Spanning a 96-sheet billboard, the creative build brought Olivia’s album artwork into the real world, with the singer appearing to swing upside down and her feet bursting through the site above – mirroring the album’s carefree artwork. Alongside the build, an adjacent digital screen lit up with the album title and release date, ensuring all eyes were on June 12th.

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Packed with antioxidant-rich Arctic cloudberry and vitamin C, the vegan formula inspired creative that transitioned seamlessly from day to night – mirroring the all-day radiance the product promises. Bright, clean and radiant, the campaign turned natural skincare into a city-wide glow-up.

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In a series of striking projections that transformed venues including Electric Brixton with a full Nigel-approved fashion makeover, the stunt turned iconic nightlife spaces into bold music moments. Blending the attitude of the runway with the energy of the dancefloor, the campaign captured the track’s theatrical sound – bridging a pop spectacle and fashion fantasy together that landed directly onto the streets.

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Translating the band’s use of language as a political weapon into a visual moment, Pias Recording commissioned DIABOLICAL to build a creative billboard that speaks for itself.

Referencing the Battle of Cable Street through its choice of Shadwell location (a 1936 anti-fascist demonstration against Oswald Mosley and the BUF, organised by the Independent Labour Party, the Communist Party of Great Britain and the Jewish Peoples Council), the artwork invites a historical reinterpretation.

For the epic reveal, the band got a group of fans wearing balaclavas to dance in front of the billboard, while the red smoke flare was activated. Using protest-like aesthetics to push the album release, the billboard places controversy centre-stage, emboldening Kneecap’s own brand identity one step further.

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On Shoreditch High Street, the artwork came to life via a creative billboard, as he waved his flag above the hoarding. With a further 48-sheet and 4-sheet poster campaign that spanned Glasgow, Dundee, Manchester, Edinburgh, Bristol, Liverpool, Brighton and Sheffield – a digital billboard in Shepherd’s Bush ensured the pending launch was unmissable.

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The activity teased a larger pop-up at Shoreditch event space, White Rabbit, where circus-inspired games and stalls invited visitors to engage with the product while learning about hydration in a more immersive way. The campaign tapped into the growing shift towards experiential retail —creating a launch people didn’t just see, but got to try for themselves.

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The whole activation leaned into pink pop culture – from shrimps and candy-coloured 90’s Apple iMacs, to the neon energy of Grand Theft Auto: Vice City and Baby-G, a nod to the art, music, fashion and culture that feeds directly into Nothing’s wider design language and inspiration. And it didn’t stop there. The activation spilled out onto the streets with a 48-sheet on Kingsland Bridge, graffitied with singer P!nk’s famous song-title ‘So What?’ on site to match.

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The artwork, pulled from Kaytranada’s 2025 album Ain’t No Damn Way!, cut sharply against the texture of the walls behind it, bringing the producer’s unmistakable visual world into the street. The message was simple: Manchester and London tour dates are locked in for the 2026 European run – with special guest Uncle Waffles joining along the ride.

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To drop the news with an announcement as big as the tour promises to be, DIABOLICAL joined forces with Live Nation UK to light up the capital with iconic projections across London landmarks, marking a moment that fans wouldn’t miss.

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Born from the collaboration between The Chemical Brothers’ Tom Rowlands and Norwegian singer-songwriter Aurora, Tom-ora fuses their names – and their musical genius – into a brand-new electronic outlet. With a website that doesn’t give much away about the duo, we’re tuned in and ready for what’s next.  

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To meet the hype, Spotify took things further than ever with a bold 96-sheet spillboard and a full digital screen takeover, bringing Spotify Wrapped to life. Partnering with St Mark’s Studio, DIABOLICAL created a billboard inspired by Central Cee’s breakout success with his debut album Can’t Rush Greatness. Complete with a supersized diamanté chain draped over the board, the medallion celebrated GBP reaching him an impressive 150 million streams.

To capture the launch, Spotify were on-site – snapping the build to share on their socials, cultivating a viral OOH moment. Not ones to miss a beat, the streaming platform supported their spillboard with a wider poster campaign around the capital, featuring cult-British favourites Olivia Dean and Lola Young. What was born as quick wrap-up a decade ago, turned into iconic salute to our favourite musicians – proof that you truly can’t rush greatness.

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The campaign rolled out in Manchester, London, Paris, and Berlin with targeted street projections and ‘galleries,’ each city spotlighting areas chosen through The Face x Nike’s collaboration with local artists from those neighbourhoods. Every site lit up at the exact same time – an intentional move echoing the campaign’s core idea: the “power of 8.” Targeted takeovers turned urban walls into glowing, high-impact moments, creating a campaign that felt as live and raw as the film itself.

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The installation features a digital face display surrounded by intricate 3D elements crafted by our Creative Studio’s team. These elements include a layered torso with clothing peeled back to reveal a moving heart and oversized headphones connecting the digital and physical billboards with a glowing wire. Movement plays a central role, with artist Joseph Melhuish explaining that, unlike past concepts where motion felt forced, the animatronic heart in this piece naturally fit the idea from the start.

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The creative billboards featured a large red button that fans could press, lighting up a star – a key visual element of the band’s album campaign. This interactive experience encouraged engagement from passersby and helped create buzz on social media as fans shared their excitement. The campaign effectively connected the band’s brand with their audience while offering a unique and memorable experience that heightened anticipation for their new music.

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A storm is coming… and to celebrate, we launched two creative billboards, in Manchester and London.The Manchester billboard featured a larger-than-life design that made it look as if the glowing, mythical creatures were escaping from the pages of the Empyrean series, complete with a teaser to build anticipation and prepare readers for the upcoming release. 

In London, the campaign also showcased all three books in the series, bringing Yarros’s thrilling world to life for passers-by. Some posters included QR codes, allowing readers to easily purchase their own copies. As night fell, UV lights illuminated the billboard, making the illustrated scene from the book come to life, leaving a lasting impression on those strolling by.  

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Leveraging the power of projections, DIABOLICAL lit up the skyline with a minimalist and impactful creative, transforming the city into a canvas for nighttime culture. This innovative use of space sparked intrigue and created a super shareable social media moment. By blending creativity with cultural relevance, the campaign celebrated London’s nightlife scene and spread awareness of a major moment to come.

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To countdown to the occasion, DIABOLICAL and YouTube went worldwide with a series of projections. Throughout London, New York and Paris we set the streets on fire with a creative that featured a cloaked figure with arms open, silhouetted by a glowing ball, unleashing fiery excitement for what is to come.

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To welcome Jade’s grandiose moment to the nation, DIABOLICAL worked with RCA Records on a fitting tribute for the local popstar. Just hours after Angel Of My Dreams had its first stream on Radio 1, the aptly named Angel of the North statue came to life through the use of projections, with fans, friends and family present to remember the moment of Jade’s ascension.

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To celebrate their opening, we collaborated with Art’otel on a multi-format campaign. Taking inspiration from the name, we paved the surrounding streets with chalk stencils, and painted a mural across a takeover site of ours, just around the corner from the Hoxton hotspot. A coffee cart popped up at two locations, including at the doors to the Art’otel, and handed out free coffees and pastries to passersby. By night, we lit up iconic East London buildings, rounding off a campaign that was bound to be remembered.

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To bring this unique experience to life, JACK ARTS and Talon Outdoor unveiled a striking lightbox billboard campaign that lit up the streets of London after dark. Designed to reflect the enchanting allure of the Zoo at night, the billboards captured the imagination of passers-by. As well as a wider citywide paper and paste takeover to spread the word about London Zoo’s latest attraction.

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Teaming up with JACK, the affordable trend-led beauty brand surprised and delighted the local community by giving away free speciality coffee and goodie bags filled with samples of their new foundation and popular lipsticks, for the perfect Valentine’s pout. The activation took place in key commerce and transport locations in North London, where makeup enthusiasts were encouraged to share their experience on Instagram using specific hashtags and to follow the brand’s main page for their beauty treats. 

The community event was accompanied by a multi-format campaign, with a flirty creative asking “be our valentine?” projected onto iconic London landmarks and locations. Now that’s what we call a match made in heaven.  

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We worked with RCA Records to launch Cowboy Carter into the streets of London, Bristol, Birmingham and Glasgow with a creative that featured a side-saddling Beyoncé in a traditional pose and costume. The campaign rounded up a plethora of our formats, including; projections that took over the night sky, paper-and-paste across walls and billboards, a creative build of the ‘goddess of America’ on our new Platform site, a cameo on the Outernet digital screen and even a feature in underground. Yee-haw.

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Is there any better way to celebrate a 21st than with a birthday party at The O2 over the course of two nights? We think not. Working with The O2, we hit up and lit up the entrance to the iconic arena, projecting the 21st birthday invitation in true DIABOLICAL style.

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The electronic music promoters and livestream platform have made the well awaited announcement that the Boiler Room World Tour is back for its second edition. Expanding on the first, the tour will make stops in 25 cities across the globe, some new, some old, but all-in-all a guaranteed good time.  

Alongside the dates and locations, Boiler Room has also announced the first wave of talent who will feature on the bill, including rapper Giggs, dubstep veterans Skream and Benga, drum and bass icons Chase & Status, and others. 

You always know what you’re in for with Boiler Room who, since 2010, have been connecting club culture to communities worldwide. To drum up some noise for the local leg, DIABOLICAL worked alongside Boiler Room on an ambient projection campaign, lighting up the skies of iconic London locations, as well as a wall-to-wall fly campaign. 

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A gripping new adventure for the theatre, Stranger Things: The First Shadow uncovers the origins of Hawkins’ greatest evil, developed from an original story by the Duffer Brothers, Jack Thorne and Kate Trefry. Set in 1959, the play follows the stories of a young Jim Hopper and Joyce Maldonado as well as a mysterious new kid in town. Debuting at London’s Phoenix Theatre, the play has been hailed as ‘breathtaking’ by The Guardian, receiving numerous 5-star reviews and winning the WhatsOnStage Best New Play award in 2023. 

Collaborating with AKA, JACK ARTS brought the stage show to the skies of London, illuminating famous landmarks with a series of ambient projections, delighting passers-by and generating a buzz around a new prequel to the much-loved Netflix series. 

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In a tantalising teaser for the release, we teamed up with Universal Music Group to unveil a series of projections in the band’s home-city of Liverpool, featuring a mysterious cassette tape. Appearing at iconic locations all over the city; John Lennon’s childhood home in Woolton, the legendary Penny Lane, the gates of Strawberry Fields, and Mathew Street – home of the famous Cavern Club, the projections were featured across the band’s social media, and teased by the music press, leaving fans eagerly awaiting more. 

To mark the song’s official release a week later, larger projections graced the world-famous Liver Building and the Albert Dock announcing the song’s title, and a striking poster campaign hit the streets of Liverpool and London.  

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To help 21 bring news of his debut appearance to his London-fans, DIABOLICAL teamed up with Live Nation for a projection campaign that heated up some of the city’s most iconic landmarks; such as the London Eye, Hammersmith Bridge and the London Planetarium. A tribute to 21 and his success thus far. 

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To bring the news to the streets, we worked on an ambient projection campaign with Live Nation that hit up (and lit up) some of London’s most iconic landmarks in a lavender glow; including the London Bridge, the Tate Modern and the London Eye. 

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We brought the announcement of Drumsheds’ arrival to both the street and the city, through the use of projections and posters. With projections inside Printworks as well as around East London, the campaign creatives featured a caterpillar – a befitting symbol of growth and transformation. Accompanied by tease-and-reveal posters unveiling Drumsheds’ inaugural season line-up, it ignited a cacophony of excitement for what’s bound to become a firm favourite of London’s electronic music and nightlife scene. 

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To mark this momentous occasion, we joined forces with the gallery on a two-phase campaign. The first, projecting some of its famous faces and new brand identity (designed by Edit Brand Studio) on the outside of the gallery to light up St Martin’s Place at night, much to the delight of passers-by. 

Next, we worked with them on an experiential campaign that brought six of the NPG’s most notable ‘sitters’ to life, with look-a-like actors travelling across London encountering people on the street to spark conversation around the gallery’s reopening and its famous collection, as well as being highlighted on Instagram. Sitters included William Shakespeare travelling from the Globe, Horatio Nelson passing his monument in Trafalgar Square, and Dame Christabel Pankhurst at Hyde Park Corner, the site of many Suffragette meetings and rallies, who all convened at the gallery to reunite with their famous portraits – and to enjoy a celebratory cake made by Great British Bake-Off contestant Janusz Domagała.

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To launch the new collection on the streets of London and Manchester, we worked with Tangent Agency. Combining ambient activity with street poster takeovers of our sites through the heart of each city, we projected the all-weathers editorial shoot across the night in London, showing off the best of what 1TRL has to offer.

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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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To bring word of the tour to the streets, we worked with Robomagic Live on an ambient projections campaign that hit up some of London’s most famous landmarks. Beaming the band (in green and red inspired by Future Past’s cover artwork) onto the likes of Marble Arch, the Tate Modern, and in the heart of London Bridge, it was the perfect way to make maximum impact with the news. 

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To welcome the festival to its East London digs, we worked alongside AEG Presents to project the All Points East headliners onto the area’s most iconic spots. In Shoreditch, Hoxton, and Bethnal Green, the multicoloured illuminations spread word of the festival on the streets and made perfect countdown content for the festival’s Instagram.

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Combining a mega street poster campaign with projections that took over the night across the the city, the creative was centred by the glorious, triumphant, silver-embellished image of Beyoncé from the Renaissance album cover. Embodying the heady and euphoric world of house music with a mirrored disco horse and a hint of hedonism, the campaign preceded Beyoncé’s album heading straight to the top spot on the UK Albums Chart.

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We worked with Smiley to make its vision a reality. Projecting smiles in London, Paris, Rome, Rio de Janeiro, Sydney, Los Angeles, New York and Berlin, Smiley’s message of solidarity travelled from the London Eye, to the Colosseum, Eiffel Tower, Oberbaumbrücke, Los Angeles Music Center, Sydney Harbour Bridge and beyond. Being captured by those who witnessed it in person, and shared right across Smiley’s social media, the campaign had a global reach both online and on the streets.

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For his seventh studio album, Fragments, the “series of 12 sonic affirmations” came from fractured ideas through the pandemic years, woven together to create “a wondrous nirvana” and “a restful ambient dream”, as noted by The Guardian. With BUILDHOLLYWOOD family favourite Neil Krug once again providing the album artwork, the release was assured as a success – reaching the top 5 of the UK Albums Chart.

To bring Fragments to the streets of London, we worked with leading independent label Ninja Tune and Amazon Music UK. Combining a vibrant street poster campaign with a series of projections across some of London’s biggest landmarks, it was the perfect way to launch the album in the city.

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With Talon, we worked with the Scottish Government to broadcast their commitments to Edinburgh and Glasgow, projecting Net Zero promises onto each city, and making their eco-themed campaign a reality. This included environmentally conscious artwork for creative billboards – with foliage and natural-looking materials – to soften the city’s streets with a touch of nature.

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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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Coupled with a performance that took the Brits by storm, she also became one of the youngest artists ever to win the Brit Award for Rising Star. Adding yet another accolade to her name, Griff was also designated a YouTube Music Artist on the Rise this year – so we teamed up with Warner Records to celebrate.

Projecting the news onto London landmarks across the city made the perfect way to congratulate Griff on the streets, and she paid us a personal visit for the occasion – with the resulting pictures and videos receiving over 15k likes on her Instagram.

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To tease the tour date drop, we worked with CMS Media on a series of projections on some of the UK’s biggest landmarks, stopping by the Angel of the North, Cardiff Castle, Battersea Power Station, Marble Arch, Glasgow Gallery of Modern Art and the Riverside Museum. Showcasing a red-lit audience in the album artwork’s trademark colours, and a series of mysterious mathematical symbols, the activity gave fans a glimpse of the exciting news to come – and also made it into The Guardian.

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To celebrate Gorillaz’ August 2021 release, the Meanwhile EP – created in homage to Black British culture and a cancelled Notting Hill Carnival – we teamed up with Parlophone. Projecting the band and their album artwork onto iconic locations in West London including the Trellick Tower and Ladbroke Grove, it brought the EP’s animated music videos to life in real-time on the streets.

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To celebrate the publication of Why We Kneel, How We Rise in London, we worked with Simon & Schuster on a series of projections onto historical and iconic London landmarks. Taking in the African and Caribbean War Memorial in Brixton, Marble Arch, the Natural History Museum and Tate Modern, it provided the perfect way to spread Michael Holding’s words and message on the streets.

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“What’s that man doing lying down there dad?” So piped up a young lad on seeing Ben Wilson sprawled across the ribbed metal floor of London’s Millennium Footbridge. Despite the fact that Wilson was wielding a tiny brush and surrounded by pots of acrylic enamel paint the kid could be forgiven for asking the question because the work itself was so small you had to get on your hands and knees to focus on the teeny-weeny figure! “Good on yer Ben. You’re a star. Your stuff’s better than half of what they’ve got going on over there,” bugled another enthusiastic passerby waving her arm breezily towards Tate Modern.

Suffice to say that Wilson’s trademark paintings on splats of disregarded gum are true crowd pleasers. He can spend hours on a single work. The paintings range in styles. There are black and white calligraphic designs with whirling lines and forms that reveal worlds within worlds. Sometimes he’ll opt for a meticulous painterly representation of people and places that he can see from the site where the gum is found. On other occasions he creates fabulous tiny abstract designs that incorporate dedications to folk, texts painted seemingly with a single brush hair that celebrate or commemorate persons, places or events dear to Wilson or are suggested by people who happen across him at work.

Asked what artists he likes Wilson rattles off various names that suggest the range of his own creative past, “Oh, Jackson Pollock, Andy Goldsworthy, Dave Nash, Andy Warhol, Stik, outsider artists…” Wilson has previously built beautifully crafted wooden sculptures and environments, painted billboards, created assemblages out of litter found in the streets, filled numerous sketchbooks with observational drawing, made ceramic tiles, established trails above the arctic circle and elsewhere across the world. He added, “And the painter printmaker Peter Green was very supportive when I was younger. I like all artists. What’s really most important to me is the immensity of human creativity.”

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To announce the release of his first single in 2021, Better Days, we teamed up with Island Records. Projecting the single’s message, release dates and Dermot Kennedy’s name onto iconic London landmarks was the perfect way to announce its arrival, and also created great content for his Twitter and Instagram accounts – racking up almost 40k likes.

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After a well-earned hiatus, he’s finally back with new music, so we teamed up with Atlantic Records to give it a huge launch on the streets. Bad Habits is the first single off Ed’s upcoming fifth album, with an other-worldly music video full of vampires, peculiar creatures and a hot pink suit to inspire its street-side creatives.

Alongside street poster displays in Glasgow, we projected Ed’s album art and single launch date onto iconic London landmarks and took over our Shepherd’s Bush megasite, with a digital screen display and a huge, UV-illuminated creative billboard, ahead of the release topping the UK Singles Chart – as Ed so often does.

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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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In celebration of the release of By Your Side, we teamed up with Columbia Records to project a kaleidoscopic artwork (inspired by the single’s cover) onto landmarks across London. As cool and colourful as the song itself, the projections proved to be popular on both Calvin and Tom’s Instagram accounts, racking up tens of thousands of likes.

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The announcement of Happier Than Ever saw us take its serene album artwork to the streets of London, Glasgow, Birmingham and Cardiff. With a takeover of our Kentish Town 96 and projections on London’s best-known landmarks, the campaign created a huge buzz, with Billie even posting it on her own Instagram – receiving a cool 5.9 million likes.

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In their bid for the London Assembly and Mayoral Elections, the party said #EnoughIsEnough. We worked with them to raise the profile of their message with projections and 4 sheet posters around London, featuring a beautiful, colourful illustration of women uplifting one another, encapsulating the party’s position. Spotlighting the vote date of 6^th May, the campaign focused on reclaiming street space in spots where there have been worrying numbers of sexual offences, to show voters exactly how the party planned to affect vital change.

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To mark this impressive turning point in Bieber’s career, we collaborated with Virgin EMI on a campaign across major London landmarks. We projected imagery from the album and its videos across the capital, including footage of Bieber on a motorbike on buildings on Oxford Street and a striking film on Marble Arch to promote new single “Hold On”. Featuring shots from the music video and close-ups of Bieber’s face, it was the ideal way to re-introduce the star to the world.

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To celebrate its release, we teamed up with Live Nation on a series of projections across Fredo’s native London. The images, featuring his face and the album’s art, are the perfect accompaniment for an album critics are already calling “cinematic”. With one writer praising its luxurious synths and vulnerable themes, many think it might even top lists as the best rap album of the year.

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We then teamed up with record label Ninja Tune to project the images of themselves using the filter onto buildings across London, creating a collaborative, community energy at a time when electronic music fans can’t get together.

At the same time, we put up billboards across London to advertise the livestream, featuring glowing reviews from outlets for Isles. According to The Guardian, the duo created the soundtrack for the “ultimate living room rave”.

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We were delighted to work once again with Simon and Schuster to bring this exciting vision to life, and project the installation onto the streets of London.  Our projections illuminated key landmarks including Tate Modern and Marble Arch, with gentle animations and thought-provoking words.

Projections are a high-impact, exciting campaign feature that allow clients to display their messages into places otherwise impossible. Revered with high end brand and music clients, arts and culture clients are beginning to utilize this on-trend ambient activity which is perfect for content creation, creating a PR storm and bringing some light into the lives of those lucky enough to catch them.

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To spread the word about the project and to get fans to sign up for early access, we teamed up with Dua Lipa Live for massive-scale projections in London, bringing a taste of nightlife to the streets. With the project name, a website, the moon and Dua’s face, it’s a mysterious call to action for fans who’ve been missing out on seeing their fave.

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Shortly after, the band also announced their 17th (!) studio album, PWR UP. With a career spanning half a century, Angus Young and co show zero signs of giving it up. While AC/DC don’t have to work too hard to get noticed, we gave them a boost, with projections of the band in black and white at Tate and Marble Arch announcing the huge new record.

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Keen not to miss an opportunity to properly celebrate, Headie One and his label Relentless Records teamed up with us to get the word out across his city. First, a statue of Headie One, larger than life, was toured across London, stopping by at locations like Oxford Street and Piccadilly Circus, bringing a smile to people passing through. After that, we put up projections, posters and billboards – going all out to celebrate an icon.

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We partnered with Scott’s label to get the video out onto the streets of London at locations like Marble Arch and Shoreditch. Projections of the video were shone onto buildings in huge, larger-than-life detail, forcing passers-by to stop and take a look. Many did more than that, however, even stopping to have a dance, bringing light and fun to the streets of London.

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A formidable pair like The Weeknd and Calvin Harris don’t need to do much to get an audience, but even so, what better way to get people’s attention than with massive, larger-than-life projections? To celebrate the release of their track, we partnered with Sony Music to project neon, futuristic art echoing the aesthetics of their video onto iconic London locations Marble Arch, St Paul’s and Tate Modern.

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To spread the message of their new, remixed Black Lives Matter anthem, and to announce their new album with Def Jam Records entitled What You Gonna Do When The Grid Goes Down?, the Public Enemy logo was projected onto Parliament, Marble Arch and Tate Modern, making a huge and necessary statement.

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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 weekend before the release we worked with Borkowski to create some intrigue about the film on the streets of London – and what better way than to leave Nureyev’s signature dance shoes in key locations around London. The ballet shoes were dropped in high footfall areas near dance schools, national ballet schools, on statues and sign posts, and carried the message “He’s back!” alongside the film’s social media handle. The result – a fun and timely promotional stunt for this new biopic which was even featured in the Evening Standard.

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The stunt, performed on World Emoji Day, was part of Ciaté’s efforts to promote their new mood-boosting line in collaboration with SmileyWorld. The range of lipsticks, skincare, nail stickers and other products are packaged in bright colours and covered in the same adorable smiley faces. CEO and founder of Ciaté, Charlotte Knight, said, “Particularly at times like this it’s important to stay self-confident, emotionally aware and see the positives in everyday moments by sharing smiles!” While the projection is now gone, people can keep seeing that cheeky face on Ciaté’s new products.

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Across the streets of London and Paris, Givenchy logos (in the form of clings) started to pop up on the streets. The fashion powerhouse then promoted a competition on Instagram and Twitter (receiving over 22k likes), which encouraged passersby to snap pictures of the logo and upload them to their own social channels using the hashtag #GivenchyFamily. From the three best photos uploaded, three lucky winners were then chosen to attend the Paris show – creating a huge buzz on social and promotion for their latest collection before it was even unveiled.

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K/DA is composed of the champions Kai’Sa, Akali, Evelynn, and Ahri (voiced by real American and K-Pop singers), and we were excited to be briefed directly by Riot Games to promote the release of their first big hit. We spread the word everywhere in London, with 48 sheet billboards, a huge 96 sheet billboard, digital screens and clings appearing all over town in the build up to the release date – a virtual takeover for the biggest group in the AR world.

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Then, as the band took to the stage at Reading Festival, we organised a special flyover stunt complete with The Kooks branding. The band shared the plane and banner on their social media once again and, with over 6k likes on the day of their festival performance, the album promo was certainly elevated to new heights!

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The album cover in itself became iconic, making a star of the rather large teenager on the front and his t-shirt, which brandished the slogan “I’m #1 so why try harder”. At the time of release there was even a search to find the man in question, but despite a series of enquiries he was sadly never identified.

To celebrate the special 20-year anniversary reissue of the album, delivered complete with pizza box, we teamed up with BMG to renew the hunt for the unknown star of the record. On the day of Fatboy’s huge gig at Ally Pally in February, a series of cryptic “missing” posters popped up around the venue with the tear off #20WhyTryHarder. A special cut-out standee also made its way around London, journeying from Soho to Brick Lane, onwards to Camden, and finally finding its place at Ally Pally for the fans to enjoy and get snapped ahead of the gig.

Those that stumbled across the posters or standee were encouraged to upload pictures to Twitter, Facebook or Instagram to be in with a chance to win a limited edition Fatboy Slim Box Set – with often hilarious results. Even Norman Cook himself added to the hunt, posting a “missing” poster on his Instagram account. The picture posed the question #HaveYouSeenFatboy? and received over 5k likes ahead of his north London show.

To further add to the hunt on the day of the album reissue, the teenage Fatboy mysteriously popped up in locations around London and Brighton. If fans were lucky enough to catch a glimpse of him, they were encouraged to tweet Norman with #20WhyTryHarder for an opportunity to win a special prize. The competition garnered over 15k likes on Fatboy Slim’s Instagram in just one day.

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The campaign consisted of street level authorised fly posting in high traffic areas, relevant to the target audience. This was supported by clean graffiti, stenciled in the shape of the sole of an Adidas trainer, which lead up to the posters. For additional standout, we also executed 4 sheet posters, shutter banner, as well as an impressive large wall mural with glow elements to really illuminate the creative.

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This extended out of home advertising campaign appeared in numerous forms across the streets of London, including video projections onto iconic landmarks and statement poster site takeovers and targeted clean graffiti.

The campaign gathered momentum leading up to the opening night, creating awareness, excitement and resulting in a huge increase in social media via the hashtag #HOUSEOFVANS.

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USC wanted to take advantage of this iconic date, to generate awareness and drive footfall into its new Oxford Street store. When USC approached Jack, we had the perfect solution. To create awareness and intrigue, the Jack team hit the streets with a giant Gandy flip flop, which was placed in high traffic locations around London. Commuters couldn’t really miss the super-sized flip-flop, as it stood out like a sore toe, so to speak!

To assist in the discovery and to drive footfall in-store, we executed a celebratory treasure hunt, placing 150 pairs of Gandy’s finest creations in random locations around London for commuters to find and redeem for a free pair at the USC Oxford Street store. Clues were scattered around town, and throughout the day, there were twitter updates from the @USCfashion account, revealing the secret locations.

The Jack team, loved working on this campaign, especially when it brought a smile to so many commuters who spotted the giant flip-flop, and to those that managed to win a prize in the treasure hunt. It was a great campaign that really brightened up the working day.

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Jack commissioned an artist to design the artwork, and tightly managed the global installation in the US, UK, South American, Singapore and KL with our London team playing a hands-on role across the project.

With massive PR cut -through and wide consumer interest, it’s a campaign that we constantly refer to.

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Jack created an integrated outdoor and online competition to design your own poster. Users were invited to download artwork from the website, create their own stencil, photograph it, upload their work, then rate others.

This was supported by nationwide outdoor activity on our sites, bespoke installations and a stencil campaign. Finally, print and online media partners pushed the concept.

The whole campaign was seeded and leveraged through social media, and is a great example of the online/offline integrated creative campaign.

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With Art Angels, Grimes has found herself influenced by what she calls “bro art,” a realm which includes everything from Al Pacino to Bruce Springsteen. In an interview with Q Magazine, she talks about how these bros informed her soundscape. “One song on the album, ‘Kill V Maim,’ is written from the perspective of Al Pacino in The Godfather Part II, except he’s a vampire who can switch gender and travel through space”.

We thought we’d make the most of the eclectic artwork by projecting it across key London locations including the Tate Modern, Old street roundabout, Holborn and York road.

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With rumours starting early on social media networks that the duo would make a surprise appearance, the campaign pulled a large crowd and brought commuters to a standstill, the team orchestrated the projection of the music video onto the front of the station, with it also appearing simultaneously across the world, and while Jay-Z and Kanye didn’t turn up in person to surprise the crowds, the inventive single release created a great event and some huge PR buzz.

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Using cutting edge technology (and three very large projectors) the Diabolical team worked closely with both the client and collaborators to create a 3D effect dynamic projection, putting on a one-night show which saw the 900 year old Rochester Castle come to life and appear to crumble to the ground, using the latest in animation techniques, accompanied by the renowned AC/DC song, Shoot to Thrill.

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Also running with the support of the government’s GREAT Britain campaign, the projections lit up the Tower with clips from the five chosen films, in a celebration of LGTBQ+ stories. Spreading the message that Love is a Human Right, the international filmmakers and public gathered at the Tower to experience the projection ahead of the launch of BFI Flare the following day.

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The photos were taken in 2003 when Winehouse was just 19 years old, by friend and London based photographer Charles Moriarty, just before the release of her debut Album, Frank. The beautifully nostalgic images capture the artist when she was young, happy and carefree. Projecting them around Camden not only created intrigue for those passing by, but it also attracted media attention from I.D, NME and other music titles.

The buildings and locations for the projections were chosen, based on their importance to Winehouse and her story, including The Hawley Arms, Jamestown Road, Camden Town Tube Station, Chalk Farm Road, Camden Lock and Inverness Street.

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To help promote the exhibition we launched a high impact billboard campaign targeting creative hubs around London including Hackney, Kings Cross, Islington and Camden. To create further intrigue and to add a bit of an edge to the campaign, we also hit the streets with great looking clean graffiti.

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