Christian Dorer, the editor-in-chief of the Blick Group, regretted Projer's departure in the statement. He had "built up and driven forward the pioneering Blick TV project with a great deal of passion". Switzerland's first exclusively digital news channel was launched in February 2020.

It is now on a "solid foundation" and the starting position is "optimal" to "continue to take off," Ladina Heimgartner, CEO of the Blick Group, is quoted as saying in the statement. Blick TV says it has more than 600,000 viewers per day. The temporary management of Blick TV will be taken over by a six-member management team, it added.

"Next digital phase"

Before becoming head of Blick TV, Projer was presenter and editorial director of the "Arena" program on Swiss television SRF and before that EU correspondent for SRF in Brussels. He started at SRF as an editor for "Schweiz Aktuell". He holds a degree from the film class at the Zurich University of the Arts.

Projer hardly has any newspaper experience. He worked as a freelance journalist during his studies at the Basler Zeitung and the Winterthurer Landbote. Nevertheless, Projer is now to lead the NZZ am Sonntag "into the next digital phase," according to the NZZ Media Group.

Etienne Jornod, Chairman of the Board of Directors of the NZZ Media Group, is quoted as saying that he has the necessary "journalistic instinct" and profound experience in the digital sector. The print edition will continue to play a central role.

But the digital transformation must also be driven forward at the Sunday title. Projer himself looks forward to the "challenging task with respect and great anticipation.

Bernet's future uncertain

Luzi Bernet is stepping down after just four years at the helm of the Sonntagszeitung. He had developed the title into "one of the most renowned media brands in Switzerland. But there had been differences of opinion "about the further development," it said. Discussions about "a possible new role within the NZZ media group" were underway. (SDA)

The award in the "Poster of the Year 2020" category goes to Digitec Galaxus with its "Galaxus Generativ" campaign, which ingeniously highlighted regional shopping behavior throughout Switzerland. The campaign, which was implemented in-house, comprised 11,214 unique posters that were placed with location precision in a logistical masterstroke. Digitec Galaxus also secured the Gold award in the "Commercial National" category with this work and won a further three awards in various categories with other campaigns.

More Gold Awards

Coveted "Gold" was won in the category "Commercial Regional and Local" by the veggie restaurant Hitl with Ruf Lanz, in the category "Public Service" by the Foundation for the Animal in Law, also with Ruf Lanz, in the category "Culture" by the Theater Orchester Biel Solothurn with Atelier Bundi, in the category "Digital Out of Home" by the Health Department of the Canton of Zurich with Ruf Lanz, and in the category "Out of Home Innovations" by the Bernhard Theater Zurich with Farner.

Special award ceremony

As the Covid 19 situation means that the APG|SGA Poster Night cannot be held this year either, the main prize for the Poster of the Year was delivered personally to the winners by Digitec Galaxus in compliance with all security regulations. The award was presented by Christian Brändle, jury president and director of the Museum für Gestaltung Zürich, Markus Ehrle, CEO of APG|SGA, and Urs Ramsauer, Head of KAM Direct Clients at APG|SGA. Further trophies in gold, silver and bronze will also be presented personally to the winners in the coming weeks.

Swiss Poster Award: The Winners

Since the first lockdown in March 2020, online orders and thus also the amount of cardboard to be disposed of have experienced a rapid increase. Efficient cardboard disposal is thus becoming increasingly relevant, with the question of what belongs in the collection and what does not being just as important as correct provision. To ensure that the City of Winterthur's message is not understood as a lecture, Tollkirsch focuses attention on the different types of disposal, which have been visualized as lovable cardboard figures and lend the campaign plenty of sympathy.

Disposal types with Jö effect

The campaign's three disposal types correspond to the three ways in which used cardboard should be made available for collection: tied up as a bundle, packed in an open cardboard box, or folded and stowed in a cardboard garbage can.

The three cardboard figures were carefully handcrafted at Tollkirsch, where they were staged and photographed for the campaign visual. For use on social media, the Winterthur agency also created an animated version of the subject and brought the figures to life using stop-motion techniques.

Do not leave in the rain

As part of the campaign launch at the end of February 2021, more than 60,000 households in the city of Winterthur received an information flyer on paper in cardboard look to match the campaign. In addition, the city of Winterthur informs about the campaign on its communication channels and provides an insight into the work of the loaders during the cardboard collection in a video.

Incorrectly deposited cardboard waste will not be taken away by the Winterthur waste disposal service and will be marked with a notice. On this conspicuously bright sticker, too, the disposal types with their big round eyes with the charming saying "Don't leave us out in the rain" ask for understanding and assistance.

Responsible at Entsorgung Winterthur: Simon Amann, waste management consultant at the City of Winterthur. Responsible at Tollkirsch: Gabriela Martinelli (concept/design), Marianne Graf (consulting/project management).

Clubhouse hype, countless podcasts that you should have listened to, Alexa and Friends: everything auditory is in high demand at the moment, even in marketing. This means that a word that has been floating around in the corporate world for some time now has rapidly risen up the hit parade of buzzwords: sound. We no longer do it in a training basement, but in meeting rooms in sounding boards. Here, senior employees from different departments or divisions usually take part in moderated discussions. Their voices on a defined topic are recorded unfiltered and then mixed. The problem is that when everyone is talking, no one understands anything in the end. 

If you sound right, you find the groove

The inflationary installation of sounding boards as committees that accompany creation, change or innovation processes in an advisory capacity without having the authority to issue directives has been around for some time. "Consultative body" was what it was once called, but for most people that sounded too much like politics, social work or trade unions and less like organizational development or even change management.

Sounden has to be learned. This is the crux of the matter: Very few people are willing to learn. Instead of being a barometer of mood and inspiration in creative or change processes, sounding off then either delays decisions ("We have to go to the sounding board again with this") or degenerates into an alibi exercise ("Yes, we heard you, but we're not interested"). Both are wrong. The advantage would be that the management, project team or creatives leave their echo chambers during sounding and honestly ask themselves the most important questions: Does what we're trying to do here make sense? Will it be understood by the people it affects? Or, to stay in the language of music: Does it groove or sound more like marching music or muzak?

* Benno Maggi is co-founder and CEO of Partner & Partner. He has been eavesdropping on the industry for over 30 years, discovering words and terms for us that can either be used for small talk, pomposity, excitement, playing Scrabble, or just because.

As part of a follow-up study to the Brand Safety Report H1 2020, Zulu5 again analyzed over one million national and international potentially brand-damaging Internet domains and investigated the extent to which Swiss advertisers exposed themselves in corresponding advertising environments in the second half of 2020.

72% of the largest Swiss advertisers affected 

While in the first half of the year 46 of the 100 largest Swiss advertisers placed ads in digital environments that could be classified as potentially damaging to their brand, between July and December 2020, 72 percent of companies did so. This represents an increase of over 50 percent.

The increase is probably due to the fact that many companies froze their advertising spending in the first half of the year and then spent it in the second half. According to the report, brands such as Beiersdorf, Salt, Booking.com, Spotify and Zalando were particularly exposed to potentially brand-damaging digital environments.

An overall analysis of all Swiss advertisers who were particularly affected by digital advertising in brand-critical environments in the second half of 2020 shows that community and dating platforms and the entertainment industry in particular were exposed to an increased risk. This finding should be understood in the context of the Corona pandemic, which was at a new peak in the second half of 2020. During this period, community and dating platforms ("social" industry) as well as the entertainment and leisure industries ran broad-based campaigns. The larger advertising spend by advertisers from these sectors - especially also via programmatic booking channels - led to increased ad placements in potentially brand-unsafe environments.

Around one million websites and YouTube channels monitored

To monitor which Swiss advertisers were exposing themselves to potentially brand-damaging environments, Zulu5's crawlers combed through approximately one million national and international potentially brand-damaging and fraudulent websites and YouTube channels between July and December 2020, following an "outside-in" approach.

The advertising environments were divided into two levels of severity: "Legal Safety" - advertising environments that violate the law or advertising guidelines, and "Brand Suitability" - brand-specific safety requirements.

The study for the second half of 2020 identified around 900,000 incidents where Swiss website visitors were shown ads in potentially brand unsafe or fraudulent environments - 84 percent of which could be attributed to "brand suitability."

An evaluation of the top 100 advertisers shows how many of them were spotted in potentially brand-damaging environments in percentage terms. To determine the extent of the brand safety risk, the sample of harmful incidents was compared with a sample on websites of major Swiss publishers. If the study recorded more than 2 percent of all registered incidents on potentially brand-damaging sites compared to the sample on premium sites, the brand was flagged as exposed. Below the 2 percent mark, it was also exposed, but to an extent that must be reckoned with when digital advertising is placed.

Prevent advertising playout in brand-damaging environments 

This Brand Safety Report from Zulu5 reveals that ads booked and played by leading Swiss advertisers through open international programmatic advertising networks regularly appear in potentially brand-damaging environments. As Andreas Gysler, founder of Zulu5 explains, it is therefore important for advertisers to think about brand safety and take appropriate precautions to minimize the risk. "In the worst case scenario, brands that advertise in potentially brand-damaging environments have to reckon with their brand value being affected and even fear consequential economic damage through lost sales. They can counter this problem by establishing a stronger auditing culture and monitoring in real time whether their digital ads are being played in a potentially harmful environment," says Gysler.

The Brand Safety Report Switzerland H2 2020 can be downloaded at Zulu5.com downloaded for free be

The startup Clyde offers cars on a subscription basis, without paperwork and obligations. But with insurance, toll sticker, service and winter tires. Wunderman Thompson contributed the UX design - logically with a mobile-first approach.

To understand the needs of the potential subscribers, Wunderman Thompson started the design process with a UX analysis of the previous site and defined personas. In several rounds, the UX-UI design was developed together with the client and the CI/CD was brought to life with illustrations and motion graphics.

The new Website should feel like an app and make the offer quickly and easily accessible. Wording and visual language focus on less car and more emotion. Navigation is designed to be simple and intuitive and is complemented by involving filter and configuration options.

Responsible at Clyde: Timo Nührich (CEO), Natalie Heinrich (Head of Marketing), Branka Vodopija Walser (Marketing & Communications Manager), Tabea Leibundgut (Project Manager). Responsible at Wunderman Thompson: Benjamin Franken (Creative Director), Diego Martinez Crestelo (Senior UX Director), Diana Zberg (Junior UX Director), Susi Martin (Senior Account Director), Noah Nachtrab (Interactive Media Designer i.A.).

The packaging is to convey the Swissness of the brand through printed white areas with red brand elements. In this way, the core value of the brand was combined with a commitment to sustainability. The recommendation for the vision for the materialization with brown cardboard and white originated at Keim Identity on the basis of an environment analysis at the POS, which showed that this color combination has the potential to become a unique selling point.

In the revision of the packaging, the focus was on new physical forms on the one hand. Wherever possible, Keim Identity developed packaging that eliminated the need for plastic parts and, in most cases, even adhesives through a sophisticated folding technique. The result was not only sustainable solutions, but also physical forms that optimally embed the products and stand out from conventional packaging. On the one hand, the packaging enables a good product experience and, on the other, provides space for the central product information. Keim Identity specialized in adhesive-free packaging more than ten years ago and developed its own folding techniques and closures without the use of auxiliary materials. Keim Identity has already implemented these techniques for several outdoor brands and other products.

50 different packages developed

Together with Mammut's production specialists and product managers, as well as its marketing department, Keim Identity developed around 50 different packages and a universally applicable hangtag. Mammut has transferred the concept to other applications. In the meantime, the packaging is in use in Mammut stores and at many retailers, creating a new, strong and unmistakable overall impression at the POS.

Keim Identity also picked up on the material combination in the design of the unpackaging experience for online shipping and in stationery. Business cards and greeting cards are also made of brown cardboard. Here, the color combination of brown and white is brought to bear by a key visual.

Responsible at Mammut: Verena Lambrecht (Head of Communication Design), Jörg Richter (Print & Packaging Manager). Vresponsible at Keim Identity: Matthias Keim (Creative Director), Christine Keim (Brand Strategy), Benjamin Stetter (Senior Design).

On Monday, the total of 326 submissions were evaluated by a jury of 114 experts according to the respective criteria of the categories. A total of 83 projects made it onto the shortlist in at least one category. These submissions are among the best digital projects of the year and can hope for further awards at the award night: Bronze, Silver or Gold in the respective categories. The projects nominated for the title "Master of Swiss Web" will be announced on March 17.

New date for the award night

Out of consideration for the current state of the vaccination campaign, Best of Swiss Web has decided to set a new date for the Award Night. The Best of Swiss Web Award Night will now take place on September 6, 2021 at 5 pm in the Samsung Hall. At the Award Night, in addition to Gold, Silver, Bronze and the Master of Swiss Web, the Goldbach Crossmedia Award and the special prize "Best of .swiss" will be awarded.

Start of the readers' poll in April

The readers' poll for the "Master of Swiss Web 2021" starts on Monday, April 6. Subscribers to the Netzwoche Newsletter. Who will actually receive the buoy in the end and can call themselves Master of Swiss Web will be revealed at the award night.

Best of Swiss Web 2021

The shortlist

The 52 participant teams in the 14th edition of the young talent competition had to master an exciting task from this year's main sponsor McDonald's Switzerland: To make the new "Mobile Order & Pay" function known to the relevant target group and motivate them to make their first experiences with the new ordering and payment function of the McDonald's app. Now the top 5 from 19 entries in the "Cyber" category has been determined.

ADC Young Creatives Award 2021

Category Cyber

"From augmented reality to gamification - it was very exciting to see the diverse ways in which the young creatives approached the task. Many impressive solutions were found, both in terms of content and presentation. We were very pleased to be able to support the Cyber category of the ADC Young Creatives Awards again as a sponsor" says Sandro Kolbe, Project Manager Marketing at Blick Group.

On Monday, Simon Göldi will take up his new position as Head Marketing at Hotelplan Suisse. In his new role, he will be responsible for all marketing activities of the Migros Ferien, Hotelplan and Travelhouse brands. He will report directly to Nicole Pfammatter, Director Distribution & Marketing Hotelplan Suisse.

The proven CRM specialist brings with him a great deal of experience and knowledge in the areas of customer insights and data-driven marketing. 46-year-old Simon Göldi is no stranger to the travel industry. After completing his commercial training as a travel consultant at Danzas Reisen, he worked as Head of Brand Management Shops & Lastminute.ch at Kuoni, among other positions. He then held various management positions in marketing outside the travel industry. Most recently, he was COO & Partner at the startup Signifikant Solutions.

Sales of the broadly diversified media group, known for its Tages-Anzeiger or the Basel NewspaperThe TX Group announced on Thursday that its net profit for the full year 2020 decreased by a total of 13.3 percent to 935.2 million Swiss francs. The second half of the year was significantly better than the first six months, which were down almost 18 percent.

The TX Group also achieved a significant improvement in operating profit in the second six months. For the year as a whole, EBIT was still negative at 70.9 million, after a loss of 107.5 million was reported for the first half of the year. In addition to lower sales, operating profit was also impacted by the goodwill impairment of 85 million in the pay media business recognized in the half-year financial statements.

The bottom line was a net loss of 94.6 million compared to a profit of 97.8 million in the previous year.

As already announced in April on the occasion of the last Annual General Meeting, the Board of Directors proposes to the shareholders to waive a dividend for 2020. For 2019, 3.50 Swiss francs were paid out.

20 minutes with the largest drop in sales

The sharpest decline in sales for the year as a whole was again recorded in the 20 minutes combined commuter media. Here, revenues declined by 25.2 percent. Meanwhile, the Tamedia segment with its paid media (revenues -14.2 percent) was also heavily affected. The advertising marketer Goldbach benefited from a significant recovery in the second half of the year and was thus able to limit the loss of revenues to -7.6 percent, after a minus of 21.8 percent was recorded in the first half of the year. On an adjusted operating basis - i.e., excluding the effects of business combinations - all three divisions returned to the black, unlike after six months.

The TX Markets division, with its large classifieds platforms and marketplaces such as Jobcloud, Homegate and Ricardo, was much less affected by Corona. Sales here fell by 6.7 percent over the year as a whole. The adjusted EBIT margin fell to 33.7 percent from 37.9 percent.

There was a marked increase in the use of the Group's various media as a result of Corona. And the number of digital subscriptions also recorded a significant increase.

As usual, the management of TX Group does not provide an outlook for the current fiscal year 2021. (SDA)

The shoe was developed in close collaboration between Roger Federer and the designers of the company On, where Federer is known to be a co-owner and board member.

Since a tennis shoe is a complex piece of equipment for the highest demands and many factors had to be taken into account for Roger's comeback, it was not clear until shortly before the premiere whether the shoe would be used. In order for On to place a spot on time, Hillton was faced with the task of presenting a working concept within 24 hours and a first cut 48 hours later.

The film conveys the excitement and flood of ideas of the On staff involved as an overwhelming cluster of thoughts, to be ultimately absorbed by the relaxed anticipation of King Roger.

Responsible at On: Alex Griffin (Head of Global Marketing), Laurence Stoffel (Head of Brand Design), Victoria Bryson (Studio Producer Lead). Responsible at Hillton (film production): Mona Bertschinger (production), Animals / David Bertschinger Karg, Tobias Bonfanti (concept, direction & editing), Samuel Muff (colorist), Slaughterhouse Zurich (post-production), Patrice Gerber (motion design), Chris Banks (sound design & scoring).