At the heart of the activation was a takeover of The Sandbox on Quaker Street, transformed into an immersive Elizabeth Arden pop-up wrapped in the brand’s signature red ribbon and iconic visual identity.

Outside, a striking spillboard installation turned the 48-sheet site into a celebration of Eight Hour Cream, complete with tearaway samples. Inside, visitors enjoyed expert consultations, immersive brand storytelling, bespoke photo moments, a prize-wheel giveaway and a signature mocktail inspired by the cream’s distinctive apricot hue, dreamt up entirely by our in-house Creative Studio and JACK team.

Extending beyond London, tearaway takeovers appeared across six cities, putting samples directly into consumers’ hands and bringing one of beauty’s most enduring icons to the streets.

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Taking the launch to the streets, DIABOLICAL worked with The Orchard to roll out a 4-sheet, nationwide poster campaign that spanned from London, to Dundee, putting Raye front and centre and at scale. True to her classic Hollywood style and flair, the artwork itself was reminiscent of cabaret posters – bold and impactful, cementing Raye as the showgirl she is.

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Working alongside Virgin Music, the rollout spanned cities including London, Brighton, Edinburgh, Glasgow, Dundee, Bristol, Birmingham, Cardiff, Liverpool, Sheffield and Manchester. A multi-format approach — from 4-sheets, to 48 sheets and large-scale takeovers — ensured consistent presence across the UK.

Reflecting the tone of the album itself, the campaign carried a sense of quiet intensity — blending themes of love, existential dread and subtle socio-political commentary into a visual identity that felt as layered and far-reaching as the music.

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Visually, the campaign stayed true to the band’s unmistakable world. Pulling from the album’s artworks by Jamie Hewlett – created in his Normandy studio and inspired by years of travel – the visuals captured the mood of a record exploring death, grief and the afterlife, alongside collaborators including IDLES, Anoushka Shankar, Bobby Womack and David Jolicoeur.

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BBJ&K and JACK ARTS teamed up to develop ways WMCA could respectfully and creatively amplify the voices of past victims. Together with our Creative Studio, JACK ARTS came up with the idea to make a tree installation carrying incredibly touching messages from families who have been affected by road collisions.

The Letter Tree was unveiled by the Mayor of the West Midlands, Richard Parker, in Brindleyplace, Birmingham and there was a special moment for road accident survivors and affected family members to see the tree and read their stories. The Letter Tree will now be going on tour across the region in 2026 to continue raising awareness about the importance of road safety.

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Spanning across two different artworks and two different formats, the poster’s transformed the streets into a feverish dream, with the album cover’s mesmerising tableau offering a glimpse into the collection of stories and conceptual new-era romanticism the album holds. In Brixton, a creative billboard hosting a replica of the neon sign – From The Pyre – lit up at night, casting a glow over the street below. Built with a concealed lightbox, the sign evoked the look of a roadside motel – a whip-smart counterpoint to the band’s trademark baroque aesthetic. 

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These four actions – Be Good Neighbours, Secure Cultural Space, Be a Lighthouse and Be Inclusive were brought to life through a partnership between Eastside Projects and JACK ARTS, who showcased them across Digbeth in a street takeover and large 48-sheet displays, uniting the community around their shared goals.

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In Manchester and London, “infinity mirror” posters with LED-lit lenticulars gave the mask a haunting 3D glow – an illusion that stopped even the bravest passersby in their tracks. As night fell, a single poster would light up, turning ordinary corners into spooked-out streets.

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To spotlight the event, JACK partnered with Talon for a bold poster takeover across Selfridges’ home cities – London, Manchester, and Birmingham. Inspired by ‘90s rave flyers, they gave their iconic typography a nostalgic twist, paired with a cheeky Selfridges-yellow caution sign reading “Dance Floor Warning.” To unlock the music, the public can scan the QR code, sign up, and dive into the beat. 

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JACK ARTS Scotland worked with their team to take their colourful campaign, which showcased the work of creatives who have used their services, onto our paper and paste sites around Birmingham, Brighton, Cardiff, Glasgow and Manchester – providing the perfect medium for a campaign celebrating the tactile, physical nature of print.

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Download is more than just a festival, it’s a gathering of true music devotees. A pilgrimage where rock and metal fans unite in a way that sets it apart from any other event on the calendar. DIABOLICAL tapped into that energy to spotlight both iconic names and rising stars from across the heavy music scene. Partnering with Live Nation, we helped bring a diverse lineup of artists to the stage, including Metallica, Architects, and Neck Deep. We also collaborated with Sony Music to showcase headliners Sleep Token, while Red Bull Media House took over with new releases from House of Protection, amplified by our signature 48-sheet formats.

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The campaign’s standout creative brought the phone’s ultra-slim design to life through a striking 3D build. Designed to appear as if the device was perfectly wedged between two separate billboards, the illusion was cleverly achieved using a single billboard visually split in two, grabbing the attention of passersby.

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Brought to life through stunning film photography and postered across cities throughout the UK thanks to DIABOLICAL, the campaign is a visual love letter to fandoms and communities worldwide.

Launched in two phases – with the first wave of billboards going live in April and a second in October – the campaign proved the power and passion of fandom. From the matching mod haircuts of the Oasis faithful to the pink cowboy hats of Chappell Roan’s fans, or the bedazzled embodiment of Olivia Rodrigo’s Sour era, each poster celebrates the vibrant communities brought together through Spotify.

Returning for a second time, the hit Spotify Fan campaign took us on a global tour of fandoms: from a touching dance party with a Bad Bunny fan and his abuela, to a late-night (or very early morning) bike ride for Charli XCX fans, to Pitbull devotees donning the iconic bald caps and suits.

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As part of the campaign, Oatly will be touring the country throughout March and April, offering free oat flat whites to those who have never tried it before. On March 31st, Oatly will join forces with London-based coffee brand Grind to give away free drinks at 14 locations across the capital. So, if you’re an Oatly fan, even if you don’t know it yet, don’t miss your chance to try it!

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DIABOLICAL and Kilimanjaro Live welcomed back the monumental tour with six different creative billboards across London, Manchester, Sheffield, Cardiff, Liverpool and Birmingham. Portraying the gravity of the Martian invasion (as well as the dates of each show), the builds featured several Fighting Machines – as if they had been teleported from 1898 – towering over the streets, leaving a wake of destruction across each site. The billboards, just like the show, are not to be missed.

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Working with Mediabridge, JACK ARTS supported the Trust’s national campaign ‘Space to Feel’ – which brought idyllic panoramas out of nature and onto our urban billboards across our UK cities, encouraging people to discover and explore places in the National Trust’s care. The wanderlust creatives framed on our street-level poster sites provided a visual portal, transporting the passing viewer to tranquil UK destinations encouraging pause and connection to our great outdoors.

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Happening simultaneously in London and Birmingham; bet365, Octagon, Weber Shandwick and COPA90 enlisted legends Clarence Seerdorf, Stiliyan Petrov and JACK on a giveaway fit for the football fanatics. After days of generating excitement at the prospect of free tickets, Seerdorf (in London) and Petrov (Birmingham) revealed their live locations via Instagram. The first ten people to make it to either of them earned the chance to win one of four pairs of UEFA Champions League (and bragging rights). To officiate the campaign, our in-house creative studio team converted a billboard in each city into ‘THE BIG UEFA CHAMPIONS LEAGUE TICKET PRINTER’ that did exactly as it said. A larger-than-life ticket, and some even larger smiles.

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To bring the long-awaited sequel to the streets of Birmingham, Edinburgh, Glasgow, London and Manchester, JACK worked with Kinetic. Echoing Beetlejuice’s iconic black and white suit, the campaign creative puts the cast, both new and old, on display across our takeover sites – injecting some much needed weirdness into our cities.

“It’s showtime.”

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Download is a festival for the heads. It is a place where fans pilgrimage to worship together, in such a way that you won’t see at any other festival. DIABOLICAL tapped into this energy to promote some of the biggest and on-the-rise artists from within the sphere; including Pearl Jam, Patera, Myles Kennedy, and others.

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The workshop brought participants from China, Sudan, India and Turkey together, bringing rich cultural references to the creative sessions: 

‘Their stories had an impact on me.  The dreams, families, lives they had to give up, the seemingly endless wait for the results of their applications, which almost seemed like a purgatory to me, as their new lives are unable to start until applications are approved…   

The workshops reinforced my belief that everyone is essentially an artist/creative. I will always remember how some people came along and immediately showed off their creative skills, and others, who swore they weren’t creative, but realised they actually were after they started selecting images, cutting, sticking, drawing and collaging.  The children were confident in taking part, with no inhibitions. 

For this work, it was important for me to incorporate some of the elements of participant’s family pictures, which they sent to me via mobile phone.   These are included without revealing identities and include children’s hands making a heart shape, and daffodils photographed in a city park, symbolising birth and new beginnings.  I have included the sea and the land as elements for human sustenance, also as references to treacherous and long journeys, and sand timers as symbols of their time which they have given up in leaving a place, and given again in waiting –  all in one lifetime.”  - Ngadi Smart 

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Collaborating with Hay again this year, JACK ARTS spread news of their 2024 festival across billboard and takeover sites in Birmingham, Bristol, Cardiff and London. Highlighting the breadth of the programme, their poster campaign mixed graphics and text in a dazzling checkboard effect, including some of this year’s bumper line-up, featuring Caitlan Moran, Jacqueline Wilson, Nish Kumar, Sara Pascoe and Stephen Fry, alongside photography of the festival’s visitors and events. 

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To welcome to new look to the streets, we worked alongside Threepipe Reply; taking over poster sites throughout London, Birmingham, Liverpool and Manchester. The creative featured familiar faces from all three national squads representing the new home-and-away garms off the pitch, before doing so on the world stage. 

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Drawing audiences in from nearby Birmingham, we joined forces with Shakespeare Media to tantalise theatregoers with the RSC’s new spring season, bringing two very different tales to the vibrant streets of Digbeth. 

For their refreshingly sharp and contemporary adaptation of Love’s Labour’s Lost, we created a giant eye-catching creative billboard that brought central character Berowne (played by Bridgerton’s Luke Thompson) out of the frame, and created a dazzling lenticular build for a new staging of Hanif Kureishi’s award-winning novel The Buddha of Suburbia.

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JACK and Evolve OOH teamed up on a creative build in Birmingham that features the protagonist, Cloud, and his Buster Sword, constructed using dozens of silver and purple wireless controllers all of which can be won through a sweepstakes hosted by Square Enix. An iconic build for an equally iconic franchise. 

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To launch the highly anticipated second instalment of Elliot’s story, which premiered on New Years Day, we worked with Talon Outdoor to create an intriguing campaign using our billboard sites in Manchester and Birmingham, sure to stop passers-by in their tracks. Linking into the first series, we created mock missing posters which were then fly posted on top of our billboards, overlapping and spilling off the frames as if Helen’s character had pasted them herself. 

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Joining forces with VCCP and Magic Eye Inc. on a tease and reveal campaign, Müller resurrected another 90s stalwart to create a mind-bending yoghurt-inspired optical illusion. Perfect for our takeover formats, we took Müller’s Magic Eye to the streets of Birmingham, Brighton, London and Manchester, intriguing and delighting passers-by of all generations, and slowly revealing the retro return of Mississippi Mud Pie and Strawberry & Orange Choc Balls.  

Müller’s campaign was featured by Campaign, Creative Review, Creative Bloq, and across social media – including a cross-generational TikTok from Roman and Martin Kemp. 

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We worked with Youtube to get the word out across Birmingham, Brighton, London and Manchester with digital-era inspired poster takeovers, championing colourful portraits of the platform’s line-up.

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We worked with EMI to bring ‘Messy’ to the streets of London, Birmingham, Bristol, Edinburgh, Glasgow, and Manchester in celebration of its release and critical acclaim. Courtesy of DIABOLICAL – these purple posters coloured cities nationwide. 

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JACK worked alongside Channel 4 and Talon, to bring the campaign to the streets of Manchester, Birmingham and London. With artwork reminiscent of 90s rave flyers, featuring psychedelic colours and icons, the campaign makes Partygate out to be the illegal house party that it was.  

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JACK went far and wide with this one, on campaign that takes the 3-stripes to new heights. Working with Kinetic we championed portraits of the local and global icons who brought the iconic trefoil to the forefront of culture. The campaign was seen throughout the streets of London, Liverpool, Glasgow, Manchester and Birmingham in a continued celebration of Adidas’ lasting impact on culture, style and authenticity. 

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We teamed up with StudioCanal, to bring the beautiful story (and those just as beautiful reviews) to the streets of Manchester, Glasgow, London, Birmingham and Bristol, ramping up the excitement for the film’s release. 

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Working with the team at Capsule, we brought this year’s eclectic line up – featuring homegrown heroes Godflesh, Zambian-Canadian rapper Backxwash, Irish folk quartet Lankum, the legendary Deerhoof and many more – to the streets of Birmingham. Supersonic’s bold, black-and-white, multi-format poster campaign (with splashes of red and graphic nods to David Lynch’s Black Lodge) took over sites across the creative hubs of Digbeth and King’s Heath, inspiring curiosity for audiences old and new.

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As the campaign was centred around direct fan engagement, we attached comic-inspired clings to its street poster takeovers so that people could easily peel off and keep illustrations specially created for the show. On sites in the busiest spots that London, Birmingham and Manchester have to offer, it proved that Black Mirror was well and truly back with a bang. 

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To spotlight the game, we teamed up with Talon to create a show-stopping creative billboard in Birmingham. Inviting passers-by to join the fellowship, the 3D billboard featured an unmissable Gollum and a giant model of the one ring, that lit up its famous Elvish in fiery yellow by night. 

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Calling on the city to ‘make some noise’, the orchestra’s latest street poster campaign uses bold typography and live imagery to launch new branding and an epic season, 2023-24: CBSO Remastered. From ‘classics to crowd pleasers, symphonies to soundtracks, heavy metal to smash hits’, the unmissable series of concerts is bound to bring inspiration to Birmingham and beyond. 

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To bring the line-up to the streets of the city, we worked with Mostly Jazz Funk & Soul Festival on a colourful street poster campaign that took over our sites in Selly Oak, Solihull, Digbeth and Aston. Spotlighting the festival’s huge programme, it was a great way to get the city excited for the summer. 

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To bring this year’s event to Bristol and Birmingham, we worked alongside the Hay Festival on vibrant street poster takeovers of our sites in each city. Asserting its ability to inspire and encourage imaginations to run free, the creatives also included some of this year’s huge and varied line-up – featuring the likes of Stormzy, Mary Berry, Baaba Maal, Dua Lipa, Helena Bonham Carter, Douglas Stuart, Margaret Atwood, Elif Shafak and Gary Younge.

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To celebrate the album release, we worked with Island Records on a show-stopping London mural, and a monochromatic street poster campaign that covered the English capital, as well as Birmingham, Glasgow, and Manchester. Sharing the band’s familiar faces on the street, the portrait shots reflect the warmth and closeness of the new-found sound.

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To help Simz take over her home city of London, as well as Birmingham, Bristol, and Manchester with news of the release, we teamed up with AWAL. Surprising the streets with projections of the album artwork and street posters spotlighting her words of wisdom, the campaign creatives were simple but effective – allowing Simz’ concepts to sing. 

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Championing their initiative for the third year in a row, we extended our partnership beyond Feel Good Club’s home city of Manchester by also flooding the streets of Sheffield, Liverpool and Birmingham with bold words of love and encouragement – ‘I want you to know you are one hundred thousand percent going to get through this’ and ‘I want you to know you’re allowed to need someone to talk to’.  

To spread these motivational messages even further afield, viewers were encouraged to ‘pass it on’ by scanning a QR code to send a free postcard to a friend or loved one via the Feel Good Club website. The posters received over twenty thousand likes via the posts they featured in across Feel Good Club’s social media channels.

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We collaborated with our client Loft London to get the word out across Birmingham, Brighton, Liverpool, London and Manchester. The poster takeovers brought news of the series line-up to the streets, with magazine cover-style posters bringing colour to the city.

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To celebrate the release of It Starts with Us, we teamed up with Simon & Schuster to spotlight the novel in London, Birmingham, and Manchester. Crafting creative billboards full of florals inspired by its cover artwork, the campaign blossomed in the heart of each city. 

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To bring Being Funny in a Foreign Language to life on the streets, we worked alongside Dirty Hit on a striking nationwide street poster campaign in Birmingham, Brighton, Bristol, Cardiff, Edinburgh, Glasgow, Liverpool, London, Manchester, and Sheffield. Making use of the varied spaces our street poster formats provide, it showcased The 1975’s latest triumph across each city.  

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This edition of the project brings together the work of Charles Stepney and David Axelrod, who’ve both released their own material and worked with acts like Earth, Wind & Fire; Gene Ammons; The Electric Prunes; Ramsey Lewis and The Dells. The commemoration will culminate in a trio of hour-long concerts, one each in London, Birmingham, and Manchester, comprehensively interpreting their music with performances from a 17-piece ensemble – including “genre-liberated strings, horns and percussions, with live visuals and experimental film.”

We worked with Music of the Unseen as its media partner to take the project’s concert announcements to the streets of London, Birmingham, and Manchester – ahead of the shows visiting each city in the autumn. We’re delighted to be helping throw the spotlight onto musical talent from the past that deserves to be paid its dues.

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Working alongside Grain Photography Hub, we’re delighted to be the project’s media partner, papering and pasting the images to our billboards and poster sites throughout Birmingham. As the first stage of the project has gone live and even featured on BBC’s The One Show(!), we’re looking forward to the rest of the displays rolling out across the summer – a particularly special one for Birmingham, as it prepares to welcome the 2022 Commonwealth Games.

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We worked with Kinetic to bring Jeen-Yuhs to Birmingham, Bristol, London and Manchester, with mirrored creatives that asked the streets, “Who are you to call yourself a…?”, reflecting the documentary’s ability to provoke contemplation about the price of fame. Sitting next to warped portraits of its namesake figure, the campaign gave the film a distinctive profile on the streets of each city.

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With creatives that showcased Instax’s palpable vibrance and friendly, familiar branding, the tiled style of each billboard and takeover gave prominence to their warm philosophy – “don’t just take, give.” Featuring the whole family of Instax products and snapshots of the types of times the cameras preserve, it was the perfect way to remind people on the streets that there’s no better gift to give.

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We teamed up with TikTok to take #thisisBlack nationwide, taking over sites in Birmingham, Brighton, Bristol, Cardiff, Edinburgh, Glasgow, London, Manchester and Sheffield. Showcasing the campaign’s stars in monochrome tones alongside TikTok’s iconic bright pink and turquoise, the run also included a trio of creative billboards in London, illuminating the creators for all the city to see.

It proved to make great social content too – appearing on TikTok UK’s Instagram and Twitter accounts, as well as a number of the creators’ profiles (including Nifè and Ehiz) – earning well over one-hundred thousand likes in the process.

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Projecting a mysterious 30 across iconic locations in London, Manchester, Edinburgh, Cardiff and Birmingham, we teased Adele’s album news around the nation, alongside digital screen displays taking over city streets. Coinciding with the release of Easy On Me, her first single in five years, it promised a forthcoming full-length album set to delight fans and break records once again.

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We worked with Kinetic on a mega-campaign that travelled across Birmingham, Cardiff, London and Manchester, as well as TRNSMT, Parklife and Wireless festivals. Noting that Growth is a group project, the posters featured vintage-style artworks showcasing the stars of the show on the streets, accompanied by beautiful green and gold botanicals that nod to forthcoming change and progression.

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We’ve worked with the Southbank Centre to bring the exhibition to the streets of Brighton, Birmingham, London and Manchester, taking specially commissioned photographs of the creative works and participants to the streets they rose from. Presented in partnership with the National Academy for Social Prescribing, the digital and in-person exhibition that’s set to tour across the country make a huge case for the power and potential of creativity in people’s lives.

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We worked with TikTok to showcase the app’s musical side on city streets nationwide. With its music feature being responsible for creating hits, launching new artists to stardom, and bringing back forgotten tracks, the creatives centred around the app’s ability to let users “discover the hits of summer back in spring” and “be the person who knew them before they were big”.

The mega Discover Music campaign took over our sites in Bristol, Sheffield, Birmingham, Cardiff, London, Brighton, Manchester and Glasgow, pulling together creative billboards with 3D constructions, light-up elements, moving parts and flower installations, alongside street posters with sharp slogans in the app’s trademark colours and fonts. Our site by The Black Cap in Camden also provided a perfect backdrop for some of TikTok’s music creators to come and film viral content tying in with the campaign.

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A combination of in-person and virtual programming made the festival as achievable and accessible as possible under current conditions. The conference packed with workshops, Q&As, and talks was preceded by an exhibition titled The Creative City at Digbeth’s Custard Factory, celebrating the spirit of Birmingham with 100 original posters designed by the city’s native creatives, including Brumhaus, Foka Wolf and Super Freak.

We partnered up with Birmingham Design Festival for 2021, printing and installing each piece for The Creative City. We also placed over 50 of the artworks on our sites on the city’s streets, spreading the Brum love far and wide for all to see. Helping to realise the festival’s ambitions of taking the exhibition to a wider audience, it proved popular with creators and festival attendees alike, who photographed and posted displays they spotted right across social media.

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For a special summer programme, B:Music is bringing some of the foremost names in the jazz scene to the city for B:Jazz Fest, celebrating new and legendary talent in the incredible performance settings that Birmingham has to offer.

We worked with B:Music to bring the festival to Birmingham’s streets, with a bold, bright pink creative spotlighting artists’ names and images in the city. With live music finally back on the menu, it was a welcome sight for people to see.

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We worked with Talon to launch Shelter’s Fight For Home campaign on the streets of the UK, taking thought-provoking and impactful creatives by Who Wot Why to Birmingham, Edinburgh, Glasgow, London, Manchester and Sheffield. With the charity’s trademark red, cramped text, monochromatic images and simple statements, the posters struck a chord both on the street and online, drumming up hundreds of likes and plenty of comments across Instagram, LinkedIn and Twitter.

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Their 1991 release, The Black Album, is one of their most influential and famous records to date – not to mention one of the biggest selling albums of all time – so its 30^th Anniversary is cause for celebration, with a remastered release and cover album in the works.

We teamed up with EMI Records to bring The Black Album announcements to life on the streets, projecting the band’s famous logo around London alongside digital screen takeovers mirrored in Liverpool, Manchester and Birmingham. The band loved the projections, sharing a selection of images on their Instagram – receiving over 225k likes.

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After the Clapham Common vigil in Sarah’s memory was heavily policed and saw attendees’ arrests making front-page news, illustrator Niki Groom created All Under the Night Sky, a beautiful piece that’s “part reportage, part imagination”. It commemorates the outpouring of grief for Sarah and the handling of the situation on Clapham Common, with the placards and speech bubbles seen mirroring quotes found through Twitter, Facebook and Instagram.

We helped Niki to bring the mural to the streets, displaying the widely shared messages, thoughts, and feelings on our sites in Cardiff, Bristol, Birmingham, London and Sheffield. The artwork is also available to buy as a print, with proceeds from sales going to Refuge, National Stalking Helpline, and Refugee Women of Bristol.

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To launch Blue Weekend, we worked with Dirty Hit on a campaign featuring street posters, projections, and digital displays. The artwork spotlighted the album’s hazy, atmospheric artwork, alongside the band’s logo in a co-ordinating bright blue – it looked bold on sites in Birmingham, Bristol, Glasgow, London and Sheffield, plus as a head-turning vinyl mural on our site by The Black Cap in the heart of Camden.

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To coincide with Record Store Day on June 12^th, BUILDHOLLYWOOD will unveil its one-of-a-kind street gallery with billboard images from legendary photographers Mick Rock and Pogus Caesar displayed alongside those from up-and-coming photographers Denisha Anderson and Steven M. Wiggins in London, Birmingham, Brighton, Bristol, Cardiff and Edinburgh.

The project will see iconic photographs of renowned musicians including Jay-Z, Madonna, Grace Jones, Dizzie Rascal, Debbie Harry and Stevie Wonder appear alongside emerging talents like Wu-Lu, Scrufizzer, Sketch and Oscar Jerome. Displayed in cities throughout the UK, the striking images bring bold music photography into the heart of the community – and onto the very streets which inspired many of the musicians who are featured.

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To bring Sour to London, Birmingham, Bristol and Glasgow, we teamed up with Polydor, using billboards and 4 sheets across each city. Taking its aesthetic to the streets involved a pared-back purple artwork that let Olivia steal the show, with her face covered in stickers that are repeatedly woven through the album’s imagery. Alongside her trademark OR logo, they also formed the basis for a huge mural on Shoreditch’s Great Eastern Street – rightfully embodying the passionate teen spirit of Sour.

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This is the first ever nationwide effort to speak to the heroin-using community about naloxone and it’s come at a vital time – it was created in response to increasing deaths linked to overdoses. Shot by renowned street photographer Harry F Conway, the stories and faces are real people with their own lived experience, keen to address this issue across the nation in London, Manchester, Bristol, Birmingham, Glasgow, Cardiff and Edinburgh.

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Working with Kinetic, we put together billboard takeovers on the streets of London, Manchester and Birmingham. Featuring Lady Gaga’s striking, confident image staring straight at the camera accompanied by the sleek glass bottle of VOCE VIVA, we wanted to evoke the celebration of an individual essence, bringing luxury to the streets.

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The concept of gathering stories from past and present global histories comes naturally to Ahluwalia, who grew up a kid of the diaspora with Indian and Nigerian heritage. As a native southwest Londoner she remembers being surrounded by hubs of migrant communities in the 90s, going to Tooting to get her hair done and travelling up to Southall with her family to go to the butchers.

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“The last three years have seen fundamental changes to how we relate to one another as individuals and as a society. Britain has exited from the European Union; the pandemic has bought new geographies to our daily lives; Black Lives Matter has voiced powerful articulations of systemic inequality. Division/Revision is a reflection on how relations are being re-defined through seismic shifts in the current social and political landscape.”

Uta Kögelsberger

 

With everything in such a state of flux it seems fitting that participating artists’ work will appear on sixteen billboards and change daily for sixteen consecutive days in London, Bristol, Birmingham, Manchester, Sheffield and Glasgow.

As you might expect the individual artworks are hugely diverse. From plain-speaking to intriguing, visually metaphoric to fantastical, playful to symbolic… Together they act as a fascinating, multi-perspectival intervention in the public realm that holds a mirror up to the turbulent and mutable times we are living through.

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Spanky the hand is front and centre, as he often has been throughout a rise that’s seen Super Freak turn a passion into a career, featuring on the pages of the New York and LA Times as well as working with brands like Vans, Levi’s and Dr Martens. Whitehouse’s signature character has been a key part of his ‘Superverse’ since his inception – in his own words, Spanky ‘is generally the happiest hand around but pretty clumsy so often finds himself in odd predicaments’. The pure cartoonish fun of a happy hand simply having a good time has its own effect, but Super Freak’s work isn’t pure fantasy. In fact there’s something oddly satisfying about the juxtaposition between Spanky’s chirpy demeanour and some of the more downbeat accompanying messaging when reality does occasionally seep in.

Here, though, our brilliantly malleable hero has definitely been caught on one of his good days and is a picture of carefree contentment.

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Hearts, eyeballs, petals, teeth, smiles, worms, wedges, a grinning grey rat and fly agaric mushroom jostle around, behind, over and in between vertically arranged black letters that spell ‘Love’. Pink flicky drips, rocket powered bananas and those miniature mountains looking very fondly at one another. The whole shebang is a psychedelic, loony love-in.

Whitehouse observed how in Birmingham “All the places where I love to eat, drink and hang out with friends are sadly closing their doors. But despite the challenges I’ve seen so much compassion and support in our community… It reminds me how bloody brilliant this city is.”

In ‘Hope’ the smiling Mickey Mouse gloves make an appearance again, the rat wearing shades is there too but he’s pink this time. The word ‘Hope’ beams out amidst the mayhem in sunny yellow. The spatial playfulness in Whitehouse’s work is astonishing. If ‘Love’ has the feel of a freaky featured inferno, ‘Hope’ with its planets and spaceship reaches beyond the clouds to infinity.

Both works afford a joyful panacea to corona worries. The scramble of craziness also reminds us what happy gatherings used to be like. Whitehouse’s clever compositions let us imagine his visual cacophonies go beyond the frame, as if they are snapshots of some jubilant crowd on a beach, in the street, at a club. Meanwhile it’s a delight to lose yourself in these hypnotic, hallucinatory works. While we wait for the lovely days to return.

www.super-freak.co.uk

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With billboards in darkest black and pumpkin orange, we took to the streets to take over London, Manchester and Birmingham. But these weren’t just any billboards – they were special builds, appearing normal by day and lighting up at night with spooky UV lights and neon paint. Creepy! Don’t forget it’s best sipped in the dark.

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In response to the devastating riots of 1985, the ‘son’s of Birmingham’, artist Pogus Caesar and Poet Benjamin Zephaniah, collaborated to create a city-wide, urban intervention of billboards and poster sites at street-level locations across the city.

The campaign revisits a period of social unrest and turmoil, a visual reminder of the history of the streets in which the poster sites stand.  The powerful black and while images, taken at the height of the Handsworth riots by Caesar on a 35mm Canon he still used today, were showcased alongside new, reflective poems written by poet Benjamin Zephaniah.

The creative pairing resulted in striking, thought-provoking visuals intended to stimulate and encourage conversation.  The project is part of an ongoing Jack Arts initiative, Your Space or Mine, in which we use our poster sites in unique and inspiring ways to provide a platform for artists and creatives.  It was developed in partnership with Flying Leaps an artist street display project that seeks to make unexpected, positive contributions to our urban environments.

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To get people really talking, we teamed up with Parlophone Records to tease out the old school album artwork, minus the album name, rolling out intriguing stunts across the UK. We headed to the wilds of Surrey to unexpectedly install a billboard in a field for fans to spot. We covered Birmingham with a series of show stopping projections and then took the campaign underground by putting up posters in a bunker in Clapham South – a photo of the site was posted on Coldplay’s Instagram page racking up 256K likes. To support these stunts we also ran a nationwide poster campaign. It’s safe to say that we have been successfully creating hype in the lead up to the release of ‘Everyday Life’.

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The second season has already been well-reviewed, and to help Netflix launch it, we ran a poster campaign across London, Manchester and Birmingham. The artwork echo the 60s setting of the season, with bright yellows and pinks set alongside hypnotic black and white circles and retro patterns. Featuring photos of the cast, it’s an eye-catching promotion for a unique show.

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We were excited to work with Rapport to spread word on the street that Rockstar Games’ biggest hit had returned. With 4 sheet posters and 48 sheet billboards in high impact areas throughout the UK, the bold creative took-over the streets in Glasgow, Edinburgh, Sheffield, Manchester, Cardiff, London, Birmingham.

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In February 2018 we worked with Opticomm Media on their latest creative campaign. “1 Million Beers on us” was a pledge from BrewDog to give away 1 million pints of it’s flagship beer, Punk IPA. The outdoor campaign, running alongside press and social media, encouraged potential customers to “make up your own mind” and “not believe the advertising”. All you had to do was register your details online to receive a beer token and claim your free pint.

The huge sampling campaign was an original and creative attempt to convert traditional beer lovers to craft IPA, and the out-of-home campaign appeared on large billboards and 4 sheet takeovers across the UK.

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THE BOOK OF JOY: To help the Dalai Lama and Archbishop Desmond Tutu spread the joy, we recruited a happy team of steel drummers and promo staff who handed out flowers and book samples to Londoners.

THAT GIRL FROM NOWHERE: Playing on the cover of the book which includes a bunch of polaroids scattered on the floor, we set up a nifty photo booth in Brighton to create memorable moments for the locals. 

PENGUIN FLIPPER: We’ve been spreading the Christmas spirit as part of the Penguin Flipper campaign – an online book recommendation tool that helps customers choose the right Christmas present for loved ones. We set up a pop up event at the Birmingham Bullring where people could spin a wheel of fortune to win a prize, next stop is Edinburgh!

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All activity was reinforced across social media channels under the #FindFrank hashtag. The campaign culminated in a nationwide authorized flyposting campaign, a process managed by Jack, from production to regional distribution.

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The post created an internet storm, drawing responses from many people who not only agreed with Reni’s opinions but had had very similar experiences. The result led to a book of the same name three years later, which went on to become a Sunday Times Bestseller and Book of the Year at Foyle’s and Blackwell’s amongst other accolades. Sparking national debate, it has been hailed as a timely and essential read and become a necessary exploration of race relations in Britain today.

We were excited to work with Bloomsbury Publishing on an outdoor campaign for the book. The original monochrome artwork detailed extracts on 48 sheet billboards and 4 sheet takeovers across the UK. The incredible author visited one of the sites, adding images to Twitter with the comment “2014: blog post. 2018: billboard”, which received 9k likes and over 2k re-tweets.

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The redesign set alight both mainstream and design-specific press, and was introduced across print, mobile, apps and desktop with a new font, masthead and pull-out section dedicated entirely to opinion pieces. The changes to design and brand not only highlight The Guardian’s determination to remain ahead of the game, but the compact format will also save the paper millions of pounds in production costs.

We were excited to work directly with The Guardian on the launch, rolling out the bright and colourful creative in cities across the UK. The impressive poster campaign gave the redesign a huge amount of exposure, running on 4 sheet posters, large format billboards and takeovers across London, Manchester, Leeds, Birmingham, Glasgow, Edinburgh and Sheffield.

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