Ticket sales for the JournalismDay.23 is open as of now. Organized by the association Quality in Journalism QuaJou, the industry meeting will take place at the IAM Institute for Applied Media Science at the ZHAW in Winterthur on Thursday, November 23, 2023, from 12 to 8 pm.

Keynote speaker Uli Köppen heads the AI + Automation Lab at Bayerischer Rundfunk. At JournalismusTag.23, she will show ways out of dependence on tech companies and examples of how journalists can use AI technology and automation for their goals.

AI-generated images in journalism are also a topic at #JourTag23. This will be explored in depth at a workshop with author and satirist Patrick "Karpi" Karpiczenko, among others. Other workshops and panels will deal with toxic work environments, journalism on social media, the balancing act between journalistic practice and science, and the question of whether Swiss media still play a role for major Swiss corporations.

The final round takes place with the new editors-in-chief Steffi Buchli of View, Désirée Pomper from 20 minutes and Nadine Sommerhalder from Watson takes place. The program is currently being continuously supplemented.

Bank Thalwil is the regional bank on the left bank of Lake Zurich with headquarters in Thalwil and branches in Kilchberg, Adliswil and Langnau am Albis. Since 1841, there have been no aloof bankers working here, but down-to-earth "bankers".

Ruf Lanz was commissioned in 2020 to creatively develop the existing positioning of the "Bankwerker". Since then, Bank Thalwil has regularly drawn attention to itself with pointed poster campaigns. Most recently with the still topical anti-rip-off subject: We Bankwerkers don't make the CEO 'OOO'OOO.-. (Werbewoche.ch reported).

In the current campaign, saucy allusions to recent events in the Swiss banking center make it clear that Bank Thalwil is made of very different stuff.

The posters can currently be seen in the Lake Zurich region.

Responsible at Bank Thalwil Genossenschaft: Beat Ruch (Head of Marketing & Communications, Member of the Extended Executive Board). Responsible at Ruf Lanz: Markus Ruf, Danielle Knecht Lanz (Creative Direction), Markus Ruf (Text), Mario Moosbrugger (Art Direction), Armin Arnold (DTP), Gian Marco Juon (Consulting Management).

It's been tweeted out. With the master plan in mind to turn Twitter into the "Everything App" of the Western hemisphere along the lines of WeChat, Elon Musk has unceremoniously disposed of one of the world's best-known brands. Twitter is now called X. He bought Twitter a good year ago for 44 billion, about half of which - according to experts - was the value of the brand, its symbols and the word "twitter" that has become part of everyday language. At the time, the media outcry erupted like a tsunami across all channels in our communications industry, and it is still omnipresent. I deliberately waited for this tsunami to pass before writing my (preliminary) conclusion on the Twitter case - and it is a positive one.

Musk was right for two reasons

There are two reasons why Musk's move was exactly right: First, Twitter was limited in its business model and could not scale as an investor paying such a high price must expect. The name Twitter alone only describes a certain activity - namely "tweeting", but not payment services, eCommerce, travel and everything else that an "everything app" does. So here the brand was not optimal.

Elon Musk is the richest man in the world and anything but stupid - and here comes the second aspect: I don't know him personally, but I know people who have worked with him. That's how I know he hates marketing. That's why the crowbar-like manner of this rebranding is not only very typical of Musk - it's simply genius. While other brands spend an insane amount of money on strategies, rebranding programs and campaigns, and spend millions on media to change their brand, he simply pays for it... nothing.

And yet, in one fell swoop, the whole world knows it. No matter how unique this X logo may be now, whether it is protectable or what twitter is now called - in a few hours, this X has burned itself into everyone's brain - without a cent of paid media. Musk has used his persona and the power of the platform for which he paid so much money. And lo and behold, his investment was the right one. Now he can move on to the next chapter. And again, everyone will be waiting in suspense to see what his next move will be. We'll find out on X.

* Heinrich Paravicini is founder and creative director of Mutabor.

An elusive target group, a narrow time horizon, ambitious goals, and all this in Europe's largest telco market: flexibility and quick decisions on both sides were required here from the very beginning. The collaboration between the Zurich agency Wirz and the Bonn-based client was correspondingly intensive. There were nine short months between winning the pitch and the product launch.

Gen Z as a Challenge

Marketing experts know only too well that the Gen Z target group is anything but easy to grasp. It is contradictory, diverse, with a high need for security, but also with an urge for self-realization. However, one central insight emerged during the process: Gen Z's status symbols are their experiences. This insight had a decisive influence on the product design.

Relevant differentiation factor

According to Senior Manager and Project Manager "Gönn", Patrick Marscholl, the product can be summed up in a few words: "digital and more than just tariff". The subscription can be upgraded and individualized with monthly deals and offers and brings a real experience factor. Starting with a 9-euro train ticket for the whole of Germany. "This is pure 'Gönn': an invitation that every user can turn into their own personal story according to their own taste," Marscholl continues.

Interdisciplinary project team

Within Deutsche Telekom's predefined Magenta world, the Wirz team worked in close coordination with the customer along the entire value chain and developed not only the product but also the entire branding, design, user experience, interaction design, and social media campaigns for "Gönn". All of this on par with Gen Z. "I am by far the oldest team member," says Torsten Brodt, Senior VP Consumer Segment at Deutsche Telekom. "Wirz has positioned itself smartly here. But Gen Z people have also contributed to the success on our side."

Control product development

Wirz is committed to solving business problems rather than just communication problems. "And this case is yet another successful demonstration of this," says János Heé, Senior Partner Marketing & Innovation at Wirz: "The earlier we are involved in a process, the more we can achieve with our expertise. Starting with the product idea, but already with a view to the rules of the game in communication - that's exactly how we like it."

Vrantwortlich at Deutsche Telekom: Christina Kiehl, Hannah Horz, Ilona Hansen, Inga Marmann, Julian Bretz, Marie Schulte, Natalie Witzmann, Peter Hilger, Patrick Marscholl, Safiullah Barikzey, Roland Schlattmann, Tabea Halbritter, Torsten Brodt, Ufuk Atürk. Responsible at Wirz Group: Adrian Busse, Andrea Müller, Björn Bippus, Céline Bürgler, Cosima Lang, Erasmo Palomba, Jannic Mascello, János Heé, Julia Keller, Luca Böhi, Marleen Diener, Morris Lötscher, Nico Keramaris, Rahel Signer, Ria Meghji, Ruben Wegmann, Sébastien Donzel, Tim Lieberherr, Valentina Petrovic.

"Our TV channels are very popular in Switzerland, with up to 642,000 people watching our programs each week," Alexandre de Raemy, managing director and general manager of Media One Group, was quoted as saying in a statement. "With Carac, we have set ourselves the goal of developing even more of our own programs and live productions, and of offering local, authentic, varied programming that is close to the audience."

According to its own information, the four Carac stations achieve the highest audience figures among the private stations in western Switzerland. The broadcast area covers the whole of Switzerland, with a focus on French-speaking Switzerland.

Larger apertureebot

To reach even more people, Carac launches new live and replay TV platform Carac.tv. On it, the audience can follow the broadcasts live and watch all the content produced by the four stations on one and the same platform.

With Carac, the Media One Group aims to maintain and strengthen all the aspects that make TV stations so popular with audiences in French-speaking Switzerland: local roots, authenticity, great diversity and proximity to the audience, in-house productions and a wide range of feature films.

Frels approached Enigma with a desire to bring their award-winning product to market, which began retailing in 2019. The temple ends allow spectacle wearers to wear their glasses comfortably around the neck and also give the glasses a better grip when worn.

However, since the Frels were not promoted by the opticians or the manufacturer, the sales generated by the communication around the awards slowly declined. Frels had already established relationships with distributors for Switzerland and Germany; all that was missing was the marketing.

In a joint project, a marketing strategy was developed. First, a video was produced that presents the new product and its many possible applications. In addition to the physical points of sale in Ticino and French-speaking Switzerland, the product can be in the newly created webshop can now also be conveniently purchased online throughout Switzerland and in Germany. Finally, a digital advertising campaign targeted at the general public and linking directly to the store is intended to raise awareness of the Frels and drive sales further.

Responsible at Frel Solutions: Elena Delli-Compagni (Project Manager), Francesca Melera (Inventor & Founder). Responsible at Enigma: Kendy Doblies (Project Management, Strategy), Isabelle Wanner (Strategy), Claude Keller (Strategy, Webshop), Nicole Reber (Strategy), Alice Bachofner (Webshop), Laura Leffin (Support), Timothée Mägli (Mediaproduction), Fréderic Doms (Concept & Art Direction), Clément Diaz (Concept & Art Direction), Alexandra Stefan (Banner Design).

The series "Winter Palace" will be broadcast at the end of 2024, according to a statement from RTS on Monday. The eight 45-minute episodes will take the audience to the end of the 19th century, when a Swiss hotelier and an English artistocrat invented winter tourism. Filming will begin in October 2023 in the Alps.

"Winter Palace" was developed by RTS, Geneva-based Point Prod and Oble Studios, written under the direction of British screenwriter Lindsay Shapero and directed by Pierre Monnard of Fribourg.

For Françoise Mayor, head of fiction and documentaries at RTS, Netflix's support makes the production of this Swiss-initiated work possible, she said.

The series will be filmed from October 2023 to March 2024. Thanks to this partnership, the Swiss audience will enjoy an exclusive broadcast on RTS 1 and Play Suisse before the series will also be available to Netflix subscribers in Switzerland and the rest of the world.

The series will be filmed in English and French, and casting is still being finalized.

The platforms' obligation to invest in local creations will come into force on January 1, 2024. The Swiss electorate had said yes to the Lex Netflix in May 2022. (SDA)

The startup, based in Rapperswil SG, says it has developed an innovative solution that helps companies create employee portraits efficiently and with high quality. "With our platform, we offer a modern, time-saving and high-quality solution that revolutionizes the traditional approach to portrait photography," said Boris Baldinger, professional photographer and co-founder of Smartportrait.

With Smartportrait companies should be able to avoid time-consuming planning and costly on-site photo appointments. On the platform, employees can create their own portraits using a smartphone. The Smartportrait team retouches all images by hand and transforms the uploaded photos into professional portraits.

Furthermore, users have the option to upload their own backgrounds. By using the corporate design or other suitable backgrounds, companies can ensure that the employee portraits created fit perfectly with their brand and provide a consistent look.

The use of Smartportrait should result in numerous advantages for companies of all sizes: The ability to create portraits independent of time and location can save resources and streamline the process of taking portraits. This leads to time and cost savings and also enables a consistent and professional representation of all teams.

A simple animation idea should make you want to enter the Globus world: The Globus logo becomes an opening door behind which, in short sequences, a wide variety of products from the different worlds can be discovered. The advantage of this modular and flexible mechanism: The products can be programmatically put together for the most diverse target groups, determined by age, gender, preferences and purchasing power.

Video ads, dynamic display ads and social media placements were used. Only large-format placements were used to give the messages plenty of space. Converto Dynamics is one of five advertising solutions that Converto develops and provides for its customers, in addition to Augmented, Cookieless, Crossmedia and Reach. It includes dynamic advertising for various formats of display ads for all devices and also DOOH and also dynamic video ads where content can be exchanged into dynamic.

According to Converto, the campaign achieved a visibility of over 80% in the target group and an equally high view-through rate for the video ads. In addition, high click-through rates of up to 4.5% were achieved, even though there was no call-to-action in the advertising material.

Responsible at Globus: Madeleine Hermle (Director Marketing Communication), Melanie Pauli (Marketing Specialist Partner Business & Brands). Responsible at Bodin.consulting: Frank Bodin. Responsible at Converto: Kim Engels (CEO Converto).

The series of posters for the vacation and spa town of Davos from the decade of the 20th century became icons of Swiss advertising graphics. One of the most striking examples is the elegant, dancing ice-skating motif from 1914, but the five-part wide-format poster that juxtaposed five winter sports motifs in the lettering "Davos" is particularly striking.

Burkhard Mangold, born in 1873 and died in 1950, "decisively helped shape the history of the artist poster in the first quarter of the 20th century," Thomas Bolt praised the artist in 1990 in the book "Das Plakat in der Schweiz. And in 1911, the art historian Rudolf Bernoulli, in the "Mitteilungen des Vereins der Plakatfreunde, Berlin," attested to the artist's work a "jolly and mischievous smile.

His beloved city of Basel was always at the center of the work of the artist, who was also sometimes described as "irredeemably verbaslert". Here he left his mark with numerous wall and facade paintings. On calendar pages and in free artistic works he immortalized many city views and for the Basel carnival he designed lanterns and train costumes.

Witty and ironic motifs

But to limit it to Basel alone would not do justice to Mangold's life's work. He created his posters, some of which seem somewhat strange from today's perspective, for clients from all over Switzerland.

For example, for the announcement of the parade of the Wolfensberger printing company in Zurich, he designed the image of a huge wooden wolf, reminiscent of the Trojan Horse, being pulled through the streets by a groaning crowd of people.

A distinctive element in his works, which stylistically range from Historicism to Art Deco, is the design of the typeface, which is always adapted to the motif. And the sometimes surprising choice of the image detail, which often seems deliberately like the spontaneously chosen section of a larger whole.

Artistic commercial art and free art

"Not least in this way, Mangold draws the viewers of the works into the middle of the pictures, as it were," says Tilo Richter. Richter is the curator of the two-part exhibition celebrating the artist's 150th birthday.

The Rappaz Museum exhibits commercial art, namely posters, calendar pages and lantern designs. And in the kHaus, as the head building of the Basel Kaserne is called, the free artistic works can be seen. These show Mangold as an independent and remarkable artist, who, however, as a sought-after commissioned graphic artist, had little time for years to occupy himself with actual painting, as he himself once remarked.

The exhibition "150 years of Burkhard Mangold - the applied arts" runs only until September 17. The reason given for the short duration is the light sensitivity of the exhibits. (SDA/Dominique Spirgi)

The campaign aims to show that customers can find everything they need for a complete and high-quality weekly shopping trip in one place at Farmy. In addition, a selected range of brands can now also be ordered from Farmy.

"In addition to fresh products from the region, our expanded assortment now also includes products from selected brands that meet our high quality standards," comments co-managing director Tobias Schubert. "We took this step because feedback from many of our loyal customers indicated that they lacked everyday branded and drugstore items." This gap is now to be closed with the expanded range.

On Farmy's user-friendly online platform, customers can shop conveniently from home or on the go - via app or desktop. Delivery is prompt, plannable and to the doorstep.

With its fall campaign, Farmy invites Mr. and Mrs. Swiss to experience the magic of autumn with Farmy and to convince themselves of the quality of the products - including an expanded range. For the implementation, consisting of digital ads, posters and three charming spots, Farmy again teamed up with the agency Family and filmmaker Chris Santiago.

The new partnership is indicated by an advertising offensive that Swatch has launched in recent days in various countries in print media, on social media and on its own website. In addition to Swatch, the ad also mentions Blancpain, as well as the five oceans and the date of next Saturday, September 9, 2023.

There is still no official word on the possible watch launch. In response to an inquiry from AWP, the Swatch Group's media office said on Monday: "Wait and see".

According to an article published by the Handelszeitung on Monday, however, the new partnership between Swatch and Blancpain is a done deal next Saturday. Five Swatch versions named after the world's oceans are to be launched in Blancpain dress. Blancpain is known for its diving watches.

With the new partnership, Swatch probably wants to build on the success of the "Moonswatch" launched in March 2022. The Swatch watch in the design of the Omega cult watch "Moonwatch", which is available in eleven different color combinations at 250 francs a piece, has been in great demand since its launch. The original costs 6000 francs and more.

The range of the "Moonswatch" is limited and the watch models are only available in selected retail outlets. Long queues sometimes formed in front of these Swatch boutiques. In 2022, Swatch said it sold over one million "Moonswatch" watches. (SDA)