ARCHIVEPay The Price - Care | Clapboard Ad Archive
Pay The Price, launched by Care in partnership with McCann in 2017, stands as a pointed entry in...
How UNCP and McCann Lima Made Braille Go Viral in Peru
UNCP's The First Post in Braille is a digital public interest campaign created by McCann Lima and published in Peru in June 2015, in which a Facebook post displayed Braille text as an image, allowing sighted users to hover over tagged areas and reveal translations of the hidden message.
The Unión Nacional de Ciegos del Perú, known as UNCP, is Peru's national organisation representing the blind and visually impaired community. In 2015, the organisation partnered with McCann Lima to address a persistent gap in public awareness around visual disability and social inclusion, according to Directory Unc Edu. The campaign's chosen medium was not television, print, or outdoor — it was a single digital asset published on social media, a deliberate choice that placed the experience of exclusion directly in the hands of the sighted majority.
The core mechanics of the campaign were deceptively simple. A post appeared on Facebook displaying text rendered entirely in Braille. For any sighted user, the content was initially impenetrable. By hovering over tagged areas within the image, users could reveal the translation of each Braille phrase, progressively uncovering the campaign's central message: "We don't want you to read like us, we just want your attention," as documented by Clapboard.com. The interaction itself became the argument.
In Peru, where public digital campaigns for disability inclusion remained rare at the time, the campaign represented a meaningful intersection of social experiment and documentary intent. The choice to operate exclusively in the digital medium reflected a strategic understanding that the audiences most likely to influence public policy and social norms were spending increasing time on social platforms. The campaign carried a Clapboard Score of 69 out of 100, reflecting its creative ambition and the originality of its single-asset execution.
UNCP identified a fundamental tension at the heart of public awareness campaigns for the visually impaired. The campaigns that speak most loudly about blindness are almost always designed entirely for sighted audiences, reinforcing the very asymmetry they claim to challenge. McCann Lima's strategic response was to make that asymmetry felt rather than explained.
The digital medium was chosen with precision. By 2015, Facebook had become the dominant social platform across Latin America, including in Peru, where mobile internet penetration was accelerating rapidly. The interactive mechanics of the post — hover-to-reveal functionality built through tagged image areas — exploited a native Facebook feature to create a moment of productive friction. A sighted user encountering the post could not simply scroll past and feel informed. Engagement was required before meaning was delivered, mirroring the daily reality faced by visually impaired Peruvians navigating a world of text designed without them in mind.
In Peru, awareness of disability rights had been shaped by legislative frameworks including Law 29973, the General Law of Persons with Disabilities, which according to Peru's congressional archive at Api Congreso Gob Pe establishes the rights of persons with disabilities to full social participation. UNCP's campaign positioned itself as a cultural complement to that legal infrastructure — not lobbying, but education delivered through experience. The campaign's social-experiment structure placed it in a tradition of documentary-style public interest work, inviting witnesses rather than merely informing recipients.
Comparable public interest digital campaigns of the period, including work produced by organisations such as the Royal National Institute of Blind People in the United Kingdom and similar advocacy bodies across Latin America, typically relied on video testimonial or static infographic formats. McCann Lima's approach distinguished itself by embedding the insight inside the interaction itself, making the medium and the message structurally inseparable.
The creative execution of The First Post in Braille rested on a precise understanding of platform mechanics and an economy of means that few public interest campaigns achieve. The entire campaign consisted of one media asset — a single Facebook post — yet that constraint became a source of creative power rather than a limitation.
Art director Christian Silva and copywriter Frank Martí led the creative development of the asset, working under chief creative directors Mauricio Fernández Maldonado and Nicolás Romanó at McCann Lima, as documented by Clapboard.com. The integration of the digital execution fell to Miguel Bulnes, serving as integration digital director, while social media executives Jhonatan de la Cruz and Mónica Campos managed the campaign's deployment and community engagement across platforms, also per Clapboard.com. The case video production was handled by 7 Samurai, as noted by Clapboard.com.
The technical craft of the execution was rooted in Facebook's image-tagging system. Braille characters were rendered visually within the post image, and individual tagged zones within the image were mapped to reveal translated text on hover. This approach required careful spatial planning — Braille cells had to be sized and arranged so that the tagged areas corresponded accurately to each character group, and the reveal sequence had to guide a sighted user through the message coherently. The design communicated two things at once: the visual appearance of a language most sighted people cannot read, and, through the interaction, the experience of needing assistance to access what others take for granted.
The copywriting carried equal weight. The campaign's central line, translated as "We don't want you to read like us, we just want your attention," according to Clapboard.com, is constructed to disarm rather than accuse. It reframes the ask of disability awareness campaigns — not demanding transformation, only presence. That rhetorical generosity is the kind of strategic copywriting that tends to travel well across cultural contexts, lending the campaign potential well beyond Peru's borders.
No independently verified performance data quantifying reach, engagement figures, or conversion metrics for The First Post in Braille is publicly available through named third-party sources at the time of this analysis. The assessment of the campaign's effectiveness therefore draws on its structural design, documented creative decisions, and its record within industry recognition systems, according to Adsspot.
What the campaign's architecture suggests is a strong potential for organic amplification. A post requiring active interaction to yield its meaning creates a natural incentive to share — not because the content is entertaining in a conventional sense, but because the experience of decoding it generates a small, genuine moment of empathy that users are motivated to pass on, according to Docstore Ohchr. That dynamic is structurally distinct from passive content and represents a meaningful advantage for a resource-constrained public interest organisation like UNCP.
The campaign was recognised within the advertising industry's award circuit, with documentation of the work appearing across trade platforms including Latinspots.com and Clapboard.com, indicating that it achieved sufficient visibility within the professional community to be submitted and catalogued across multiple industry archives. Per Clapboard.com, the campaign carries a Clapboard Score of 69 out of 100, a rating that reflects the originality and craft of the execution while acknowledging that the single-asset, single-platform format naturally limits the breadth of measurable impact relative to fully integrated campaigns.
In the context of Peruvian public interest advertising in 2015, a digitally native campaign with an interactive mechanism designed around disability inclusion represented a genuinely uncommon creative proposition. Its lasting value lies as much in the conversation it modelled — about how to design digital experiences with and for people with disabilities — as in any discrete engagement metric.
The First Post in Braille is a digital public interest campaign created by McCann Lima for UNCP, Peru's national blind union, and published in June 2015. A Facebook post displayed Braille text as an image; sighted users hovered over tagged zones to reveal translations, experiencing firsthand the difficulty of accessing text-based information without sight.
McCann Lima created the campaign in Peru in 2015. Chief creative directors Mauricio Fernández Maldonado and Nicolás Romanó led the team, with Frank Martí as copywriter, Christian Silva as art director, Miguel Bulnes as integration digital director, and Jhonatan de la Cruz and Mónica Campos as social media executives, per Clapboard.com.
McCann Lima built the interaction using Facebook's native image-tagging system. Braille characters were rendered visually within a post image, and tagged zones mapped to each character group revealed translated text on hover. Sighted users had to actively engage before understanding the message, mirroring the daily experience of visually impaired people, according to Clapboard.com.
The campaign's central message, as documented by Clapboard.com, was: "We don't want you to read like us, we just want your attention." The line reframes disability awareness as an invitation rather than a demand, designed to disarm a sighted audience and generate genuine empathy through the act of decoding Braille with guided assistance.
The First Post in Braille holds a Clapboard Score of 69 out of 100, per Clapboard.com. The rating reflects the campaign's creative originality and precise use of platform mechanics, while acknowledging that its single-asset, single-platform format limits the measurable breadth of impact compared to fully integrated public interest campaigns.
McCann Lima chose the digital format because it allowed the campaign's insight to be embedded inside the interaction itself. In Peru in 2015, social platforms were reaching the audiences most able to influence public attitudes toward disability inclusion. A single Facebook post could place the experience of visual exclusion directly in a sighted user's hands, according to Clapboard.com.
.webp)
Creative Collaboration Platform: The Backbone of Modern Creative WorkWhat is a creative collaboration platform?Clapboard defines a creative collaboration platform as the operational core for today’s distributed creative teams. This is not a collection of digital collaboration tools stitched together; Clapboard’s system
Understanding the Creative Production MarketplaceWhat is a Creative Production Marketplace?Clapboard defines a creative production marketplace as a structured ecosystem where brands, agencies, and production talent converge to execute video, advertising, and branded content at scale. Unlike the legacy agency or freelanREAD FULL ARTICLE
The Urgent Need for a Creative Production Operating SystemWhy Traditional Creative Production Models Break DownClapboard sees the creative production landscape shifting under pressure. Content velocity is no longer a buzzword—it’s a mandate. Modern advertising demands relentless output across dozens of channels, each wREAD FULL ARTICLE
.jpg&w=256&q=75)
