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Outdoor advertising · Marketing

Choose the hoarding by which way it faces, not by the photograph in the deck.

Print and outdoor advertising answers whether a physical placement is worth buying at all. This page starts after that answer is yes, at the moment somebody sends you a list of sites with a price against each one.

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Scope, fee, reporting and term are agreed in writing after we have read your brief and spoken to you.

Editorial illustration for Outdoor advertising

In one paragraph

Outdoor advertising is bought one site at a time: a named hoarding, unipole, bus shelter, metro pillar or digital screen, held for a fixed display cycle. GullySales picks sites by the direction traffic moves past them, checks the lighting and the permission, and gets artwork to the media owner's specification before mounting day.

A hoarding is not a medium. It is a structure at one spot, facing one direction, lit or unlit, free from a particular date. Two sites on the same road can be worth very different money, and the cheaper one is sometimes the one nobody sees.

So we look at the site rather than the photograph of it. Which carriageway does it face, does traffic halt there, and what has grown or been built in front of it since the picture was taken? Then we ask the media owner to show the permission for the structure.

Who it is for

This is written for you if these sound familiar.

  • A new showroom, clinic or project office that needs its own neighbourhood to know it exists
  • Builders launching a project and buying the road buyers use to reach the site
  • Owners handed a list of hoardings and prices with no way to tell a good site from a bad one
  • Retail chains buying across localities who want the same standard applied to every site
  • Anyone who paid for a hoarding last year and never saw a photograph of it in place

Not for

It is not the right fit if.

  • Businesses that need to prove which enquiry came from which advertisement, because outdoor cannot do that
  • A budget that stretches to one site for a fortnight, which is not long enough for anyone to register it
  • Sellers whose buyers are a few hundred people spread across the country, where a road full of strangers is the wrong audience
  • Political parties and election campaigns. We do not take that work, whichever candidate it is for

The problem

Does this sound like your business?

What owners tell us on the first call, in their words.

  • “The hoarding faces the wrong way”

    It sits on the far carriageway, or on the outbound side of a one-way road, so your buyer passes it heading home and never on the way to the shop.

  • “Nobody checked whether the lights come on”

    A back-lit panel quoted as illuminated is worth an unlit panel once the lights stop working, and the evening traffic was the traffic you were paying for.

  • “The flex went up late and came down early”

    Mounting dates slip and structures are taken down mid-cycle when a permission lapses. The display period you got is shorter than the one on the invoice.

  • “The artwork was designed like a brochure”

    Text sized for a page is unreadable at a hundred metres from a moving car, and the phone number ends up in the strip of flex the frame covers.

What we do

Everything that is included.

Each deliverable, and what it gets you. Nothing here is an extra.

  1. Site-by-site shortlist

    Each option judged on the direction it faces, the distance it is read from, what obstructs it and who passes it, with photographs taken standing where a driver sits.

  2. Permission and specification check

    We ask the media owner who holds the licence for that structure, and for the material the panel takes. Artwork is built on their own template, which sets the size, the safe area and the bleed the frame eats. What one municipal body permits, the next city refuses.

  3. Display cycle and mounting dates

    The cycle booked with the mounting date written down, so the flex is printed and delivered before the day it goes up rather than after.

  4. Artwork built for the distance

    One short line, a large name and a single way to respond, set inside the safe area so the frame does not eat the number.

  5. Loop position on digital screens

    For a digital out-of-home (DOOH) screen, the slot length, the loop length and how many advertisers share it. A ten-second slot in a two-minute loop appears once in twelve.

  6. Geo-tagged photographs, start and end

    Pictures of your panel dated and geo-tagged, taken when it goes up, again mid-cycle, and on the day it comes down. A torn or missing flex is caught while there is still time to replace it.

  7. Response route and catchment reading

    A campaign phone number or code, plus enquiries and walk-ins from that catchment before, during and after. Directional, and we say so.

How the result is measured

  • Sites running as booked, with dated photographs
  • Display days delivered against display days paid for
  • Rate booked against the first quote
  • Calls to the campaign number during the cycle
  • Enquiries and walk-ins from the catchment before, during and after

Recorded as a baseline before work starts, so every later report has an honest comparison.

How it works

How the outdoor advertising work runs

The work itself, in order. How an engagement starts, from your brief to a written scope, is set out on our method page.

  1. 1

    Draw the catchment

    We agree the roads, junctions and neighbourhoods your buyer moves through. It is almost always a smaller area than an owner first says, and a clinic in Nagarbhavi does not need the whole of west Bengaluru.

  2. 2

    Survey what is available

    We work through the sites on offer inside that catchment and go and stand in front of the ones worth looking at.

  3. 3

    Compare and book

    Sites are compared on facing, visibility, illumination and cycle length, then booked through the media owner or their agency at a negotiated rate.

  4. 4

    Print to specification

    Artwork is made to the exact panel size and delivered ahead of mounting day, with a proof you approve before printing.

  5. 5

    Monitor the cycle

    We collect mounting and mid-cycle photographs, and take up anything late, torn or unlit with the media owner while the cycle is still running.

Where this fits

Three pieces of sales work, in this order.

This work sits inside sales process design, at stage 1, prospecting and lead generation. The audit comes before it, and sales management keeps it running.

  1. Step 1

    Sales audit

    Find where deals are being lost and what to fix first.

    Start here if you cannot say where orders are lost.

  2. Step 2 · you are here

    Sales process design

    One written way to sell, from first enquiry to repeat order.

    Start here if every salesperson sells differently.

  3. Step 3

    Sales management

    A target, a review routine and someone who owns the number.

    Start here if the team has targets and no routine.

Tell us what you need Your brief is read before we call. Scope, fee and term in writing.

FAQ

Questions owners ask before they call.

Not here? More answers, or ask on WhatsApp.

Tell us what you need
Can you tell me how many enquiries the hoarding produced?
No, and anyone who says they can is guessing. A hoarding has no click and keeps no record of who passed it. We put a campaign number on it and compare enquiries and walk-ins from that catchment before and during the cycle, which shows a direction rather than a count.
What is a DOOH loop and why does it decide the value?
A digital screen plays a loop of advertisements and yours appears once each time round. A ten-second spot in a two-minute loop is one appearance in twelve, so loop length and the number of advertisers in it decide what your money buys. Ask for both before booking.
How long should a site run?
Long enough for the same commuters to pass it repeatedly, which means the full display cycle rather than a couple of weeks. The third or fourth pass is the one people register. A fortnight buys awareness of nothing.
Do you own the hoardings?
No. We plan the campaign and coordinate the booking with the media owner or their agency, so you see what the site costs and what we negotiated. We hold no inventory and no exclusive rates on anybody's sites.
Why is one site on the same stretch three times the price of another?
Because one faces the carriageway that crawls and the other faces the one that moves. A driver stuck at a signal has most of a minute with your name in front of them, and at speed that is two seconds. Media owners price the pause. Lighting hours and how long the panel has stood empty then move the number again, and a site blank for two months is the one worth negotiating on.
How is this priced?
There is no published price. A pole kiosk for a month and a landmark site on a main road are not comparable, so the media cost follows the sites we recommend. Our fee is settled after we have read your brief and spoken to you, and sits apart from that cost and from printing the flex.
How long is the contract?
The term is agreed in writing after we have spoken, along with the fee and the reporting. It is never a default twelve months, and renewal is decided on the numbers against the baseline recorded at the start.
Who will actually do the work?
The person you speak to before anything starts. We work from one office in Nagarbhavi, Bengaluru, with no account managers in between.
What do you need from us?
Your brief, and a conversation. After that, access to whatever this work touches, such as your website, your accounts or your enquiry record, and time with the people who handle your enquiries.
What if we are not happy with the work?
Tell us and the plan changes. Everything is reported against the baseline, so a number that is not moving is visible to both sides. The term is in your written scope, and the refund and cancellation policy sets out the rest.

By industry

Outdoor advertising, written for your industry.

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