DOOH – a screen that looks you in the eye
Your phone is at hand, always ready.
The second screen appears almost in passing. On the way. On the street. Between one step and the next. That screen is DOOH.
And no, it doesn't want to compete with your phone.
It wants to do something different.
It waits for a moment. One where you lift your head and something stops you. Not for long, but long enough. Maybe it's a color, maybe a slogan, maybe a familiar face or a favorite drink.
For young people, DOOH works today like a second screen because it functions similarly to the Internet. It's no longer just about advertising, but about experience – brief, visual, embedded in the context of the moment. It's a bit like a feed transferred to the city: current, dynamic, sometimes surprising. The difference is that here you don't scroll. Reality scrolls past you.
OAAA/Harris Poll research shows that 74% of smartphone users take action on their phone after seeing DOOH advertising – for example, searching for a brand, visiting a website, or checking social media.
The same report also shows that well-designed DOOH is eagerly photographed and shared on social media, meaning the physical screen makes its way back to the Internet, and the campaign gains a second life.
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At Jet Line, we showcase creators, messages, advertisements. Stories. And somewhere further on, there's their continuation.
Except instead of apps, there are cities, and to see the screen, we need to go for a walk.
And you can't move on with a single swipe of your thumb.
A screen for the young, but not only. The screen is for everyone.
A while ago, Mr. W called me.
He said he was riding the tram. Between one stop and the next, he saw words on our MORE screen that stayed with him.
A few seconds. Enough to trigger a reaction.
The next day, he returned to the same screen.
He wanted to check what had been displayed on it yesterday.
He wanted the continuation.
But the campaign had already ended.
He said he couldn't sleep, kept searching for the meaning of the words he'd seen.
And literally, because the copy on the spot read:
"Meaning instead of sensation."
He remembered the color. Red, which in gray, weather-beaten Warsaw, caught the eye most.
It reminded him of another play on words he'd once heard at work. He shared it with me – "Instead of a savior, we're looking for an entertainer."
A few seconds. Enough to trigger a reaction.
He couldn't take a screenshot.
He couldn't click "save."
There was only that one, unique moment.
Alright, but how do we find this red spot?
The man simply called us, and we told him the rest of the story.
The Tygodnik Powszechny ad, broadcast in September and December 2025 on MORE screens
….
The Internet taught us excess. The city teaches selection.
Everyone is on the Internet.
Public space is also for everyone.
There's a limited number of screens. Time too. You get passersby's attention for a moment, and if you waste it, it's not easy to get it back later.
So we won't show everything and everyone on the screen.
We also don't like to think the screen is for the chosen few, though we only work with selected creators.
Not because the rest are unimportant. We're limited by space (the number of available slots), not by imagination.
Appearing in the city is a moment. A fleeting encounter in real life.
We only know each other by sight. But is it really – only?
Screens are silent
MORE screens have no sound. They don't interrupt conversations.
And yet they can express powerful messages brilliantly.
Silence in public space works differently. It leaves room for interpretation. For emotion. For your own thought. Thanks to this, the message can settle so well in an already dynamic city. It's a bit the opposite of the Internet, where everything fights for attention louder, faster, more intensely. Here, the message can be more contemplative: you can look at it, return to it in thought, interpret it in your own way. Take from it what you need.
Piotr, "Banał" and other things
Now at Jet Line, Piotr Białasiewicz is displayed on the screens.
Piotr is a creator and author known primarily for the podcast "Banał," in which he conducts honest conversations about everyday experiences, relationships, fears, and emotions, often in the form of personal monologues and reflections.
Beyond "Banał," he creates music, lyrics, and other content. He works interdisciplinarily, combining different forms of expression.
Together, we decided to create a space where people can feel they're not alone with their thoughts and doubts. The MORE screen fits this perfectly because it doesn't have to be loud to convey something meaningful.
For young people, DOOH becomes the second screen after the phone not only because it's digital, but because it accompanies them in "in-between" moments – on the way, between activities, during short breaks from the online world. It's a screen you don't consciously choose, but which enters your field of vision when your phone briefly disappears from your hand. So it works a bit like the backdrop of modern life: it reminds you of trends, culture, and brands without the need for active searching, naturally complementing the daily rhythm of smartphone use.
That was the intention from the very beginning. We wanted to reach people with a message in their everyday lives. Piotr wanted to tell them something from the spots: you can be yourself, or you don't have to be anything.
The pink hues of the campaign in the middle of winter's gray everyday life catch the eye and break us out of autopilot.
What you see now on MORE screens is the beginning. A prelude to something bigger, which we're not talking about loudly yet, though I'm already revealing little hints in this text.
Because as Piotr wrote to me in the dedication of his book, which he gave me:
sometimes the most important things are written in fine print, not on a big screen.
We like to think that the screen can also be just such a place – of pause, reflection, sometimes a quiet reminder of what's truly important.
And we'll tell you more soon.