waved in the direction of Fribourg. Another was the purchase of the Murten provider a year ago. Stäheli does not want to hear anything aggressive. Threats have never been his negotiating style. "However, we do provide honest, open information about our market assessments and plans", which is sometimes interpreted as aggressive. However, it has been BTM's declared aim since 1994 "to achieve meaningful consolidation together with the relevant providers in Espace Mittelland in order to remain competitive as a strong media region in the national market".
Stritt also rejects the idea that fear has driven the FN into the arms of the BZ. "We are also committed to Espace Mittelland. In addition, our Board of Directors has clearly spoken out against a financial participation by Espace Media."
From Espace Media Groupe's point of view, the latest coup in Fribourg is a success. It was only in mid-May that it offered the FN and Liberté help against Edipresse's appetites. Now it can already shake hands with one of them. And indirectly to the second. This is because the Paulus printing company, which publishes La Liberté, has a 20 percent stake in FN. Espace Media can therefore directly show its willingness to help the publisher of La Liberté, with whom it has already signed an aid agreement.
Above all, however, Stäheli was once again able to outbid the Bund. Bund publishing director J. Pepe Wiss regrets this, but is not too surprised. The Bund was not able to offer such a broad range of services as the BZ. "But it's understandable that someone looking for help tends to stick with the strongest." However, it is clear that the federal government is now increasingly becoming the only alternative beyond the canton of Bern.

SkyBus introduces the satellite-guided banner blimp and aims to bring heavenly times to aerial advertisingAdvertising with airships has not been a straightforward affair in Switzerland until now. It is not only topographical features that limit the use of flying "advertising cigars". Despite their proven effectiveness, they have never taken off in terms of popularity among advertisers because most major cities are located within controlled airspace around airports. However, this is where the reach is known to be greatest. But aerial advertising with manned zeppelins is only possible with the complicated approval of the relevant air traffic control. In addition, restrictive noise protection and safety regulations make their take-offs relatively expensive. The Schneising-based company SkyBus AG is now aiming to close this gap with its latest offspring. At its Airship Day at the end of June, the Aargau-based airship shipping company not only presented its entire fleet, from manned large airships and tethered airships to remote-controlled indoor zeppelins, but also Switzerland's first satellite-controlled airship: the new 15-metre-long and 4-metre-high SkyBus 15AF.
The designers conceived it as a model aircraft that is approved by the Federal Office of Civil Aviation (Bazl) in a special category. The SkyBus 15AF with an advertising space of 70 square meters can be controlled via a computer-aided navigation system with GSM radio, cover distances of up to 250 kilometers or fly for up to five hours without a maintenance break.
The eye-catcher is likely to be more effective at night because the airship, which according to the manufacturer can also withstand strong winds, can be illuminated from the inside. With Compaq as a launching customer, a well-known advertiser has come on board. "We are negotiating with other customers," says Managing Director Claudia Grossmann.
Based on the success stories from the USA and the UK, Grossmann is convinced that heavenly times are ahead for aerial advertising in Switzerland too. "People's enthusiasm is difficult to justify rationally. However, it can be perfectly channeled for brand advertising," says Grossmann. Luca Aloisi