Encore on 6-sheet posters at Bond Street

One portrait artwork running as a backlit 6-sheet and as a cross-track poster, photographed at four stations.

FMCG · Retail footfall · 4 weeks

A backlit 6-sheet poster advertising Encore in a Central line passageway at Bond Street, with commuters passing in front of it in motion blur. — Encore campaign

Brand: Encore
Objective: Retail footfall
Location: Bond Street
Formats: 6-sheet posters (paper), 16-sheet cross-track
Sector: FMCG
Flight: 4 weeks

What ran

A four-week Encore campaign booked against a retail footfall objective, running as backlit 6-sheet posters and as cross-track 16-sheets. Our photography covers four stations: a 6-sheet in a Central line passageway at Bond Street, and cross-track posters at Pimlico, King’s Cross St Pancras and Tooting Bec.

The station in our booking record for this campaign is Bond Street. The other three are where it was photographed, which is a record of where the campaign was seen rather than a list of what was bought.

One artwork, two formats

The striking thing about this campaign is how little it changes. The 6-sheet at Bond Street and the cross-track poster at Pimlico carry the same execution: the same encore lock-up on its navy arc, the same “100% NATURAL purrfection” line, the same photograph of a woman putting a bowl down for a tabby in a green kitchen, the same pack shot, the same B Corp mark.

That works because both formats are portrait. A paper 6-sheet is 1,200 by 1,800mm and a cross-track 16-sheet is 2,032 by 3,048mm — different sizes, the same two-to-three proportions — so one artwork scales between them without being redrawn. A campaign pairing a portrait format with a landscape one does not get that.

What the two environments do differently

The placements are not interchangeable even with identical artwork. At Bond Street the poster is backlit, in a passageway, and passed at walking pace — the photograph shows commuters crossing the frame in motion blur. At Pimlico it is on the far wall of a platform, read across the track by people standing still.

So the same execution is met twice under different conditions: once in passing, once during a wait. A layout simple enough to survive the first is comfortably read in the second, which is the practical argument for designing to the harder of the two.

Why this is a useful example

It shows what buying two formats gets you when the creative is shared. There is no second production run, no adapted layout and no separate artwork approval — the saving sits in the studio rather than in the media.

It also shows a poster campaign appearing well outside the centre. The cross-track sites photographed at Pimlico and Tooting Bec are the same format as the one at King’s Cross, a reminder that a format available across the network can be planned around where an audience lives as readily as where it works.