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By CHRIS ARNOLD, campaignlive.co.uk, Friday, 28 March 1997 12:00AM

It’s hard to pick my favourite piece of work because I have two.

It’s hard to pick my favourite piece of work because I have

two.



One is the 96-sheet ’glue’ poster created for the National Asthma

Campaign, and the other is a radio campaign - ’moaning’ - for the Family

Planning Association.



This featured what sounded like a teenage girl having sex but it turned

out that in fact she was giving birth.



I believe if you want to get people to respond you’ve first got to get a

reaction.



Both ads were for charities, so had precious little budget and took a

lot of effort to get up and running. These weren’t easy briefs where the

client had buckets of money to throw at them. But despite that, they

were more successful in terms of response, raising awareness and winning

more creative awards than many more costly campaigns - proving that good

ideas are the key to effectiveness.



Although posters (and radio) are proven for brand marketing, in the

field of direct marketing they are still under-used or used badly. Yet,

as posters are without doubt one of the most impactful media available,

what better media - when everyone is in the target audience - to get a

response and maximum PR to raise awareness of asthma?



To drive home the message - ’pollution in the air affects your lungs and

therefore asthmatics’ - we painted a poster site with glue. As pollution

stuck to it, so the headline was revealed: ’This poster has been up for

just two weeks. Imagine what your lungs must look like.’



We had to beg for the site as Vauxhall Cross is one of the busiest in

London - and find a sponsor. It took hard work and luck - which made it

very satisfying.



When it went up, journalists went to look and then wrote articles about

asthma. People driving by called up for information and to offer

support. Add to that a D&AD award, the first poster to win a DMA, and

even Trevor Beattie saying at the Campaign Creative Poster seminar he

wished he’d done that one. I think we got one hell of a response.



Chris Arnold is the creative director of Draft Direct Worldwide



This article was first published on campaignlive.co.uk

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