The story behind Obama’s digital campaign

Mybarackobama.com during the campaign

 

The Obama campaign picked up the Titanium Grand Prix at last week’s Cannes Lions advertising festival, and was praised in particular for its integration of digital into a traditional approach. Speaking yesterday at Fallon advertising agency in London, Thomas Gensemer of Blue State Digital, the company behind mybarackobama.com, explained how the website contributed to Obama’s success.

Gensemer opened his talk by acknowledging the unusual nature of the Obama Presidential run, commenting that “if we had done Hillary or anyone else it wouldn’t have worked. It was because of the lack of baggage Barack Obama had and the newness of the campaign structure.” This is borne out by the enormous figures that the web campaign achieved, with over 13.5 million people signing up for email updates on Obama’s progress. Two billion emails were then sent out, although Gensemer stressed that this email content was carefully managed, with individuals targeted with different ‘tracks’ depending on their circumstances and whether they had already donated to the campaign. Instead of simply rejoicing in the numbers of people expressing interest in Obama, Blue State Digital worked hard to turn this interest into donations and also to utilise support on the ground, and by the end of the campaign the website had mobilised over 3 million people to contribute over $500 million online.

This was achieved in certain ways, many of which, now that the campaign is finished, seem simple and obvious, yet are rarely implemented in digital advertising. Firstly, the audience were treated with respect, both in terms of the type of email they received but also in the amount of time that they would be willing to devote to the campaign. Emails were short – never longer than 300 words – and never anonymous, there was always a consistency of voice and tone. Obama and other key figures in the campaign also contributed emails to be sent – “Michelle wrote her own emails,” commented Gensemer, “and more people opened those than her husband’s” – giving the campaign a personal touch and authenticity, rather than the impression of being simply churned out by the PR machine.

 

Mybarackobama.com now

Unusually in such an enormous campaign, the digital team were able to respond quickly to events, and once sent out an email within half an hour of an attack by Sarah Palin on Obama and his campaigners, which led to $22 million in online contributions. The team also had the flexibility to roll with events as they unfolded in other ways. One instance of this was when an Obama supporter contacted them to find out the pantone colours used in the Obama logo, as he wanted to paint it on his barn. Inspired by this idea, the team encouraged other barn-owning supporters to follow suit and eventually 1,500 barns were painted, strengthening support for Obama in rural communities.

Allowing such flexibility in a campaign is rare – especially if it is undertaken by a corporate client – but it appears to have been hugely beneficial to the Obama campaign. Gensemer did acknowledge that these new developments were often tested on a small group first however, before being sent to a wider audience, allowing a certain degree of control.

Finally, the campaign also set out to galvanise supporters to interact with it, either by sending in photographs or video footage, or by sending in their own stories online. This content was very carefully managed, however, with the team having defined a clear narrative that they wanted to tell about Obama, and only using user-generated content that fitted with this message. Gensemer commented that he realised during the campaign that “the notion of user-generated content doesn’t really work – the role of editors and brand managers in creating a narrative is necessary. It seems user-generated but in fact it’s very controlled.”

The Obama story is of course an exceptional one – to get such a groundswell of support and interest with little cynicism for a brand, for example, would be a difficult task. Yet what is interesting about the story of his digital campaign is the way in which digital was integrated fully into the Obama campaign, rather than been seen as an additional extra. What was revealed is that if technology is used correctly to harness interest, it is clear that the results can be huge.

Cannes: Grand Prix hat-trick for CumminsNitro, Nike wins Design prize

At the Cannes Lions ad festival this week, CumminsNitro has picked up an astonishing three Grand Prixs, while Nike Battlefield took the Design prize

Australian agency CumminsNitro has won Grand Prixs in the PR, Direct and Cyber categories for its The Best Job in the World’ campaign for Tourism Queensland. The campaign offered one lucky person the chance to win a six-month contract to act as caretaker and promoter of Queensland’s Hamilton Island.

AKQA won the Grand Prix in the online advertising/innovative ideas category for its Fiat eco:Drive campaign, which also won Best in Book in CR’s Annual this year.

Last year, in what was, depending on your point of view, a bold move to embrace a new sector of visual communications or a shameless and cynical attempt to flog some more cash out of the creative indutries, Cannes launched a Design category, with the Grand Prix going to Turner Duckworth for its Coke identity work. Most of the entries however, came from ad agencies.

This year, it seems that the design world has started to take notice. Gold Lion winners include Williams Murray Hamm (for Jamie Oliver Recipease food kits), The Partners (for its Office Games identity for the Richard House hospice), and Pearlfisher (for Jamie Oliver’s JME food range). The likes of The Chase and Landor also feature among the winners, although the list is still ad agency dominated.

The Design Grand Prix has gone to McCann Worldgroup Causeway Bay, Hong Kong for Paper Battlefield, a series of 350 posters created by and featuring the teenage stars of the Nike Basketball League (which earned just a nomination at D&AD recently). Apparently,  the players themselves helped create the posters by silk screening images of themselves on top of one another in various combinations.

In other categories, FFL Paris won the press Grand Prix for its Wrangler campaign (which we wrote about here)

 

While the Outdoor Grand Prix went to TBWA\Hunt\Lascaris for its campaign for The Zimbabwean (which we wrote about here)

 

Apple Store Hyperwall

At Apple’s recent WWDC developer conference, 20,000 of the most popular iPhone apps were showcased on a pulsating wall of 30 Cinema Displays. Whenever someone downloaded a particular app, its icon pulsed light outwards creating a mesmerising display.

AppleInsider has all the technical background and more pics here

DAD winners: digging deeper

D&AD is often accused of only awarding the ‘usual suspects’ or the ‘big agencies’ but this year’s crop of Yellow Pencils included some genuinely interesting, off-beat projects, some of which we hadn’t seen before here at CR, others which we just thought were worth picking out.

First up is this winner in the Packaging category. The Trouble Maker Campaign from the HanTang Communications Group in China for Quzhou Seezo Trading puts dictator’s faces on condoms suggesting that the product’s use may have prevented the birth of some undesirables…

Next up, big agency but small project, again in Packaging: the Newspaper to New Paper Project from Dentsu Tokyo for Ichida Garden. Old newspapers were overprinted to provide wrapping for fruit and veg sold by a street vendor.

 

Das Comitee from Germany won in Photography for its Faces of Evil book in which the faces of despots were created using portraits of ordinary people

In Environmental Design, Studio Rasic from Croatia won for Bijela cesta ‘U iscekivanju kise’ (White road ‘Waiting for the Rain’). Created for the Mediterranean Sculptors’ Symposium, the project is in the Park of Sculptures in Labin, Croatia. It’s made from 1245 square blocks of highly polished limestone: 806 have cut-out circles which are allowed to become filled with rainwater and leaves to make the text legible.

Also from the Environmental category is the C]space DRL10 Pavilion by Nex Architecture for the Architectural Association’s Design Research Lab. The Pavilion won a competition to mark the DRL’s tenth birthday and was installed outside its HQ in London’s Bedford Square

In Websites, Tokyo’s Bascule won for the 12 CAMS, CREATE YOUR RAINBOW for Radiohead in which users could mix their own version of a live performance from 12 different cameras

Singapore’s Work

won in both Graphic Design and Illustration for WERK No.16: Joe Magee Special

Two other Yellow Pencil winners have been featured by us before: Nick Asbury’s Corpoetics booklet in which corporate mission statements are reworked into strangely revealing poems (we wrote about it here)

And Christopher Doyle’s personal Identity Guidelines, which we covered here. Both won in Writing for Design

Full results and nominations are here

DAD winners announced

Black Pencil in Graphic Design (Applied Print Graphics): UK coins by Matt Dent, for Royal Mail

Of the four Black Pencils awarded, Droga5 picked up two, Art+Com received one for their stunning BMW kinetic sculpture and Matt Dent‘s redesign of the UK coinage meant he also went home with D&AD’s most coveted award.

Other successes included Ghost Robot‘s Wanderlust video for Bjork and DDB London‘s posters for Harvey Nichols featuring Wallace and Gromit.

“The four Black Pencil winners demonstrate the power and all-encompassing nature of creativity – in education, politics and even in the change in our pockets,” says D&AD President, Garrick Hamm. “These winners are more than just great pieces of communication, they change our behaviour and touch our lives.”

 

Black Pencil in Environmental Design (Installations): Kinetic sculpture by Art+Com, for BMW (Germany)

 

Black Pencil in Viral (Writing): The Great Schlep campaign film by Droga5, for the Jewish Council of Education & Resarch (US)

 

Black Pencil in Integrated (Integrated): Million campaign by Droga5, for the New York City Department of Education (US). Check out the film about the project by clicking on “case studies” at the Droga5 site, here

 

Yellow Pencil in Graphic Design (Environmental Graphics): Bigger Storage Ideas by Ogilvy Frankfurt, for IKEA (Germany)

 

Yellow Pencil in Art Direction (Poster Advertising): Husky & Camel (one in series) by BBDO/Proximity Malaysia, for Jeep (Malaysia)

 

Yellow Pencil in Graphic Design (Integrated Graphics): Coca-Cola identity by Turner Duckworth London & San Francisco, for Coca-Cola (UK)

 

Yellow Pencil in Magazine & Newspaper Design (Entire Newspapers): Público (Portugal)

 

Yellow Pencil in Art Direction (Press Advertising): Paparazzi (one of series) by CLM BBDO, for Alka Seltzer (France)

 

Yellow Pencil in Digital Installations (Digital Installation): Cloud sculpture by Troika, for British Airways (UK)

 

Yellow Pencil in TV & Cinema Advertising (41-60 seconds): Pinata by TBWA\Chiat\Day, for Skittles (US)

 

Yellow Pencil in TV & Cinema Crafts (Special Effects): It’s Mine by MJZ, for Coca Cola (US)

 

Yellow Pencil in TV & Cinema Communications (TV Promotions): Stanley Kubrick Season promo by Channel 4, for More4 (UK). See it on YouTube, here

 

Yellow Pencil in Branding (Printed Materials): TED 696 project (printed bags) by BMF, for Tooheys Extra Dry 696ml (Australia)

All of the winning work can be viewed at: dandad.org/awards09. The D&AD Annual 2009, designed by Peter Saville, will be published in September.

All the Black and Yellow Pencils awarded are listed below.

 

 

The year the media died

At 9 minutes plus, it’s way too long but ‘L McDuff” has followed his (we presume it’s his) satire on Wall Street with this reworking of American Pie documenting the woes of the ad industry.

Thanks to Chris Arnold at Creative Orchestra for the tip.

Tea time is me time

BMB has recruited the wonderful John Shuttleworth to front a campaign for Yorkshire Tea. Genius

In an ‘augented reality’ version (shown above and accessible here), webcam-equipped Yorkshire Tea drinkers can geet Shuttleworth (aka comedian Graham Fellows) to serenade them atop their own box of tea (after some careful positioning).

Those of a more traditional bent can watch the TV ads

And here’s some outtakes

Agency: Beattie McGuinness Bungay
Copywriter: Simon Bere/Graham Fellows
Art director: Simon Bere
Director: Willy Smax

Hattler’s Basement Jaxx Visuals

Basement Jaxx asked media artist Max Hattler to create stage visuals for their current tour: “There was no brief, no pitch, they just wanted me to do whatever I want – as long as it didn’t involve monkeys!”

Hattler was asked to create visuals for the track Where’s Your Head At on the band’s current tour. “One day last autumn I got a call from Basement Jaxx’s management. Simon and Felix had seen my film Drift winning the award for best digital film at the London International Animation Festival. They liked Drift enough to trawl through my website and get their manager to call me,” Hattler says. “I decided to base the concept on the grid structure of the LED display on which the visuals are shown. The 7 by 2 meter screen is made up of 60 square LED elements, four rows of 15 elements. I decided to go for a very flat aesthetic, in which the screen acts as a wall, rather than a window to a three-dimensional space. Each of the blocks that make up the screen becomes a tile in the makeup of the overall picture, a pixel in the construction of the visual narrative.”

Here’s the piece in action:

Directed and produced by Max Hattler
Animation by Max Hattler, Milad Firoozian (3D), Noriko Okaku, Rodrigo Vives, Papaya Gonzales.

And here’s Hattler’s Drift film

QBN seeks publisher

QBN.com‘s book project, A Better Tomorrow, is set to feature a host of new work from the site’s community and raise money for the Patrick O’Brien Foundation, the organisation set up to offer support to one of the site’s original editors (above, photographed by Timothy Saccenti) who was diagnosed with Lou Gehrig‘s disease four years ago. But QBN now need a publisher…

The book hopes to paint a picture of the unique community that QBN has engendered since its inception in 2001 as Newstoday.com. The main aim of the project was to inspire donations – at $50 per book – to the Patrick O’Brien Foundation. O’Brien was one of the first editors of the site (as Transfatty) and was diagnosed with Amytrophic Lateral Sclerosis (or Lou Gehrig’s disease) in May of 2005 at the age of 30. 

“We feel that the tie-in to Patrick – a long time QBN member – and his need for support is an opportune time to display the importance and power of the QBN community,” says Alistair Dance, a QBN contributor and founder of A Dance Studio.

By Andrew Townsend of Un.titled

By Michael C Place of Build

The book features the work of established designers such as Andrew Townsend (Un.Titled), Michael C. Place (Build), Darren Firth (keepsmesane and wearitwithpride), Chuck Anderson (nopattern), Hellohikimori and many other up-and-coming designers.

Until recently, QBN had been working with a publisher (all artwork has been laid out and the book is more or less ready to go) but this partnership has now ended. Interested parties should contact QBN on publishing@abettertomorrowbook.com.

(The book also includes some of the best comments left by its users, such as wendell’s inspired advice on maintaining the love in a relationship).

 

The living book

In a campaign to promote the Editoras Online bookshop, DDB Brasil created a book that regularly updates its content.

The book, which is available exclusively from Editoras Online, features a series of QR codes. Using a mobile phone, the reader can decode them to reveal messages about love and hate that have been posted on Twitter.

This video explains how it works

While this video shows it in testing

Every time someone who is following the campaign’s Twitter profile tweets a phrase containing either the words ‘love’ or ‘hate’, that phrase is captured and linked to one of the QR codes in the book. Tiago Marcondes, who created the campaign, explains that they would have liked to pull in phrases from all over Twitter but lawyers advised that only those of people following the campaign could be used.

To promote the book, before it was launched DDB posted 4000 stickers bearing 200 different QR codes around São Paulo. Each sticker says “Here’s a moment of love” or “hate” and has a QR code below. As with the book pages, those with QR-enabled phones can decode the graphic to reveal a phrase from Twitter. All the stickers and the QR codes in the book are updated with new phrases every 7 days.

More pictures can be found here

The campaign website is here, with info in English here