Out-of-home media at
national scale.
Ströer SE & Co. KGaA is one of Germany's largest outdoor advertising companies, operating digital public displays across high-traffic locations nationwide — from train stations and airports to city centres and shopping malls.
As a working student, I created content for these screens — designing for the unique constraints of public display environments where attention is fleeting and visual impact must be instant.
- Created content for digital out-of-home (DOOH) campaigns
- Designed motion and animated content for public displays
- Designed content and customer advertisements
- Worked within tight display constraints
Every day, millions of people walk past the screens.
At Ströer, I worked on Infoscreen, one of Germany's largest digital out-of-home (DOOH) networks.
Train stations, subway platforms, and major transit hubs across Germany.
Shopping malls, retail spaces, and high-frequency consumer environments.
City streets and public spaces blending information and advertising into everyday urban life.
Communication on infrastructure-level .
Deployed across nationwide public video networks, my work contributed to campaigns that delivered hundreds of millions of weekly impressions. Content became part of everyday urban life.
Three seconds. No replay. No zoom.
Designing for Infoscreen meant designing for moving audiences, physical environments, and system-level deployment — all at once.
People are walking, distracted, checking trains. Messages must land in 3–10 seconds — no second chances.
Unlike mobile: no pause, no replay, no sound. Design must be instantly readable and self-explanatory.
Screens exist in bright daylight, underground stations, and at long viewing distances. High contrast, bold typography, and clear motion are non-negotiable.
Content runs across thousands of screens in different formats and placements. Design must scale as a flexible visual system, not a one-off asset.
Visual systems built to land instantly.
DOOH content had unique design constraints. Audiences in motion, short exposure and high-stimulus environments. Effective design there was about visual hierarchy, immediate legibility, and motion that guided rather than distracted.
Created layouts where every message landed in under 3 seconds — large, bold typography, high contrast, and motion that directed attention rather than decorated.
Designed motion sequences that communicated within 5–15 second loops, with every frame working as an entry point for someone just walking up.
Adapted campaign materials across portrait and landscape formats, screen sizes, and varying dwell times — from transit platforms to shopping malls.
I treated every design like a one-second test: Can someone understand this while walking past?
What this role taught me about designing at scale.
Design is not just pixels — it can be infrastructure. Constraints (time, motion, environment) are what drive clarity.
The audience is essentially "everyone", yet engagement happens in fleeting, situational moments. Strong design communicates clearly to specific mindsets within a mass audience.
Not every design has to work for everyone — and in public space, it can't. The best public design doesn't try to please all; it communicates one thing, instantly.