So much has occurred since 1821. The abolition of slavery, two world wars, the Industrial Revolution – to not point out the proliferation of the web. Via all of it, the Guardian has been in print, not simply documenting however critiquing the world because it progressed.
“We have been the unique challenger model,” insists Sam Jacobs, inventive director, advertising on the Guardian. “It was born in Manchester, not Fleet Road, from an actual have to problem the established order and what was occurring on the time with the Peterloo Bloodbath. It was completely different to the opposite publications of the time. We nonetheless have these related challenges at the moment, they haven’t gone away.”
200 years for a newspaper is a giant deal. The Guardian is older than the New York Occasions, the Telegraph and the Wall Road Journal. And contemplating how risky the media trade has turn out to be, survival have to be celebrated – particularly if it’s trans-centuries.
However the Guardian insists it doesn’t wish to mark the milestone with a interval of reflection. “We have been adamant that we didn’t need it to only be a celebration of the previous,” says Kate Davies, advertising director on the Guardian. “We wished to speak to our future.”
As Jacobs factors out, anniversaries can generally really feel extra necessary to a model than to the surface world. “There’s a positive line between celebration and reveling,” he says, which received them to the marketing campaign tagline: ‘A Work in Progress since 1821.’
“As a information group, we needs to be involved with what’s taking place now and the place we’re going,” Jacobs contends. “Studying from the previous is necessary, because it permits us to know and transfer ahead, however the place we’re going subsequent and the challenges forward are so necessary, we wished to discover a place that talked to that.”
Created in-house by a collaboration with Oliver company, the marketing campaign is devised to spotlight the Guardian’s distinctive function and voice on the earth, with a deal with its impartial possession, status for holding the highly effective to account and dedication to hopeful concepts and imaginative options all through its 200-year historical past.
Celebrating the evolution of the Guardian’s typography and its longstanding challenger voice, the marketing campaign makes use of intelligent copywriting that enables the reader to pattern its product.
“If you’re a information organisation that offers with phrases, phrases are so necessary. Each single line we now have has a lot weight – they’re scrutinized so closely,” says Jacobs, pointing to the previous AMV BBDO days of the Economist for instance of that. “You take heed to the tales – how they might write 1000s of strains and simply the most effective could be pinned to the wall. You completely perceive why this needed to occur.”
He explains that everybody who works at or reads the Guardian has their very own perspective as to what it represents and what makes one thing very ‘Guardian’. “And there’s constructive and unfavourable baggage that comes with that,” he says. “It’s a must to attempt arduous to get the phrases proper, so we tried to be very important of what we wrote, self-examining each line. We wrote a whole lot if not 1000’s of strains – effectively, that’s what it looks like.”
Whereas the ‘Work in Progress’ marketing campaign will run throughout a number of touchpoints, together with the Guardian’s digital platforms and apps, with paid exercise throughout its social media channels, its the out-of-home (OOH) work that feels notably ‘Guardian’ as it’s a agency believer within the epic road takeover.
Final yr, the Guardian coated Berlin in 2,000 flyposters as a part of an experiential stunt that begged passers-by to interrupt the emergency glass they have been housed in and take a complimentary copy of Guardian Weekly. It was a novel strategy from the newspaper that it hoped would drive extra worldwide readers to the journal.
The yr prior, in a bid to succeed in two million supporters by 2022, the Guardian flyposted its ‘Hope is Energy’ marketing campaign throughout the UK to spotlight the essential function that the newspaper performs in giving individuals data that enables them to challenge the status quo.
So it felt becoming that as a part of the massive birthday celebrations, 230 outside placements could be erected throughout London and Manchester, together with a banner at Manchester Piccadilly, which has been handled with a pollution-absorbing coating Pureti, and a sequence of special-build ‘work in progress’ billboards.
“There was a whole lot of completely different concepts that we performed with – we wished every of the items of OOH to talk by the messaging but in addition the way it was displaying up on the earth,” says Davies, together with the ‘to be continued’ billboard that highlights how its function on the earth might be continued.
“However there’s additionally a playful factor to it,” she says. “It’s a continuation of that concept that each piece does two issues – it talks to our readers by messaging, but in addition by its placement. That’s one thing we wish to at all times take into consideration with our OOH buys – particularly if you’re shopping for static. It’s necessary that it’s attention-grabbing – that it’s not simply one thing that sits on the streets for 2 weeks.”
The marketing campaign additionally options three movies created in collaboration with Unbiased Movies. Every explores the thought of progress because it pertains to the setting, equality and humanity at massive, with voiceovers from the late Ursula Okay Le Guin, former Observer journalist Alan Ross, and poet and writer Salena Godden. It additionally options the track ‘Immunity’ written and carried out by Jon Hopkins.
“We actually wished to get throughout this sense of historical past, but in addition the sense of issues being unfinished and us being on a journey,” explains Jacobs, on how the movies relate to the broader marketing campaign. “Together with little bits of snippets of audio speeches that felt timeless, we married that with imagery, which was a extremely attention-grabbing method for us to speak to alter over time.”
“The factor about turning 200 is you have got this second of reflection, since you’re evaluating the world as it’s and the way it was,” explains Davies. “You’ve got this window into what’s occurring – a second of pause and reflection. What Oliver achieved by the movies was this sense that you simply’re eavesdropping at this second in time.”
— to www.thedrum.com