Print Power 6

issue 06 / autumn 2013 / add print add power

ru re b to ve al

How specialist inks and finishes turn reading into an experience

Austria, Belgium, Finland, France, Germany, Hungary, Italy Netherlands, Norway, Portugal, Spain, Sweden, United Kingdom

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CONTENTS See the light

By now, you should have revealed the hidden coverline using the heat of your hand. If you haven’t, turn back, rub the lightbulb and come back.

The use of heat-sensitive ink is just one way that print can lift itself above other mediums in terms of stand-out and memorability, and in this issue we explore the range of effects you can achieve with a specialist ink or luxurious finish.

One brand that knows all about high-quality finishes is clothing brand Boden, who have built a successful company using a range of catalogues sent to millions every year. We talk to their well-dressed Marketing Director, Mark Binnington.

Elsewhere, we look at how the charity sector uses print to raise vital funds, why print is ideal for personalised campaigns, and the UK’s most inspirational and exciting independent magazines.

Finally, be sure to book your place at the Two Sides/Print Power Autumn Seminar, which takes place on November 4 at the Stationers’ Hall in London. We have a fantastic line-up of speakers, all eager to share their knowledge of print sustainability and marketing. Hope to see you there.

Martyn Eustace Country Manager, Print Power UK

06-10

30-35

The latest UK and international news, research, opinion and trends in the world of print and paper.

Five leading independent titles fuelled by passion and creativity that could change the way you look at magazines forever.

Engage

12-13

The new generation

Take 5

36-39

14-15

Personalisation is the latest way for brands to get closer to their customers, as Heinz, Heineken and Coca-Cola have discovered.

A selection of the world’s most creative and exciting uses of print.

Thought Leaders

Judith Donovan of the Keep Me Posted campaign explains why online billing could increase debt, plus Simon Steel, MD of Gutenberg Networks, states the case for high-quality print.

16-19

Top-class marketing

Mark Binnington, Marketing Director of Boden, explains why catalogues are central to the clothing brand’s relationship with its loyal customers.

20-23

Charity begins with print The UK’s top charities explain why print remains the best medium to build trust and raise funds.

24-28

Finishing touches

From a brochure you have to bake to a luminescent whisky bottle, we open up the world of inks and finishes.

Up close and personal

40-44

Are you sitting comfortably?

How brands are discovering the value of stories and why print is the perfect medium to deliver them.

46-49

Print has it covered

Hallie Harenski, Chief Marketing Officer for Consumer Lines at AIG, explains the value of print when it comes to selling insurance.

51-57

Knowledge

Find out more Print Power is a European initiative dedicated to strengthening the position of print media in a multimedia world. For more information, go to www.printpoweruk.co.uk 100% recyclable Print Power is printed on 100% recyclable paper from sustainable managed forests. All inks and finishes are also 100% recyclable and biodegradable.

Printed using vegetablebased inks by an ISO 14001-accredited printer.

PUBLISHED BY PRINT POWER www.printpoweruk.co.uk PRODUCED BY SOUL CONTENT www.soulcontent.co.uk EDITOR Sam Upton

Discover why print media should be a key part of your marketing strategy.

ART DIRECTOR Richard Wise

58

PRINT Pensord

COORDINATORS Martyn Eustace, Sarah Collins DATA MANAGEMENT DST

Final word

Jon King, MD of Story Worldwide Europe, on how to grab attention.

PRINT POWER Stonecroft, Hellidon, Northants, UK NN11 6GB • info@printpoweruk.co.uk • +44 (0)1327 262 920 © 2013 Print Power

Contributors

Sponsored by Judith Donovan MBE Chair of the Keep Me Posted campaign, Judith is also Chair of the Strategic Mailing Partnership and the Eden Project. Previously, she has been Vice Chair of Postwatch and Chair of the Direct Marketing Association.

Simon Steel The Managing Director of Gutenberg Networks, Simon leads the UK office of the global integrated marketing business. Clients across all marketing media include Phillips, Star Alliance, Volkswagen and PepsiCo.

Simon Creasey Former Features Editor of PrintWeek and a regular contributor to Packaging News and ProPrint, Simon has been a journalist for over 15 years, writing for national newspapers, consumer magazines and B2B titles.

Jon King As MD of StoryWorldwide Europe, Jon oversees one of the world’s leading postadvertising creative agencies.

Prior to his 20-year media career, Jon was the singer in legendary punk band Gang Of Four.

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eNGaGe

THe LaTeST NewS FRoM THe woRLD oF PRINT

Two SIDeS/PRINT PoweR aUTUMN SeMINaR LINe-UP aNNoUNCeD Some of the leading figures from the print and marketing industries will gather at Stationers’ Hall on Monday 4 November for this year’s Two Sides/ Print Power Autumn Seminar. The impressive line-up of speakers features experts in brand marketing, content marketing, print, sustainability and research, all sharing their thoughts on how print can thrive in the modern media landscape.

This unique day-long conference will touch upon many vital areas of the print and marketing sectors, opening with Nielsen’s Cynthia Vega presenting key trends from the European and UK media markets, before Story Worldwide’s UK Managing Director Jon King explains how to win a disproportionate share of an audience’s attention.

Sustainability is also high on the agenda, with experts such as Emmanuelle Neyroumande from the WWF and Fiona Wheatley from Marks & Spencer exploring the challenges for print in an age of transparency and accountability.

The ever-popular Autumn Seminar will be a day of education and inspiration for anyone who uses print in their working lives, providing not only a wide range of speakers but a fantastic opportunity to network with brand owners, agency heads and key decision-makers from the world of media and marketing.

For more information about the Two Sides/Print Power autumn Seminar and to book your place, go to www.twosides.info/autumn-Seminar-2013

SPeaKeRS FoR THe Two SIDeS/PRINT PoweR aUTUMN SeMINaR • martyn eustace, Director of Two Sides and UK Country Manager of Print Power • Jon King, UK Managing Director of Story Worldwide • cynthia vega, Analytics Client Manager, Europe at Nielsen • Kate russell, Business Development and Sales Director of Layar • emmanuelle neyroumande, Pulp and Paper Strategy Manager of WWF International • catherine toole, Founder and CEO of Sticky Content • Patrick fuller, Chairman of Result Customer Communications • mark lawn, UK & European Marketing Director of Canon Europe • fiona wheatley, Sustainable Development Manager at Marks & Spencer • gary Peeling, Managing Director of Precision Printing • Professor dr michael braungart, Founder and Scientific CEO of the EPEA Internationale Umweltforschung GmbH • Joao cordeiro, Senior Principal of Poyry Management Consulting • to read Jon King’s thoughts on the value of print, turn to page 58

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magazine adverTising / direcT mail / door To door / cusTomer magazines / caTalogues

Quote unquote “magazines are a brillianT invenTion. you TaKe The besT Things from around The world, puT TogeTher greaT sTories and greaT phoTography, and give iT To consumers for $5. ThaT’s a preTTy good deal” graydon carter Editor of Vanity Fair

78

%

the Percentage of cmos that thinK custom content is the future of marKeting

(yahoo advertising solutions, 2013)

90

%

ReGULaRLy ReDeeM PRINT VoUCHeRS

DIReCT MaIL eSSeNTIaL FoR bRaNDS New research into consumers’ attitudes to print marketing has revealed that 79% of consumers act on direct mail immediately. Titled From Letterbox to Inbox 2013, the study found that consumers regard direct mail and other printed communications as being essential to their overall experience of brands.

Among the conclusions of the print-tracking study was the fact that 10% more consumers visited a brand’s website in response to direct mail rather than an email. Also, nearly half those surveyed said they had retained printed items, with 17% saying they did so regularly.

Respondents also highlighted the essential role direct mail plays within their lives as consumers, with 56% saying they found print marketing to be the “most trustworthy” of media channels.

“People continue to value direct mail and printed communications from brands, finding it offers qualities not found in other comms and is an essential part of the overall brand experience,” explains Rachel Aldighieri, Director of Communications and Insight at the DMA. “Many people today could easily choose to conduct their lives entirely online, but they don’t. For brands to market effectively in a truly connected world, they must fully recognise the role that print comms play, and will continue to play for many years to come.”

Consumer appetite for redeeming money-off coupons is growing, with 90% of UK consumers now stating that they use coupons. The report, conducted by Gfk NOP on behalf of Valassis, the voucher services provider for Sainsbury’s, Procter & Gamble and Associated Newspapers, also found that the use of electronic coupons has remained stagnant.

Despite the general trend towards the increasing use of internet and mobile, only 8% of shoppers are using internet coupons more than they were last year, with just 9% using more mobile coupons.

“Consumers are becoming more and more money-off motivated,” explains Charles D’Oyly, Managing Director of Valassis, “with tracking down coupons becoming increasingly incorporated into everyday shopping behaviour.

What’s particularly interesting is that the use of coupons and vouchers from mobile phones or the internet does not seem to be growing as rapidly as many might expect and paper still leads the way.”

DooR DRoPS UP 3.5%

For more information, go to www.valassis.co.uk

For more information, go to www.dma.org.uk

For more information, go to www.dma.org.uk

The latest Annual Door Drop Industry Report showed that door drop volumes across the UK grew from 6.9bn in 2011 to 7.2bn last year. The report, carried out by the Direct Marketing Association (DMA), also showed that expenditure on door drop media, which includes leaflets, catalogues, newsletters and product samples, was up £10m to £266m.

“While some larger users of the medium have reduced volumes, the overall growth has come from new and lapsed users coming into the channel and realising its potential,” says Mark Young, Chair of the DMA Door Drops Committee. “Practitioners continue to provide ever-increasing sophistication in targeting and tracking methodology, which increases the confidence and accountability of those using the medium.”

You can’t lick a stamp.

81% of consumers open all of their post. It’s hard to beat mail for impact. Visit royalmail.com/marketreach

Royal Mail, the Cruciform and the colour red are registered trade marks of Royal Mail Group Ltd. MarketReach is a trade mark of Royal Mail Group Ltd. MarketReach from Royal Mail is a trading name of Royal Mail Group Ltd. Registered number 4138203.

Registered in England and Wales. Registered office: 100 Victoria Embankment, London EC4Y 0HQ. Source: TGI Postscript 2012

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M eNGaGe THe LaTeST NewS FRoM THe woRLD oF PRINT eNGaGe issue

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96

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the Percentage of

the big ReVeaL The cover of this issue of Print Power uses thermochromic ink to add an engaging element of interactivity to the magazine, with the area above the cover star’s head revealing a hidden message when rubbed with a hand or finger.

Thermochromic technology has been around since the early 70s, when half the known world seemed to wear a mood ring.

Now, the device is used across a huge range of print media, from direct mail packs looking to stand out and grab their target’s attention, to food and drink packaging using heat-sensitive inks to show how hot or cold its contents are.

With brands always on the look-out for innovation in their marketing, thermochromism is just one way in which print is pushing itself to become even more engaging and memorable in the mind of the consumer. For more on the wide world of inks and finishes, turn to our cover story on page 24.

For more information on specialist inks and effects go to www.celloglas.co.uk

time uK readers sPend with national Print newsPaPers, as oPPosed to their digital versions (london city university, 2013)

Quote unquote “There are four Times as many prinT magazine subscribers in uK as There are TwiTTer users” ed vaizey Minister for Culture, Communications and Creative Industries

CaTaLoGUeS FoUND To be ReSPoNSIbLe FoR 30% oF SaLeS Print catalogues have a vital role to play in multi-channel marketing, according to a new report published recently. A study published by design, marketing and print specialist Catalogues 4 Business (C4B) found that businesses that use catalogues as sales and marketing tools say they are directly responsible for 30% of sales.

The study also found that when partnered with an e-commerce site, a further 29% of sales were driven by the catalogue through their website, while 33% of respondents also said that sales through their catalogue were up year on year.

“Catalogues are an incredibly powerful marketing tool,” says C4B managing director Ian Simpson. “They are one of the best ways to drive online traffic. It’s all about integrating offline and online tactics.”

oNLINe bILLING LeaVeS CUSToMeRS SeeING ReD SayS CaMPaIGN A new campaign has been launched to highlight the worrying trend for banks, utilities and media companies moving to online statements and bills. The campaign, called Keep Me Posted, has been set up to protect the consumer’s right to communications choice on the strength of independent research that shows that the most vulnerable sections of society are being financially penalised.

The report highlights that 84% of the population are unhappy when companies take away their right to choose how they are communicated, and 54% would choose paper over online statements.

The report also indicates that, without choice and access to paper statements, customers are more likely to miss payments and less likely to have a handle on their finances, with 41% worried that they might miss a payment and 39% admitting that they wouldn’t know what their balance was. For those fighting debt, this lack of awareness could be catastrophic.

Championed by organisations such as Mind, The National Consumer Federation, Royal Mail and TNT Post, the campaign has put forward a ‘right to choose charter’, which includes such points as ‘Offer all customers the choice of receiving information through paper correspondence as part of any standard offer’.

Investment banker.

Adding mail to the media mix boosts ROI in financial services by 8%. Visit royalmail.com/marketreach

Royal Mail, the Cruciform and the colour red are registered trade marks of Royal Mail Group Ltd. MarketReach is a trade mark of Royal Mail Group Ltd. MarketReach from Royal Mail is a trading name of Royal Mail Group Ltd. Registered number 4138203.

Registered in England and Wales. Registered office: 100 Victoria Embankment, London EC4Y 0HQ. Source: Brand Science/MarketReach Optimiser Tool 2012

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Print an Myths d Paper and Fa cts / direct mail / door to door / customer magazines / catalogues magazine advertising

New Myths & Facts book out Two Sides, the European sustainability initiative, has just released an updated version of Myths & Facts, the booklet designed to cut through the misinformation surrounding the production of paper and its impact upon the environment.

The book dispels several key myths, from ‘Making paper always destroys forests’ to ‘Electronic communication is more environmentally friendly than print’, using research from across the globe to back up its content.

Here are just a few of the many facts featured in the book: • European forests have grown by over 30% since 1950 and are increasing in size by an area four times the size of London every year.

• With 1.1% of the world’s greenhouse gas emissions, the value chain of pulp, paper and print is one of the lowest industrial emitters.

• European recycling rates for paper reached 70% in 2011.

• In Europe, two tonnes of paper are recycled every second.

• Reading a newspaper can consume 20% less carbon than viewing news online.

• ‘ Forestry, paper and packaging are one of the most sustainable industries in existence’ (taken from CEO Perspectives 2008

by PricewaterhouseCoopers).

For more information and to order your free copy of the Myths & Facts booklet, go to www.twosides.info

Print a nd P have a aper enviro great nmen story to tal tell

Quote unquote “There aren’t many industries that can aspire to becoming genuinely sustainable. The paper industry, however, is one of them. It is inherently sustainable” Jonathan Porritt, Co-founder of Forum for the Future

78

%

The percentage

of total revenue generated by print products for consumer magazine publishers (PPA, 2013)

Canon launches Return-OnInvestment calculator for print The ability of print service providers (PSPs) to work out the effectiveness of a print campaign has just got a little easier thanks to Canon’s brand new ROI tool. The tool enables PSPs to estimate the potential ROI of a campaign involving print for existing and prospective customers.

The measurement tool offers PSPs the potential to help their customers enhance the performance and cost-effectiveness of their print applications, enabling them to profile a customer and their planned campaign before setting out clear aims and objectives.

They can then calculate the potential ROI for the customer on promotional, multi-channel, transactional and consumer applications.

For more information, go to www.canon-europe.com/roi

QUICK HITS •• This year’s Glastonbury festival had its very first newspaper printed on-site. Around 15,000 copies of the Glastonbury Free Press were printed each day on a five-tonne 1950’s Heidelberg cylinder press in a specially constructed ‘print room’ in the Theatre and Circus area.

•• A merican Vogue’s September issue included a whopping 665 pages of ads – its second-most successful ever. The 121-year-old magazine icon is enjoying a resurgence in print ads from fashion, luxury and beauty companies.

•• Following the leaks by US whistleblower Edward Snowden, Russia is safeguarding itself against global digital snooping by reverting to paper. The Federal Guard Service, a powerful body tasked with protecting Russia’s highest-ranking officials, has recently put in an order for 20 typewriters.

•• Israeli designer Dafna Aizenberg has created the world’s first print map of the internet. The 120-page book was created to mark the 30th anniversary of the internet and contains hand-drawn graphics that highlight global trends in areas such as e-commerce and social media. See www.atlasofthewww.com for more information.

•• Microsoft placed a wifi-enabled print ad in a special edition of Forbes to promote its Office 365 software, providing free internet to those who kept the magazine with them. Once activated, the router embedded within the pages provided users with 15 days of free internet, which could be used by up to five devices simultaneously.

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THe LaTeST NewS FRoM THe woRLD oF PRINT

CMa INTeRNaTIoNaL CoNTeNT MaRKeTING SUMMIT 2013 As the leading conference for the international content marketing industry, the CMA International Content Marketing Summit is a must-attend event for any marketer, brand owner or agency head interested in content marketing.

The day-long conference features some of the world’s top experts in content marketing to reveal the strategies and secrets of their campaigns, giving delegates an opportunity to use their experience and knowledge to make their own campaigns even more effective.

Hosted by broadcaster and journalist Krishnan Guru-Murthy, the event has an impressive line-up of speakers, including Jonathan Mildenhall, VP, Global Advertising Strategy and Content Excellence for Coca-Cola, Oliver Snoddy, Head of Planning at Twitter, Nick Cohen, Head of MediaCom Beyond Advertising at MediaCom, and Ronojoy Dam, Creative Director of Vice.

The Summit will be followed in the evening by the International Content Marketing Awards. the cma international content marketing summit will take place at old billingsgate on wednesday 27 november, 2013. for more information and to book your ticket, go to http://summit.the-cma.com

eVeNT DIaRy oCTobeR 8-10 / 2013

NoVeMbeR 27 / 2013

The week-long Festival of Marketing aims to help every marketer rise to the challenge of change. With five interconnected areas plus a Festival Fringe series, the event will “look at the disruptions, inventions, ideas and attitudes that put customers at the centre of the universe and brands in orbit around them.”

The Content Marketing Association’s annual conference gathers the world’s leading experts on content marketing to share their knowledge with an audience of 400 senior marketers, agency owners and media decision-makers.

The CMA International Content Marketing Awards follow in the evening.

• Various venues, London www.festivalofmarketing.com

• Old Billingsgate, London http://summit.the-cma.com

oCTobeR 23-24 / 2013

DeCeMbeR 3 / 2013

Following a successful launch last year, Cross Media returns with a bigger and brighter programme of presentations, seminars and exhibitions for the print, marketing and publishing industries. Alongside the main event, the Cross Media College will provide a series of workshops and seminars on building an effective integrated cross-media campaign.

The annual celebration of direct-marketing excellence comes to a head at Old Billingsgate in London, where the winners of 37 awards will be announced by comedian Jimmy Carr. Chair of judges this year is acclaimed British playwright, director and screenwriter Stephen Poliakoff, who will oversee a judging process that features over 200 experts from the DM industry.

• Business Design Centre, London www.crossmedialive.com

• Old Billingsgate, London www.dmaawards.org.uk

NoVeMbeR 4 / 2013

MaRCH 24-29 / 2014

This annual event brings together a number of print, marketing and sustainability experts to present their thoughts and inspire debate on the print and paper industry. The day-long conference features a host of expert speakers, including Jon King, UK Managing Director of Story Worldwide, Julia Hutchison, Head of Content at Group FMG, and Emmanuelle Neyroumande, Pulp and Paper Strategy Manager of WWF International.

The world’s first and biggest print and marketing communications event, Ipex returns to London at a time of great change for the two industries. The only international event that brings together the whole print supply chain, Ipex 2014 will provide today’s printer and their customers with the ideas, insights and solutions to promote the power of print media and its integration in the marketing mix.

• Stationers’ Hall, London www.twosides.info/autumn-seminar-2013

• ExCeL, London www.ipex.org/2014

NoVeMbeR 14 / 2013

May 12-14 / 2014

The flagship event of the PPA’s Customer Direct Marketing group, this day-long conference will look at all aspects of direct marketing, featuring strategic-level case studies and presentations from industry experts alongside practitioner sessions for industry newcomers. The conference is followed in the evening by the Customer Direct Awards 2013.

WMM is for magazine media publishers interested in international licensing, joint ventures and content syndication. Whether you want to add a global magazine brand to your existing portfolio, looking to publish a title in another country or exploring tablet, app or website licensing, WMM provides a unique opportunity to meet potential partners from around the globe.

• The Brewery, London www.ppa.co.uk/customerdirect2013

• Bangkok, Thailand www.fipp.com/events/wmm-2014

Festival of Marketing

Cross Media 2013

Two Sides and Print Power autumn Seminar 2013

Customer Direct 2013

CMa International Content Summit 2013

DMa awards 2013

Ipex 2014

worldwide Media Marketplace 2014

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eNGaGe THe LaTeST NewS FRoM THe woRLD oF PRINT eNGaGe

HaNDS-oN MaRKeTING Print Power UK have launched a brand new DM campaign to demonstrate the high degree of response which can be obtained with creative, sensory, direct mail. The ‘TouchedByDM’ mailing has already achieved a huge amount of success across Europe and has now been sent out to 2,200 of the UK’s leading brand owners and media decision-makers.

The mailing was developed by Ogilvy’s Red Works office in Brussels and consists of four elements: an envelope, which holds a personalised letter; a chalked blackboard card; a reply card and a reply envelope.

Leaving a print of their chalk-covered hand on the reply card allows the recipient of the mailing to obtain a personalised Moleskine notebook as the handprint is then scanned and printed on the cover of the notebook.

So far, the mailing has been sent out in Spain, France and Italy with remarkable results. France has reported a 9% return rate on the mailing, while Italy scored 14.7% and Spain an astonishing 23%. Over the coming months the mailing will be sent out to a further nine countries across Europe.

“While channels like television, radio and the internet have a different combination of sensory triggers and are often restricted in the number of senses they can reach,” says Martyn Eustace, UK Country Manager for Print Power, “it is print media that uniquely offers a combination of triggering vision, touch and smell.” to request the touchedbydm mail pack, email your details to sarah collins at sjc@twosides.info

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FLeeT STReeT’S FINeST

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One of the world’s finest collections of print artefacts is now open to the public.

The St Bride Foundation in Fleet Street, London, has been gathering print treasures since it was established in 1891 as a cultural, recreational and educational centre for local people, and now boasts over 90,000 pieces of print history.

Those pieces of history include some of print’s defining moments, from a papyrus from the Book of the Dead dating from 1400BC to a series of original prints made

by William Caxton in the 15th Century. The collection also houses more recent examples of print such as Margaret Calvert’s ‘Transport’ font, still used on every road sign in the country.

But it’s not just its impressive collection that the Foundation hopes will draw in the crowds. The building also hosts regular events, conferences, theatre performances, classes, workshops and talks from revered print industry experts. “Somehow, we’re still here, fulfilling our original charitable aim.” says Glynn Farrow, Chief Executive of the St Bride Foundation. “There isn’t anything like our collection in terms of all these things being together in one place. That’s why we’re determined to throw open the whole building and get as many people in as possible.” for more information on the st bride foundation and details on how to view the collection, go to www.sbf.org.uk

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www.sbf.org.uk

Not many 122-yr-olds are this versatile

St Bride Foundation may contain one of the world's largest historical archives of print and media - but it is also home to a diverse, beautiful conference and events space.

Located right in the heart of the City, a stone's throw away from Blackfriars and other major transport hubs, our facilities can accommodate every requirement – from exhibitions and away days to round tables and lectures.

We can even provide a tour of this beautiful building and its amazing, unique artefacts.

Whatever your event, look to the future while surrounded by history. We'd be delighted to welcome you.

Call us today on 020 7353 3331 or Email: glyn@sbf.org.uk St Bride Foundation, Bride Lane, Fleet Street, London EC4Y 8EQ

www.sbf.org.uk

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5

TAKE 5ive THIS ISSUE, WE USE A MAGAZINE TO CHARGE OUR PHONES ON A BRAZILIAN BEACH, SNIFF A PINEAPPLE-SCENTED LEAFLET IN WEST LONDON, AND DISCOVER THE VERY LATEST INNOVATIONS IN PRINT MEDIA FROM ALL OVER THE WORLD

1

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THE NIGHTWATCHMAN

3

Skincare brand Nivea unveiled a print campaign in Brazil featuring the world’s first solar phone charger to be used in a print ad. The ad, which ran in Brazil’s best-selling magazine Veja Rio, featured a thin solar panel and phone plug, suggesting that people shouldn’t have to leave the beach for anything, especially to charge their phone.

Promoting Nivea’s ‘Sun’ line of products, the ad took eight months to produce, including six months of technology development and two months of printing. But the ad was a sizzling success, with a 12% increase in sales for Nivea Sun products and hundreds of press stories generated around the world.

Produced in association with the legendary cricket publication Wisden, The Nightwatchman showcases the very best of cricket writing from around the world. The chunky, luxurious quarterly gathers leading cricket journalists and well-known writers from other disciplines – mathematics, poetry, history, literature – to offer original articles about all aspects of cricket.

“It is The Nightwatchman’s belief that the written word, particularly long-form writing, still has a place,” says Editor Matt Thacker. “We are not railing against the onrushing waves, demanding the digital tide be turned back, but we can’t disguise a love for paper, for the specialness of printed matter.”

To promote Kew’s ‘IncrEdibles’ festival, which showcases the incredible edible fruits the gardens have on show, their media agency Arena created a newspaper supplement scented with the smell of pineapple. Running in a range of local papers, the eight-page supplement gave local residents an immediate preview of what the festival had in store for them by tantalising a number of the senses.

The festival includes a Tutti Frutti boat ride, a Rose Garden Tea Party with edible plants growing on plates, and a Global Kitchen Garden, home to over 90 edible plants. There’s still plenty of time to experience the festival for yourself as it runs until Sunday 3 November 2013.

NIVEA

• To see a video of the ad, go to YouTube and search for ‘Nivea charger’

KEW GARDENS

• For more information and to subscribe, go to www.thenightwatchman.net

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MAGAZINE ADVERTISING / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / CATALOGUES

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The brand new Innovations in Magazine Media World Report demonstrates the stronger links print is making with digital, with a host of enticing devices and tools to give publications a digital element.

Produced by FIPP, the worldwide magazine media association, the report covers everything from advertising innovation, social commerce, e-singles, a magazine published as a poster, and a title with a playable video game cover.

Among the many case studies of brands and publications using the latest technology, there are features on personalisation, advertising innovations and the future of paper, including developments such as graphene and interactive newsprint.

The Dutch lager brand wanted to increase international awareness using the inflight magazine Holland Herald, produced for KLM Airlines by Ink Publishing. The publishers wanted to make sure the magazine’s readers really stopped and took notice of the ad, so they created a groundbreaking 3D effect using lenticular card, which showed the motion of the cap popping off the Heineken bottle.

This was the first time this 3D effect had been used in an inflight magazine and results were impressive, with over 40% of readers lifting the 3D card from the page and taking it with them when their flight landed.

FIPP

HEINEKEN

3.

4.

• For more details and to purchase a copy of the report, go to www.fipp.com/innovations

5.

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Thought Leaders

JUDITH DONOVAN CBE, CHAIR OF THE KEEP ME POSTED CAMPAIGN, TAKES COMPANIES TO TASK OVER ONLINE BILLING, WHILE SIMON STEEL, MD OF GUTENBERG NETWORKS ARGUES THAT INCREASING THE QUALITY OF PRINT COULD BE THE INDUSTRY’S SAVIOUR

I

n my daily life I hear a lot of concerns about the move to paperless bills and statements, but many more concerns about the consumer choice being removed. There is no doubt that some businesses have forgotten to take their customers with them on that journey.

Launched over the summer, the Keep Me Posted campaign calls for the protection of consumer choice over the way organisations, such as energy and telecoms companies and banks, send them their bills and statements. We believe that every consumer should be able to choose a paper copy of communications from banks, utility companies and other service providers without being penalised.

Not being able to have a paper bill or letter is a bigger problem than people realise, because it’s not just about those who can’t go digital, it’s those who prefer not to go to digital for a wide variety of reasons.

We know that nine million consumers have no access to the internet and 16 million consumers don’t feel very comfortable using it. But on top of that, you’ve got a number of disabled people who can’t manage to use the internet and people with English as a second language, as well as rural dwellers who can’t actually get the internet. I live in the Yorkshire Dales and

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our signal is pretty iffy at the best of times.

You also have to look at the other side of the coin: how society is changing, which creates a number of big issues at the moment. The fact that we’ve been in recession for the past six years means that debt is a big issue, and research shows that people manage their debt better if they have a paper statement as a way of tracking and policing that debt.

The even bigger issue is identity. The fastest-growing employment sector in this country is carers, and carers have real problems looking after the people they’re caring for in terms of proof of ID to access accounts and managing budgets.

Ironically, it’s the financial companies that are the ones demanding this very high level of proof that you are who you say you are, or you are representing who you say you’re representing. These companies won’t accept printouts of their own digital communications as proof, so without paper bills, how can anyone prove their identity?

But our core issue is more fundamental: it’s citizen choice.

We just think people should be allowed a free choice of having paper bills without being charged. It’s as simple as that.

“ www.keepmeposteduk.com

RESEARCH SHOWS THAT PEOPLE MANAGE THEIR DEBT BETTER IF THEY HAVE A PAPER STATEMENT

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MAGAZINE ADVERTISING / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / CATALOGUES

“” YES IT’S TOUGH FOR PRINT AT THE MOMENT, BUT NO TOUGHER THAN IT IS FOR ANY OTHER MARKETING COMMUNICATIONS

T

he best way of looking at the question of print’s future is by sticking to doing what print does well: the really high-quality printed items. E-books may have changed people’s book-buying habits in that they don’t buy as many cheap print books, but they are now more likely to buy hardbacks or special editions and have something of value to keep.

It’s a similar story with marketing communications. You use print to deliver an experience that has a high perceived value. It’s doing less, but at high quality and at a premium.

If you send out just five thousand pieces of top-quality mail and get a 50% hit rate, it’s obviously better than doing one million with a 0.2% hit rate.

With some of the improvements in digital print technologies and the ability to customise your mailings, this is only going to improve for brands, to the point where you can get very high quality and very well-tailored print products. Part of that will be driven by how clients and agencies begin to look at how they segment their data and who they’re communicating to, rather than doing the confetti mailings that people have seen in the past.

With many campaigns around the world, you need to

provide a portfolio of materials to allow brands to run different activity at different times in different media. So I think that’s where print plays an important part, because it’s more broadly accessible and can have a more significant lifespan.

I was sitting at home this morning reading a hi-fi brochure from a little place in London called Graham’s Hi-Fi. It was only a four-pager, but I sit and read it because I’m more likely to look at it when it drops through the door than I am to go online and look at their website.

It’s very similar to the comms you get out of the big car companies. There’s something about the tangibility of print when placed against a relatively high-cost purchase that works well. If you’re spending a few thousand quid on a car or stereo, it’s always nice to have something to hold.

Yes it’s tough for print at the moment, but no tougher than it is for any of the other communications. People are experimenting with print because there are new techniques available and you can do more stuff with it. So the products are getting better and achieving better results, to the point where people are now saying: ‘We can now do print at low cost and high volume with great quality. So why wouldn’t we do that?’ www.gutenberg-networks.co.uk

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“ ” A QUALITY CATALOGUE CREATES THE PERCEPTION OF A QUALITY BRAND AND GIVES CUSTOMERS CONFIDENCE THAT THE CLOTHES WILL ALSO BE GREAT QUALITY Mark Binnington Marketing Director Boden

Cover stars (left) Boden Marketing Director Mark Binnington pulls a classic catalogue pose. (above, l-r) The full range of Boden catalogues, from Mini Boden (babies and children) to Johnnie B (teenagers), then onto womenswear and A 1000 Little Things, produced to improve customer engagement.

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MAGAZINE ADVERTISING / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / CATALOGUES

Catalogue model MIDDLE-CLASS CLOTHING ICON BODEN HAS BUILT A GLOBAL BRAND ON THE BACK OF A SERIES OF HIGH-QUALITY CATALOGUES DELIVERED THROUGH THE DOORS OF MILLIONS OF HOMES IN THE UK – AND THAT INCLUDES 10 DOWNING STREET

By John Reynolds

T

hose who regard being schooled at Eton as a shortcut to privilege and a detachment from the real world, would be advised to take a look at the lengthy CV of Johnnie Boden, the founder f ounder of mail-order clothing brand Boden.

Despite his upper-class credentials, Johnnie Boden turned his back on the riches of a high-flying career in finance in the US to build a business which has defied the odds and proven in its 20-year existence to be a rare success story across the start-up retail market.

If Boden learnt anything from his time in the US, it was the popularity of the smart-casual, preppy look and, more importantly, the value of high-quality catalogues. Boden’s idea was simple but effective: bring this US sales model and look across the Atlantic then add a twist of quintessential Britishness. And so the Boden brand was born.

Customers in high places

Having a Prime Minster and his wife wear your company’s clothes in holiday photoshoots is never going to do your brand any harm, but it’s not just David and Samantha Cameron who have taken a shine to Boden’s distinctive British clothing. Now, every year, more than 20 million copies of Boden catalogues are dropped through the country’s letterboxes, with its high-quality paper showcasing couples

and their offspring decked out in the latest Boden attire.

Mark Binnington, Marketing Director at Boden, is the man responsible for these catalogues, the medium that’s fundamental to enhancing the brand as well as physical sales.

“The catalogue enhances the brand in several ways,” he explains. “It provides inspiration and communicates our brand values in ways that are harder for the website to do.

It also provides a tangible experience for customers, which is obviously important for clothing. It’s not as strong as actually touching the clothes, but it still gives many customers a more real experience.”

Give quality, sell quality

Boden has come a long way from the company that was founded in 1991. Launching with just eight menswear products, it wasn’t until a year later that the business really took off, when its women’s clothing range was launched.

Fast forward over 20 years and Boden is now a business boasting profits of nearly £18m. With such profits, it can make a serious case to say it pioneered upmarket mailorder shopping in the UK, introducing a whole generation of British families to the benefits of home-delivered shopping.

Companies such as John Lewis have clearly had success as catalogue-led brands, but Boden has carved out its own market, one that’s envied by other retailers. >>

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Sharing the love One of Boden’s publications was A Thousand Little Things, in which Boden staff, customers and leading journalists created a unique brand engagement piece.

>> However, Boden is not resting on its cashmere and cotton laurels, and its success in the UK has been transferred to other markets such as France, Austria, Germany and the US, the latter two driving major growth. In fact, 2012 marked the first year that overseas sales accounted for more than half of Boden’s sales.

Traditionally, Boden’s core UK customer is a 35-45 year-old ABC1 female with children. Indeed, the overwhelming majority of Boden’s UK customer base is women, buying Boden not just for themselves but for the whole family.

It’s this customer base that’s still as much in love with the catalogues as they were when the company first began, with sales from the catalogues still accounting for the majority of sales, despite the brand making inroads with online.

A crucial factor to the strong performance of its catalogue, according to Binnington, is down to the quality of the paper.

He argues that it’s very difficult to sell Boden’s relatively expensive clothes if the quality of paper doesn’t match the quality of product.

“A quality catalogue creates the perception of a quality brand and ultimately gives customers confidence that the clothes will also be great quality,” he says. “It’s a balance between cost and quality. We want our product to look and feel good on the page so we want a good-quality paper. However, we mail millions of catalogues, so it’s very important that we balance the cost. Our paper quality has remained pretty much unchanged over the past few years.

It’s the same for all catalogues.”

The online factor

It’s also not lost on the Boden Marketing Director that the catalogues carry a practical value, with customers just as comfortable flicking through its pages on the sofa, in bed or on their daily commute.

As any thriving catalogue business worth its salt knows, customer feedback is crucial to the overall makeup of its pages, and Binnington stresses that customers feed into the whole makeup of the catalogue. This involves everything from format, layout and pagination to paper stock and weight. In a clear example of customers being central to the brand, the marketing department even gets them involved in picking the catalogues’ cover images.

But like all businesses, Boden is investigating how best to benefit from the rise of digital. So while the catalogue is still the key plank of its marketing, print sales need to sit hand-in-glove with growing online sales.

“We have been guilty that digital and print haven’t worked in tandem,” Binnington says, “with the catalogue and website looking like two different brands. It’s very important that they are from the same brand and they work more together.”

Retail is a fast-moving business and the high-street in recent times has resembled a graveyard of failed businesses, as brands such as Mothercare have failed to adjust to changes in customer behaviour. It seems unlikely that Boden will be heading that way. One obvious emerging trend is changes to customer-purchasing habits, in particular how print can react to more impulse purchasing.

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MAGAZINE ADVERTISING / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / CATALOGUES

VITAL STATS

50 million • There are over 50m Boden catalogues circulated around the world every year.

2.4 million • Boden has 2.4m customers in the UK, with 750,000 making a purchase in the past 12 months.

1.4 million

52 titles

• It has 1.4m customers in the US with 500,000 making a purchase in the past 12 months.

• Boden customers can choose from a menu of 52 titles when they sign up for the catalogue, including Princess and Reverend.

“Customers are moving much more towards buying what they want when they need it,” says Binnington. “Our biggest challenge with print is the lead times, in that it’s harder to react to customer behaviour. We recognise that our customers’ behaviour is changing and so our relationship between print and digital will change. Catalogues will still be required in order to drive traffic to the site. However, catalogues need to offer fresh and new creative and product to inspire customers to visit the site. This may mean we’ll need to do smaller but more frequent mailing.”

Staying on-trend

Such targeted and more frequent mailing is likely to mean that Boden’s core customers will stay abreast of the latest trends and be less likely to shop elsewhere. Modern retail success stories are rare and should be celebrated in these straitened times.

Boden’s success shows there is little substitute for vigorously pursuing a gap in the market, and while celebrity endorsements such as the Camerons clearly don’t do any harm, central to its success has been the high-quality catalogues which have thumped through millions of letterboxes across the country. So in such a fast-changing environment, will Boden’s catalogues still be the fulcrum of the business in ten years time?

“I hope so,” says Binnington. “The catalogue will definitely be here for the next five to ten years, but it’s likely to be quite different.” PP

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“”

PRINT ALLOWS US TO CREATE DIFFERENT TREATMENTS THAT ARE MORE PERSONALISED AND, SINCE THE DWELL TIME IS LONGER, IT GIVES US SPACE TO EXPAND ON MESSAGING SHORMEH OMABOE Direct Marketing Manager Centrepoint

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MAGAZINE ADVERTISING / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / CATALOGUES

Emotional

RESCUE THE COMBINATION OF ACCESSIBILITY AND AN ABILITY TO FORM STRONG BONDS WITH ITS READERS GIVES PRINT A NUMBER OF ADVANTAGES WHEN IT COMES TO CHARITY CAMPAIGNS. WHATEVER THE CHANNEL, PRINT GETS STRAIGHT TO THE HEART OF THE MATTER

By John Reynolds

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A supporting role (Left) The Royal British Legion uses print ads as well as DM to help raise £80m a year, while (below) charities such as Breast Cancer Campaign and Marie Curie Cancer Care use magazines to maintain awareness of their work. (Right) The customer magazine of Arthritis Care has been key to membership increase.

F

or years, print has been a good friend of the charity sector, driving forward its fundraising, recruitment and brand awareness through its various channels. Whether it’s a mass DM campaign, a hard-hitting print advert or a trusty customer magazine showcasing a charity’s latest fundraising ventures, print is the go-to guy.

Some of the most hard-hitting and seminal campaigns, from Oxfam’s high-profile Haiti appeal to the World Wildlife Fund’s Adopt A Panda initiative, have sprung to life through print. Yet the landscape is changing and print is now facing its biggest challenge to its domination across the charity sector.

The economic downturn has inflicted considerable damage to the charity sector, forcing staff to be laid off, shops closed and fundraising curtailed. In this new-look landscape, charities are grappling with the conundrum of having to reduce costs while upping their fundraising efforts to be heard in a crowded market. And the great elephant in the room for print is online.

Shoba Mistry, Head of Marketing at Fairtrade Foundation, offers a pithy summary of the challenge facing print. “Print media still has an important role to play within the marketing mix,” she says. “However, recently there has been a larger emphasis on using digital channels.

Charities, like commercial organisations, are recognising the cost-effectiveness of these channels and their rising levels of engagement of their target audience online. This allows us to do more for our money and is often now reaching larger audiences.”

Care in the communities

Despite the changing landscape, print is still the biggest beast in the charity sector, led by DM. According to the latest research by Royal Mail/Nielsen, DM commands 70% of the fundraising market, way ahead of press (11%) and TV (11%), with the internet (2.6%), door drops (2.49%), radio (2%) and outdoor (1%) lagging behind.

While the Fundraising Standards Board (FSB) notes that digital is eating into DM activity, it’s worth remembering that 140 charities dropped more than 200,000 charity leaflets in the UK, according to the latest yearly figures.

Customer magazines, meanwhile, appear to be in rude health, with Marie Curie, Breast Cancer Campaign and Arthritis Care upping their investment as they look to forge closer relationships between donor and charity.

Mark Beazleigh, Managing Director of Northstar, which publishes a number of charity magazines, says: “The market is tough at the moment so there are even more reasons for charities to have a distinct tone of voice and provide a community for benefactors.”

Cross-platform campaigns

For children and youth charities, there appears to be a schism appearing in the market, with some gazumping print with online as a fundraising tool, while others work across the two platforms.

UK Youth, the 100-year-old charity which supports 750,000 young people, now promotes some of its work purely through social media, helped by its army of 12,000 Twitter followers.

Conversely, young person’s homeless charity Centrepoint says print is fundamental to its activities, not only helping it drive gift-aid contributions but also helping with cost savings by launching targeted campaigns.

“We know we have supporters with different motivations and interests,” explains Shormeh Omaboe, Direct Marketing Manager for Centrepoint. “Some are concerned about the impact of homelessness on society, some are

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MAGAZINE ADVERTISING / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / CATALOGUES

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Summer 2013 • www.arthritisc are.org.uk

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concerned about the emotional wellbeing and welfare, and others are concerned with what they can do to change the agenda. Print allows us to create different treatments that support these motivations and enables us to test different creative more effectively. That creative is more personalised and, since the dwell time is longer, print gives us space to expand on messaging.”

Helping the aged

For charities supporting the older generation such as Help the Aged, Age Concern and The Royal British Legion (RBL), print remains a bedrock. In the case of RBL, print is the main engine in attracting its £80m-a-year funding, while also working hand-in-glove with other traditional media such as outdoor advertising.

Print fundraising for the armed forces charity is made up of a ‘high-production’ customer magazine, though it’s DM which accounts for around £26m of its fundraising.

“We are working in a digital environment,” says RBL’s Direct Marketing Manager Guy Upward, “but the bulk of our fundraising comes from traditional media such as print. Our target audience is 60 to 65-plus. Sometimes they like to communicate via email but they respond very well to print campaigns.”

The member magazine

The economic downturn has led to casualities, and one charity that has suffered has been Arthritis Care, a national charity with an annual turnover in excess of £4m. The economic squeeze forced it to close its 50,000-distribution

1. DIRECT MAIL The consumer’s favourite method of marketing communication and still the driver for many marketing campaigns.

Easy to produce and can be sent out in days Gives the charity complete control over the media and audience, and response time is generally quick.

in-house magazine in 2011, which went out to hospitals and healthcare centres.

Peter Rowbottom, Head of Fundraising at the charity, said the closure was a massive blow, describing the title as a “strong communications” tool which can help grow fundraising. “The majority of our demographic is over 60,” he says. “During communications research, they preferred something you can pick up and read, and a large proportion do not have access to the internet.”

Fortunately, the magazine, called inspire, is now up and running after a two-year hiatus, albeit with a smaller 20,000 distribution.

Rowbottom believes its re-emergence will be crucial to the charity’s future endeavours. He says the new publication has “gone down hugely well with the charity’s supporters”.

The Head of Fundraising also says that one of the magazine’s chief benefits is that it relays information about the charity in an easily digestible format. Since the title’s relaunch, there has been a rise in membership numbers – an encouraging uplift that Rowbottom attributes directly to the magazine.

Print permanence

2. CUSTOMER MAGAZINES Ideal for charities to forge closer links with donors, giving them a strong template for storytelling. One advantage with magazines is that they can encourage stronger loyalty from donors, with strong editorial helping charities become a key part of their donors’ lives.

3. MAGAZINE AND NEWSPAPER ADVERTISING The clear advantage here is the immediacy. A print ad can be turned around in hours, with tactical ads able to ride on the back of current news events. Magazines and newspapers are still a buoyant media in the UK, so they have good reach.

Print’s dominance in the charity sector may be facing a challenge from digital, but it appears to be seeing off that challenge. The power of a print ad or targeted door drop is still a tool whose resonance in the hearts and mind of the public is incalculable. For charities, when it comes to fundraising, the future is likely to be a mix of innovation and tried-and-trusted staples such as print, which will see it thrive well into the future. PP

4. DOOR TO DOOR Door to door allows a charity to build up a relationship with donors and can be a lot more personalised than other forms of print. It can also be useful in finding out crucial data about donors.

5. CATALOGUES An excellent tool to increase brand awareness of a charity, catalogues are easy and quick to turn around. A well-designed or poignant Christmas card can also win the hearts and minds of the public.

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Liquid assets From inks that only appear in sunlight to conducting inks that can light up a room, the range of modern print effects is stunning yet largely unknown in marketing circles. Time to have your eyes opened…

By Simon Creasey

H

ow does the idea of a magazine cover that turns red when placed in direct sunlight to remind people to apply sunscreen grab you? Or what about a poster capable of delivering two messages to two different demographic audiences – one targeted at children and one at adults?

Still not impressed? Then how about an accounts brochure you have to bake in the oven at a certain temperature for a specified period of time to read the contents?

All of these effects and many, many more are easily achievable by printers thanks to the fantastic range of different inks and finishes they have in their standard armoury of equipment. This is bread and butter to the print industry, but there’s a problem in

that many brand owners and even design agencies aren’t aware that these effects are achievable by putting ink on paper for a relatively small amount of money.

“We in the printing industry need to show brand owners and agencies what print can achieve by showing them case studies, because half of them don’t know what’s possible,” says John Charnock, Director at specialist print consultancy Print Research International. “They know what’s possible digitally but not what’s possible in the printing world, especially when it comes to modern printing techniques.”

Taking Charnock’s cue, we’ve gathered a few choice examples of what brand owners can achieve by taking advantage of the many special inks and printing techniques out there.

Prepare to be inspired.

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magazine advertising / direct mail / door to door / customer magazines / catalogues

Lenticular

A great way of delivering two different messages on one piece of print, lenticular can create a number of different effects to provide some stunning print solutions.

For instance, the Spanish child abuse charity ANAR Foundation recently launched a campaign that was capable of secretly sending a message to children who may be victims of abuse without alerting their abusers, even if they were walking hand-in-hand down the street together.

Using lenticular print, adults looking at the ANAR poster, which showed a normal, healthy looking child, simply received an awareness message about the charity. However, the charity also created a separate message on the same poster that could only be seen by people of a certain height and under (it set the level at the height of the average 10-year-old child). On this poster the child bore cuts and bruises and children were given a helpline number to call if they too were victims of abuse.

Less graphic, but no less impactful, was ultra-hip haircare brand Kevin Murphy’s use of lenticular labels. On its travel-size range of professional haircare products, the brand needed to print a list of ingredients to comply with air regulation rules.

However, given the small size of the product, space was at a premium and the company didn’t want to lose its distinctive branding. It compromised by using lenticular labels that initially displayed Kevin Murphy branding, but when turned in the hand, the labels revealed product information.

As well as being a useful mechanism for dual labelling on products where space is tight, lenticular is also an incredibly effective way of giving the impression of motion on a static image. When Entertainment In Video wanted to create eye-catching packaging for its new film release The Host, it turned to specialist packaging printer ASG. The company came up with an innovative five-colour Blu-ray printed on silver-lined folding boxboard that was overprinted with micromotion varnish – an ASG-patented technique under licence.

“The effect is screen-printed in such a manner as to control reflected light and create the illusion of motion,” explains Chris Donnelly, Customer Service Manager at ASG UK. “The reflected light will then flash off and on as the viewing angle changes, causing vibrant colour shifts or subtle effect changes within the printed image.” >> 01/10/2013 22:41

01/10/2013 22:41

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ScratcH anD SniFF

>> It’s not every day that crime-fighting organisations give away free marijuana, but that’s what happened in the UK earlier this year – in odour form at least. In a repeat of an initiative carried out in Holland a couple of years ago, Crimestoppers distributed green and black scratch-and-sniff cards to 210,000 households, that when scratched, emitted the scent of cannabis during its growing state. The crime-fighting charity hoped the initiative would help people recognise the smell of the drug and report any suspicious activity to the police.

It may have had less honourable motives than Crimestoppers, but US toiletry brand Old Spice gained just as many column inches earlier this year when it unveiled the ‘World’s first scratch and sniff online banner ad’ to promote its Wolfthorn line of products.

Of course, you can’t literally smell the internet, so instead Old Spice invited fans of the brand to click on the banner ad, fill out a form and then, a few days later, the company posted out printed scratch-and-sniff banner cards containing the Wolfthorn scent.

Heat SenSitiVe

There have been a number of examples of companies taking advantage of heat-sensitive inks this year. Most notable include the cover of the August edition of graphic design bible Novum, which featured a screen-printed sketch of a man’s pale body.

Using photochromic ink, the cover turns red when placed in direct sunlight, making the man appear sunburnt.

Then there’s the annual report that Croatian consultancy Bruketa & Zinic created for the Adris Group, which turns green when handled. Coupled with the title, ‘In Good Hands’, the report grabs the attention from the very first page.

But one of the most striking uses of heat-sensitive ink is reserved for quirky Danish micro-brewer Mikkeller. The brewer approaches everything with an innovative and experimental mindset, including its packaging. So when it launched a new range of four seasonal beers, it used heat-sensitive labels that transform depending on the temperature.

When the Spring beer is chilled, the label shows flower buds, but as it becomes warmer the buds transform into flowers. The Summer, Autumn and Winter beers in the range work in a similar way, all using heat-sensitive labelling to change the design to reflect the changing seasons.

“The secret here is in the delightful detail and the sense of ritual which is created as a result of the theatrical layering which plays out during the course of your drink,” explains Ads Ellis, Creative Director of brand design agency The Cabinet. “In the world of print and production for packaging, the key to success is to use the techniques that are available to deliver something unique that embodies the brand and creates differentiation and intrigue.

This helps to bring the brand story to life in a memorable way.”

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eLectroLuMineScent

Creating shelf stand-out in a crowded supermarket fixture is a tall order. But getting that same stand-out in the crowded and dark environment of a nightclub or bar is nigh on impossible – unless you have a creative mind and a pot of electroluminescent ink to hand.

This was the approach that Kate Bradford, Managing Director of Parker Williams Design, prescribed for her client, the Scotch whisky brand Ballantine’s.

“Ballantine’s is renowned for its dynamic and engaging marketing initiatives,” she explains. “So our challenge was to approach this brief in an innovative way, capturing the brand proposition, ‘Leave an Impression’. We also wanted to use the link with music that has already been established in local market activation programmes in order to amplify current communication.”

The solution uses electroluminescent technology to create movement of light on the pack in a sequence of effects that highlight the ‘B’ of Ballantine’s, with light pulsing through it like sound waves echoing the beat of music.

“When they are grouped in a large bar display, they can be programmed for the sequence to run in unison or for the light effect to radiate out from a central point across the bank of bottles,” says Bradford. “It turns a row of bottles into a giant display screen through non-static labelling, living up to the brand’s reputation for innovation.”

MetaLLicS

Another increasingly popular option for brands looking to create impactful packaging is to use metallic inks. A great example is a boxed set of beers produced by the Yorkshire-based Wold Top Brewery, which used a specialist metallic colour system developed

by Color-Logic that allows printers to print metallic inks.

“If you can print with silver ink rather than silver foil or expensive substrates, you can save yourself a lot of money,” says print specialist John Charnock. The result also packs a real punch according to brewery co-owner Gill Mellor.

“The package increased our gift sales by a third in the 2012 Christmas season,” she explains, “and elicited favourable comments from retailers and customers alike. Just looking at the pack, everyone assumes we have a gold-foil box.”

An alternative way of creating a metallic effect is to use a specialist substrate such as Mirri. To celebrate the 50th anniversary of the Porsche 911, Bauer Media’s CAR magazine created seven different cover editions featuring 911 classics.

The publisher digitally proofed the Mirri covers on an HP Indigo press to make sure the desired metallic effect was being achieved before the full run was printed.

Although Mirri is a substrate in its own right, before brand owners or marketers consider using any specialist inks or printing techniques, it’s vital they check that the substrate they want to use is fit for purpose, cautions Ivo Maassen, Market Intelligence Manager at Sappi Europe.

“The choice of substrate is always determined by what the brand owner wants to achieve,” he says. “If you want to make the most of special finishing techniques then you need to use a good, smooth paper and, depending on the needs of the job, you might require a thinner or thicker stock. Whatever you specify, print is a media that’s very experience-focused, so it has great merits.”

Whatever the ink, whatever the finish, there are always01/10/2013 new ways to make print more exciting, tactile and memorable. Time to do some exploring of your own. >>

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“Incorporating a special finish brings an ownability to the product”

Lara KLaaSSen The Production Director of design agency BrandOpus explains the best way to use special effects on print

>>

Has the demand for special finishing effects been hit by the recession?

I’ve seen a steer away from special finishing effects since the economic downturn, in line with overall client marketing budgets being tightened. But it’s also worth noting that the clients who have the budgets to use special effects, even during times of economic prosperity, tend to be premium brands who seek to elicit a luxurious, premium perception from consumers.

Special finishes such as thermochromic inks, scratch and sniff, and lenticular don’t necessarily cue premium. When working on a premium project we’re more likely to see use of a traditional special finish, such as foiling or emboss. when do special effects work best?

Special finishes work best when they offer an ergonomic purpose, above just the aesthetic intrigue. A great example of thermochromic finishes are the Coors cold-activated bottle label and the thermochromic finish developed by UK assurance scheme Lion Quality, which was applied to eggs to allow the consumer to perfect the cooking procedure. what do they offer a brand?

Incorporating a special finish into a pack design brings an ownability to the product. BrandOpus worked closely with a team of glass decorators to develop a unique red, metalisation process for the (BELVEDERE) RED 2012 special-edition vodka.

The result is an eye-catching bottle that attracts the customer.

The sales success of the variant has impacted directly on Aids charity Project (RED), so the use of a special finish has benefitted charity as well as the brand. what’s your favourite finish?

Tactile finishes that entice the consumer to interact with a pack are the ones that hold the most appeal for me. Emboss and screen finishes, for example, stimulate the sense of touch, rather than relying on being good to look at. This second dimension really draws the consumer in.

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“Cola-Cola Red is just a red, but it’s the most powerful red in packaging”

anGuS BLunDeLL Sun Chemical’s Marketing Director EMEA Packaging & Liquid Inks explains how the right ink and finish could transform your brand which type of brands are most suited to speciality finishes and effects?

Absolutely any. But if you include finishes such as silver and gold, and effects such as pearlescence, they immediately make you think of premium brands. They want to separate themselves from the mass-market brands. But the clever thing is where the mass-market brand has used a standard colour, a particular bright shade or a simple matt varnish, something slightly different that’s made it special, made it ownable. Cola-Cola Red is just a red, but it’s the most powerful red in packaging. are there any ground rules for marketers when looking at inks and finishes?

First you have to understand your brand. Then you have to understand your target market and what their touch points are.

After that, it starts to become obvious which effects you can use. But essentially, you’re only limited by your imagination and the ability of your designer to capture the attention of your target consumer.

How much does tactility come into the choice of finish?

It plays a large part. Effects aren’t just there for their aesthetic value. There are two reasons for a finish to be tactile: to gain the attention of the consumer and to be functional, such as being water-resistant or to provide a grip. These are things brands are increasingly looking for in packaging. what are the other trends in finishes and inks?

There’s been a huge increase in the number of silvers and metallics used in packaging. That’s largely to do with fashion in that silver is popular in certain sectors such as cars and technology, and that has a knock-on effect for brands. In terms of colour, there’s been a return to more simple, primary colours. One of the challenges for brands is to have that shelf appeal, and so simple, bright designs are getting more and more popular. what’s your favourite finish?

I’m a big fan of a really deep black shade with a really good matt varnish. It has a textured feel, like suede, and almost feels warm to the touch. It’s used in high-end chocolate packaging, as well as for drinks such as whisky. It can give a really luxurious finish and feels like it’s been handmade. PP

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Q THE QUIET REVOLUTION

The resurgence of independent titles created by passionate print fans is fueling a new optimism in the world of magazines.

Could this be the future of publishing?

By Johnny Sharp

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magazine advertising / direct mail / door to door / customer magazines / catalogues

T

here’s a revolution going on in the world of magazines. But that revolution isn’t happening on the newsstand or in the big publishing houses.

It’s happening in small offices up and down the land, where a new generation of designers, editors, publishers and journalists are creating a new wave of optimism that print publications can thrive given an injection of passion, creativity and reinvention.

If these craftsmen and women are defying industry pessimism, they’re also flying in the face of traditional formats and frequency models. None of the five magazines featured here are monthly or weekly titles. All but the lone free title break the £5 price barrier. None have conducted any in-depth market research before launching. And all five have invested in top-quality writing, photography, design and illustration in the belief that readers are prepared to pay for quality journalism, creatively presented, on paper for a price rather than on the web for free or discounted on tablet.

With titles such as Monocle and Delayed Gratification making a success of similarly high-end print projects, our five case studies show a range of different approaches – with certain common characteristics – that are bearing fruit in what’s supposed to be a barren marketplace. Prepare to be inspired.

The Freestyle Magazine If you happen to be wandering around London’s never-knowingly-unfashionable Shoreditch, you may soon stumble across a tiny camper van parked up inside a street market. And if you hit your head on a small but perfect-bound quarterly in a Frisbee dangling from the canopy roof, you’ll have the intended close-quarters, touchy-feely interaction with TFM, or The Freestyle Magazine (freestylemagazine.co.uk).

The 100-page ‘bookzine’ in a Frisbee (tagline: ‘For creative people who like to play’) is the brainchild of fashion photographer and artist Jason McGlade, and their hippy-ish HQ is as much of an advert for them as the Time Out sign is outside the weekly listings mag’s offices on Tottenham Court Road.

As the pungent aroma of Thai food wafts from the stall opposite, Jason tells us of the magazine’s genesis in Berlin, where he was working as a successful photographer and artist.

“We came up with the Frisbee idea because it’s a metaphor for communication,” he explains. “Bouncing ideas back and forth, which is basically what the magazine is about.”

The format alone sets them apart in a crowded style-mag marketplace, while eye-catching photo-led features on anything from American bikers to clay architecture make for a good read, as well as attractive eye-candy.

With spreads in the Wall Street Journal among numerous other mags across the globe, they’re clearly world-class attention seekers, and that attention is starting to include advertising.

But even without that, there are ways and means: they crowdfunded Issue Four through Kickstarter, the goodwill generated through the first three issues helping them achieve their £15,000 target without much trouble.

It’s still a shoestring operation – something reflected in the mobile offices (financed by a contra ad deal) in which the magazine’s four-strong core team sit.

But the relocation to London earlier this year has given the project a new lease of life, boosting sales of the £15 ‘Bookzine’, and making McGlade more determined than ever to plough on. “It’s a labour of love,” he says, “and we’re determined to make it work.”

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hot rUM Cow “We wanted to show what we could do when we had full creative control of a project,” explains Fraser Allen, publisher of Hot Rum Cow (hotrumcow.co.uk), a drinks magazine for “enthusiastic amateurs”.

Allen and his team of 10 designers and journalists produce the quirkily illustrated 100-page quarterly while working on more sober customer projects for Edinburgh-based design company White Light Media. Initially, Hot Rum Cow (named after a cocktail, fittingly) was an attempt to branch out.

“The company had been regarded as a business and health and education specialist,” says Allen. “But we knew we had skills in consumer publishing and wanted to show the less corporate side of what we can do.”

They also saw a good old-fashioned gap in the market. “There are lots of food mags but what drinks mags there were seemed stuffy and aimed at connoisseurs,” he continues.

“Yet we were also seeing lots of new breweries and spirits producers coming into the market, creating innovative new products – and that’s what we want to cover.”

The three themed issues so far (focusing on Gin, Cider and Whisky, with Sherry up next) have unearthed great stories about the history and characters behind these alcoholic icons, and the 2,000 print run of the first two issues sold out at £5 a throw.

A partnership with the Royal Academy of Art

has helped to boost ad revenue, while White Light Media has had numerous drinks brands getting in touch to find out what the title can do for them.

The success of the magazine has even allowed the company to set up its own bespoke magazine store at its Leith HQ, selling similarly well-crafted publications, hand-picked from the staff’s favourites.

“We really believe in the power of print,” says editor Simon Lyle, “and we want to celebrate it any way we can.”

“ ” we really believe in The power of prinT and we wanT To celebraTe iT any way we can

simon lyle, Editor of Hot Rum Cow

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The Vacant Lot

The Vacant Lot THE FOOTBALL

The search for a kickabout in Iran is complicated by religion and gender politics

ISSUE NINE QUARTERLY /

By Gwendolyn Oxenham

8 Iran

“The alley games are dying out, traffic and construction eliminating the small, safe places where you could play.”

Ali has only been in the United States a year but he speaks perfect English.

“Satellite TV — Friends, Chandler, Monica — that’s how we all learn English,” he explains matter-of-factly, running his hands through long wavy hair. “Now, onto the football!” He scribbles Farsi soccer terms and the phonetic equivalents into my notebook.

“You must look for a dough-lay-year.

It is a ball special to Iran. Children buy 25c rubber balls from drugstores and rip them open, stuffing them inside each other so the rubber gets thicker and the ball gets heavier.” He draws a picture of a ball next to the word. Then he writes out a list of phonetic sentences that we can use later: “Do you know where we can find soccer?” “Can I play with you guys?” “Is it ok if she plays too?”

us wanted to go to Iran and got in touch with Luke via Facebook. We never really expected to be able to go. We made a few phone calls just to see — just to rule it out so we wouldn’t always wonder if we could’ve gone to Iran. The first two tour groups that came up after we Googled “Iran +travel+ agency” told us “no” right away. They could take us to museums, to the Towers of Silence and the Zoroastrian Fire Temple but they could not let us wander the streets filming pick-up games. For that, we would need a press visa. Rick Steves — travel writer and TV personality extraordinaire — barely got approved for one. There was no way the Iranian government would give them to four kids who’d only made school documentaries about ferret-lover clubs and college sports teams.

When I tell my mom we’re going to Iran, she says, “No, you are not.” Luke’s grandma says, “Turkey’s a beautiful country — why don’t you go there?” And Luke’s aunt tells me over the dinner table, “You know, over there, they stone women for adultery. When you try to play, what do you think they will do to you?”

The last company we called wasn’t really a company. It was just a guy, an anthropology professor in San Francisco who helped people get to Iran because he wanted them to know the country the way he did.

Three friends and I had come up with a plan to travel the world playing and filming pick-up games and writing about the experience. Luke and I played, Ryan and Ferg filmed. Ali had heard the four of

Jerry said “sure, sure” and “of course” as I explained our film and what we wanted to do. “Well, you know,” he sniffed, “the people of Iran love their football.” And yes, we would have to go with a tour guide, and yes, we had to have a set itinerary approved by the government…

9

the BlizzarD The Jers ey That

Now onto Issue 10, The Blizzard (theblizzard. co.uk) has become something of a Reader’s Digest of contemporary football writing, featuring heavyweight contributions from renowned writers such as Simon Kuper and David Winner, as well as its founder, Jonathan Wilson, Guardian contributor and author of football books such as Inverting The Pyramid: A History of Football Tactics.

In contrast to the other publications featured here, the design and visuals are a strictly secondary consideration.

“We wanted words to lead everything else,” explains Wilson. “Most football writers I know have found their writing being restricted by either the design or the headline. We were frustrated at how football journalism had gone and a particular type of writing had no outlet anymore.”

Nonetheless, selective use of stylish illustration still makes for a good-looking read.

The initial result was the 2010 pilot ‘Issue Zero’, which was sold as a PDF via their website on a ‘Pay What You Like’ (PWYL) basis. They then quickly responded to demand by producing 1,000 print issues with a minimum price of £6 to accompany the PWYL model.

Although now available for your own nominal fee across a range of digital formats, print sales of “a couple of thousand” underpin the business model, and the continuing strength of back-

Wasn’t Blac k

spoke no language other than “We spok e the sam Russian. e language said, “the goal. Lev, ,” Eusébio language I had to of football. ball. [He do that. saw that embrace Here is a The Jersey I had to.’ he unde That Wasn’t s an imag And I Thanks to rstoodBlack inary foot everythin it we unde ball.] g. rstood each to such “I’ve had an extent other a lot of diff that anything erent pres Russia. But else. I reme we didn’t need ents from the mos mber how and Port t valuable fur jacke uguese natio the Sovi t Lev Yash of all was et for third nal team in used to a his wido place at s played wea w once gave the Wor r which We had ld Cup in I’ve neve me. I still a penalty 1966. r had a bette keep it. kick in our Lev aske touched r gift. This favour. So, d me with me in the jacket a gesture, you goin heart.”

‘Where are g to him: in this kick the ball?’ And I’d read I showed corner to that in 200 your right 4, beat whe n Portugal England . on pena “I did that European lties in the because Champio he was my it’s a doub nship quar final, Eusé friend. And le honour terbio had to score having show quot of Yashin a penalty n to the goal ed some words put the ball. the keeper whe keeper Rica telling him re you will It’s not chea to stay in rdo, was the ting. Mári second captain of o Coluna and to stare position to the fi our team he approach nal into oppo that the nent. “I reall time, and ed me, ‘Wha eyes of This is Yash his y said that Eusébio in, he’ll save t are you doing? to Ricardo,” confirmed ‘No, he’ll the ball!’ , “and told was how not get it, I replied, him that Yashin did although the corn it. He follo the reco I’ll shoot er that I told mmendat wed into him.’ So, with such ion and Portugal I hit the ball power that that’s how won. the ball only his gloves. touched “Yashin was not only “I scored was a mas a goalkeep and was ter er, he happy, of my frien also a grea in the goal. And cour d was upse he was t gentlema t, and imm se. But after the he was n. It goal I appr ediately wasreturn Yashin and Igor Netto (right) to Moscow after winning the 1960 European so resp because oached ectful him in Port that he him and uguese, Championship had so man towards opponent told ‘We are you are s y friends. is friends, written with a keeper His nam but and I am a golden job is to e history of a striker. letters in score, your My Fifa, the Uefa and job is defe general, football nd the and Yash in in will alwa number ys be the one goal keeper in the worl d.”

issue sales are also doing them no harm.

“Print now is almost a luxury format,” says Wilson, “and without any research, our instinct was that that our market wanted something substantial, on good-quality paper, to collect and put on their shelves.”

Meanwhile, with regular reader events taking place around the country, merchandising and even a football manager fantasy league on their website, they’re creating another phenomenon associated with the best print magazines – the feeling of being part of a club.

“Some print customers will even pay more than the suggested minimum price,” says Wilson, “because they support what we’re trying to do and they think it’s worth paying more for.”

Igor Rabiner

Igor Rab iner

Pictures from the Yashin family archive

124

Bari 4 Internazionale 1

Serie A, Stadio San Nicola, Bari, 6 January 1996

By Rory Smith

Manighetti

Berti

Pedone

Gérson

Andersson

Ganz

Zanetti

Carlos

Bergomi

Fresi

Festa

Fontana

Pagliuca

Sala

Ricci

Ingesson

Protti

Gautieri

“It’s better to live one hour as a tiger than a whole lifetime as a worm.”

(The Cat, Red Dwarf) In the mind’s eye, every goal is the same. A figure, slightly hunched, hair jet black, shirt untucked, socks rolled around the ankle, standing maybe 30 yards from goal, in the inside-left channel. The ball zips to his feet. He has drifted, almost unconsciously, into that corridor of uncertainty, a little too far from the full-back, out of the orbit of

176

action for

Dinamo

Moscow

Yashin and Pele

Yashin passing on tips to Dmitry Kharin

126

127

125

Rory Smith

Bari 4 Internazionale 1

Mangone

Yashin in Yashin relaxes on the river

Branca

Pistone

Paganin

either central defender. He glances up.

Space. The movement starts.

The ball is brought to heel with his left foot and his body opens up, right arm swinging out, as if holding open a door.

He flicks the ball with his right foot and starts to sprint. It is not elegant, like a gazelle, or a horse, but hurried, shuffling, like an adulterer scampering through a garden, clothes clasped in one hand, covering his exposed crotch. One bound.

Two. The ball sitting there, invitingly now.

It all happens like that, in the blink of an eye, in a breath. He looks up. The goalkeeper is starting to crouch, poised.

He cocks his right leg, a trigger. Now for the poetry. In one motion, he sweeps through the ball, his torso contorting with the force, right arm lifting up, left arm swinging down, a highwayman on the bowling lanes. The ball flies, no spin at all, not into the far corner — as most goalkeepers would expect — but low, flat, inside the near post. He races away, that black hair — slightly mulleted, if we’re completely honest with ourselves — flapping against the nape of his neck, mouth gaping in a scream, a roar. In the mind’s eye, every single one of the 24 goals he scored in that one golden season is the same.

There is a curiosity to the one-season wonder that exerts a strange sorcery over the imagination. The player who emerges from anonymity, from mediocrity, and then, over the course of nine months, explodes into our consciousness, a flash of light and sound and promise. Anything seems possible.

The game’s very pantheon shakes at this intruder, this Everyman who might yet rewrite history, who seems suddenly destined to take his seat among the greats. And then? Nothing. He fades into obscurity, ordinarily after moving on to greener, more fertile pastures, and finds himself exiled in Nowheresville once more, forever remembering, wondering, despairing at what might have been, taunted and mocked and jeered and condemned as a waste of talent, of life.

He has had his hour as a tiger. He must return to being a worm.

Maybe that is why the one-season wonder appeals so much. It is not just

that its existence hints at life’s limitless possibility, that it gives us hope not just that the good-for-nothing makeweights in our team might one day, for one moment, touch the stars, but that we might, too. It is the same sentiment that infuses the narrative of the superhero — the mild-mannered journalist or photographer or whatever who can fly or shoot webs or construct a tool-belt which can contain myriad heavy kit but still, somehow, defy gravity to such an extent that your trousers do not fall down — and that plays into rom-coms, too, those stories of Average Joe getting Katherine Heigl because of the one special trait that he suddenly discovers he possesses. It tells us that our own ordinariness need not be permanent, that it should not hold us back. The one season wonder gives everyone chance to dream.

At first, though, only at first. The inevitable denouement to the story — and it is inevitable, because otherwise they would not be one-season wonders — plays to a different psychological trope. It reminds us that even those who seem to reach to the sky can fall to earth. The one-season wonder is Icarus.

It teaches us that perhaps it is OK being a worm, forever, because it means you do not know the pain of what it was to be a tiger. It is hope and it is despair, stirring Wagnerian bombast and muted Radiohead despair. It is life. The oneseason wonder is an encapsulation of the human condition.

Everyone will have their favourite.

Michael Ricketts, once of Bolton, is probably the purest example. One year of cloudburst, and then an endless desert, a perennial drought. There are

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hole & Corner “If you’re going to write about people creating lovingly crafted, painstakingly created, beautiful things, you really need to put it in a magazine that’s made the same way.”

So for Mark Hooper and Sam Walton, editor and creative director of bi-annual craft magazine Hole & Corner (holeandcornermagazine.com), print was always going to be their medium.

“There’s something really tactile and physically engaging about print magazines, and the type of paper, the fonts, the feel of it all is just as important as the words and pictures,” says Hooper. “For instance, behind some of our headlines there’s a real watercolour wash and it looks like someone has actually painted something onto the page. You couldn’t do that online or on a tablet because paint on a screen doesn’t look real.”

Until recently, Hooper was editor-in-chief of Virgin Media’s magazine and webzine Electric!, but like many cross-platformers, his first love is print. The same goes for Walton, who graduated from print titles such as Vogue to advertising agency Spring Creative.

“There’s a real luxury in having magazines presented the way they were intended to be seen,” says Hooper. “In our first issue we interview Craig Sams, who created Green & Black’s with his wife. We thought we’d give it 10 pages and 2,000 words, but he said so much interesting stuff that we doubled the word count and almost doubled the pagination. And we

can do that. When we launched Hole & Corner, someone said ‘Finally we get the chance to do a 12-page feature on brushes.’ You’ll never get the chance to do that unless you do it yourself.

Magazines should be bolder like that.”

Although its focus is on crafts, you won’t find knitting patterns and how-to pottery guides.

H&C is more about the people behind the products, such as Stonemason Teucer Wilson and bespoke shoemakers John Lobb. And it’s not all old-school – issue one also features likeminded website Caught By The River.

They’re not aiming for exclusivity – a Comag distribution deal has got them into WHSmith as well as the indie magazine stores. And although issue one deliberately didn’t court too much advertising, they’re already picking up a lot of interest. “Several big brands have got in touch and asked to meet up,” says Hooper. “It’s an idea whose time has come.”

Like most magazines featured here, the team behind H&C didn’t have an exhaustively researched target market in mind for their magazine, beyond a gut feeling that their own increasing interest in lasting things of value and an increasing disdain for passing trends was widely shared.

“I don’t go on Twitter any more,” says Hooper, “because it’s like a competition to be the cleverest and show who’s found the coolest thing. Now the coolest thing for me is someone who’s made a pot in a shed.”

BOOKS At Colin Page in Brighton & Hove, a back room is piled high with excess books, mostly paperbacks. If you move the wrong one, it feels as though you’ll be lost forever

WHEN A NEW IS PUBLISHED, to get lost in, READ AN Hole and corner,esp.n:ana place old or independent bookshop OLD

book

one

Words James Bowthorpe I Photographs Christodoulos Neophytou & Grant Archer

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BOOKS

James Bowthorpe doesn’t like e-books My books have been in storage for the past three years. I’ve accumulated them over 20 years – they are the ones that weren’t lent or given away, the A Team. Pulling them out of storage last week I found that one box had somehow got damp – the books inside being wrapped in card, the moisture had no means of escape and seeped into the books instead. I felt anger, with myself, followed by a tremendous feeling of guilt. They were dependent on me and I let them suffer. Their pages stuck together and – mould growing out of the spines – they are now unusable. They sit in a plastic crate, drying out, but will eventually end up pulped.

Electronic books seem to have grown exponentially in the few years that my books have been in storage. I have not once thought I’d like to own an electronic reader, even though I consume other art through the new channels. I want to hold the weight of the book in my hand, I want to smell the paper and turn the page. I want to leave slips of paper inside my books. I want them to take up room. I readily confess to the pride I take in having books around the place – I want you to know I can read and that I attach meaning to objects that have changed humanity so much.

The benefits of e-books seem spurious – despite my recent losses to damp – and even if I could be persuaded of the practicality of carrying 4,000 books around on a device lighter than a paperback, I will never change my ways.

And e-books are not the internet, even though one buys them through it. The practicality of e-books is not in doubt: just whether there is any beauty, art, surprise or nuance to be found in them.

I can remember the Unpacking the survivors of this s k i e s a n d t h e w i n d , trauma, I relived a torrent of memories; t h e w a y I w a s f e e l i n g , nothing to do with the contents of these books, but of the objects themselves. the paper bag and As the shelves fill up, the spines of t h e p e r s o n t h a t p u t particular books remind me of the places they were bought – a shop in the book in it ’ the Himalayas, book stalls in Philadelphia, Skoob Books when it was virtually the last remaining shop in the Brunswick Centre… These experiences are not simply transactions; I can remember the skies and the wind, the way I was feeling, the paper bag and the person that put the book in it.

These books I’ve accumulated are not arranged in any order, they all sit comfortably wherever they end up, colligating in strange groups. That is my way but I can’t imagine Amazon would ever let me do that – there, they are born out of ordered databases, that is their thing. Some secondhand book shops alphabetise, most group by genre, but the unifying quality of all this human-powered ordering is just that – a secondhand book shop is ordered by the person that runs it. They are the one that decides whether a book on Japanese painting techniques of the 18th century is art or history, or art history, or simply to be put on the shelf marked ‘Japan’. This allows for discovery, not by recommendation or reviews, but by that wonderfully

Another overflowing storeroom at Colin Page (opposite) and a pinboard (below) with snippets of literature and cards on display

playful activity known as browsing; a word that has been hijacked quite recently to mean something quite different to that meandering that is at once attentive and detached.

There is no happy accident when buying e-books – they either have what you already think you want or they don’t.

No one will mourn the mountain of obsolete Kindles that is presumably accumulating somewhere – they are just blanks through which the information flows. Books, on the other hand – particularly secondhand books – offer up layers of memory; cards and tickets fall from their leaves, other people’s inscriptions inside front covers, worn surfaces and smells. Secondhand bookshops are where these memories reside in a holding pattern, waiting to be passed on – all this and we haven’t even started reading them yet.

The quiet reverence in these hallowed places is to do with this – the person behind the counter is more often a custodian first and a business person second. These treasured books have temporal limits just like us – without a warm, dry home they rot and fade away. It is this fragility that makes physical books beautiful and cared for. E-books reside nowhere and don’t need us to look after them; you can’t lose them and you can’t give them away. You can’t go somewhere where used e-books are sold along with memories that cling to them like remora fish to a shark’s belly.

Standing in a secondhand bookshop, one wonders why these books have been sold – surrendering space in a small flat as families grow; someone passing, leaving their books behind, or the simple need to sell things and get ready money. There’s no story to an e-book’s life.

For further reading on our featured bookshops, visit holeandcornermagazine.com

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magazine adverTising / direcT mail / door To door / cusTomer magazines / caTalogues

STYLE HISTORY CULTURE

SEEN | Skins

VOLUME 1 ISSUE 6

©

SPRING 2013

A FREE QUARTERLY

“The whole Wild Bunch thing was never a plan.”

Brian Kelson, 54, DJ and record dealer, from Shropshire What’s so special about Skins?

The ethos is pro society. Work hard, pay your own way. Give respect to the deserving.

Expect the same in return.

Describe Skins in three words.

Clean tough look.

Who’s your favourite musicians?

Drumbago. Glen Adams. Larry Marshall.

The Uniques.

FIVE ALIVE www.jocksandnerds.com

levisvi nta geclothing.com

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STYLE HISTORY CULTURE CULTURE | Jamel Shabazz

©

A FREE QUARTERLY

SUMMER 2013

Tune It Or Die Lower Eastside, New York 1997

Digital or film?

I started working with a Canon 5D digital SLR five years ago and love digital photography. However I still have an appreciation for film.

At times, I also shoot with a Contax G2 rangefinder for my black and white photography.

Style And Finesse Harlem, New York 2010 Too Fly Soho, New York

A photographer friend of mine claims that photography was a different discipline with film as he couldn’t afford to shoot too much, but nowadays you can shoot thousands of shots on digital. So by law of averages one has to be right. What’s your opinion?

Your friend is absolutely right and I wish I had a digital camera in the 1980s. Back then, I had to monitor every shot I took and make sure that every image counted, as there was little room for error. That was when the training kicked in and you made it your

01 Cereal

This Bristol-based quarterly is a beautifully constructed piece of magazine art “in pursuit of food and travel”. Looks good enough to eat. £10, www.readcereal.com

The Future Harlem, New York 1997

Do you think the art of black and white photography is in the darkroom?

I miss the darkroom. Back in the day, I would go into my darkroom at midnight and print until 6am.

THE BEST OF THE REST OF THE UK’S INDEPENDENT MAGAZINES

business to make sure your shutter speed and aperture settings were correct. In addition, you always checked how many frames you had left. I can’t remember the number of times I ran out of film while shooting in the street.

Why do you think the stills discipline has endured even though video cameras are so cheap and even installed on mobile phones?

That’s a good question. I am still trying to figure that out. Personally, I am seeing the results of video footage captured by mobile phones and digital cameras and I’m very impressed. I grew up looking at still images, amassing thousands of my own, so it’s still embedded in me.

However one of my goals for 2013 is to start utilising my digital cameras to make short documentaries. For me that will be the next level.

What are your favourite photographs?

Ormond Gigli’s Girls In The Windows (1960); Leonard Freed’s photograph of two Harlem kids playing with a fire hydrant in 1963; Afghan Girl by Steve McCurry (1984).

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Does this hip hop photographer pigeonhole annoy you?

Not really but I like to explain that I am not a hip hop photographer. My work is centred on documentary, fine art and fashion. I just happened to document a time when hip hop became popular. The foundation of my work is based on everyday people.

I consider myself a documentarian of diverse cultures.

02 the gentlewoMan

What so fascinated you with people?

It’s the idea that everyone has a story that is unique and when I engage my subjects in conversation – from the inspiring young photographer to the war veteran – it is always an intriguing exchange.

How did you get involved with the emerging hip hop scene?

It stems from me being around during its inception. One of the first groups I saw perform was the Disco Enforcers in 1975. It was some of the best. Coming out of the Red Hook housing projects in south Brooklyn, they used to jam during the summer, hooking up their > 93

Cover stars ranging from Angela Lansbury to Beyoncé immediately tell you this is a women’s lifestyle magazine with wit, intelligence and an uncompromising antiairbrushing, non-bitchy philosophy. £6, www.gentlewoman.com

03 8 FaCes

JoCKs & nerDs If the previous four publications have anything in common, they are committed to providing deep-pile quality rather than monthly quantity, but also unafraid of attaching a price tag that reflects that. Style magazine Jocks & Nerds (jocksandnerdsmagazine.com), however, has taken a different tack.

“I always had this idea of doing a really high-end free magazine,” explains founding editor Marcus Ross. “Now that in itself is a contradiction, so it was all about creating a value to it.”

That’s one reason why Jocks & Nerds is only free to those who know the right places to shop.

Ross’s background is in fashion photography, and a sense of exclusivity has never done anyone any harm in that world. It also makes for an attractive prospect to advertisers.

“I already know where my readers are going,” says Ross. “Independent men’s clothing stores, so that’s where we distribute the magazine. It’s

an important part of our commercial success that we say to advertisers we’re going directly to a buying audience.”

Despite having started life online in 2010, Ross insists that “the plan was always to do a print magazine” and J&N is now approaching its second anniversary in print. Despite being “a men’s mag about clothes”, Ross admits that the eclectic content – the latest issue boasts pieces on pop maverick Kevin Rowland, Lewis Leathers and tattooing legend Sailor Jerry – owes something to his previous home, Vice, which he describes as “the first to produce a quality magazine for free”.

He’s now used that model to bridge that central contradiction: a high-end product for free. “We’re the opposite of Shortlist,” he says.

“I want people to seek out our mag and pick it up because they really want it, not because it’s free and lying around everywhere. And I think that’s happening.”

An example of just how niche you can go in the modern print market – a magazine devoted entirely to asking designers their favourite eight typefaces each issue. In a gorgeously embossed package, naturally. £4, www.8face.com

04 PrinteD Pages

This magazine incarnation of the ‘It’s Nice That’ website celebrates the best in art, design and architecture, and retails for a decidedly modest fee. £4, www.printedpagesmagazine.com

05 yoUr allotMent

In contrast to the previous dazzling design-led affairs, this kind of old school bi-monthly mag is still doing the business – in this case, a mag by and for north London gardeners. Unpretentious, affordable and now in its third year. £2, www.yourallotmentmagazine.com

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YOUR NAME HERE… PERSONALISATION IS ONE OF THE MOST EXCITING AREAS OF RETAIL MARKETING, WITH SOME OF THE WORLD’S BIGGEST BRANDS USING PRINT TO GET UP CLOSE AND PERSONAL WITH THEIR CUSTOMERS TO FORGE PROFITABLE RELATIONSHIPS

By Simon Creasey

W >>

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MAGAZINE ADVERTISING / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / CATALOGUES

“”

THE HIGH VOLUME OF DIGITAL NOISE HAS LED TO PRINT BEING ONE OF THE FEW MEDIA CHANNELS CAPABLE OF STOPPING PEOPLE IN THEIR TRACKS AND MAKING THEM THINK

COCA-COLA Share a Coke

In 2011, Coca-Cola’s Australian division was seeing flat sales of the soft drink. The product appeared to be losing its fizz so the company started to explore ways in which the brand could reconnect with its customers. One idea put forward by the marketing team was to print people’s names on bottle labels instead of the iconic Coke logo.

“If you start thinking about how do you connect with consumers then obviously replacing a brand logo with the names of your customers is a very personal way of doing this,” explains Gregory Bentley, R&D Europe Packaging Innovator at Coca-Cola.

The ‘Share a Coke’ campaign went down a storm.

According to a Coca-Cola spokesperson, the brand enjoyed a sales uplift of 4%, which is why Coke’s European division rolled out the campaign this summer across a number of different countries, including the UK. The soft drinks company worked closely with digital press manufacturer HP to produce digital labels featuring the 150 most popular names in each participating market. It’s anticipated that Coke has enjoyed a sales uplift at least on a par with that witnessed in Australia, with thousands taking to social media to post comments and images of bottles bearing their names or the names of friends and family.

Flush from the success of ‘Share a Coke’, Bentley says he’s “pretty confident we would use the supply-chain solution of variable printing at some point in the future.”

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HEINZ

Get Well

HEINEKEN

Your Heineken Most males of a certain age have dreamt of having their own brewery, solely dedicated to bottling their favourite tipple.

While this dream may be out of the reach of the majority of mere mortals, Heineken currently offer lager lovers the chance to enjoy the next best thing – bottles of the beer wrapped in personalised labels.

The company started working on the concept in 2008 after cottoning on to the fact that consumers were keen to purchase personalised bottles of beer for occasions ranging from Father’s Day to weddings and university graduation celebrations.

The ordering process is simple. “People visit the Your Heineken site,” explains Mark van Iterson, Global Brand Design Manager at Heineken. “They can then select design elements, personalise them, adding text and photos, before finalising their design and ordering a six-pack. The sleeve printer digitally prints the sleeves, then they are placed on the Heineken bottles and delivered to your home.”

Currently available in Spain, the Netherlands, Italy, Ireland and Greece, prices vary for the service, although van Iterson says that the typical price in Italy is €15.84 for a six-pack.

That may seem a bit pricey for six bottles of beer, but van Iterson claims that the initiative has been more successful from a marketing perspective than a revenue generator.

“The measure is not how much beer we sell through this channel,” he says. “That’s not huge because of the cost of digital printing, sleeving and delivering. But we know that the engagement and excitement of people is very high. On top of that, the number of people that see it at the occasion and the talkability and shareability put a multiplier on each bottle.”

One of the first FMCG brands to embrace the power of personalisation was Heinz. In the US it created the myheinz. com website, that allows customers to order bottles of Heinz Tomato Ketchup and mustard with labels featuring personalised messages and images. So it came as no surprise when the company launched a Facebook campaign in late 2011 enabling UK consumers to send a personalised can of ‘Get Well’ soup to a family member or friend struck down with a cold or flu.

Heinz fans were encouraged to visit the company’s UK Facebook page where they could choose a can of Heinz Tomato or Chicken soup. They then submitted the recipient’s name which would be printed on the iconic label (eg. ‘Get Well Soon Simon’). This would then be posted out in a gift box for £1.99.

“We hoped that allowing people to send their poorly loved ones a personalised can of Heinz soup would provide some comfort when they were at their most vulnerable during the winter season,” explains Matthew Cullum, Heinz Soup Marketing Controller.

The campaign was so successful that it was repeated in early 2012 and again last November. In the first two phases alone, the company’s Facebook site registered 75,000 new fans, with personalised soup cans mailed out to over 4,000 grateful patients.

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MAGAZINE ADVERTISING / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / CATALOGUES

WALLPAPER* Custom covers

IKEA

Weather forecasts Direct mail is currently in the middle of a resurgence, with consumers appreciating the medium a little more than the often impersonal internet. And when direct mail campaigns take full advantage of digital printing technology’s ability to produce highly targeted mailings at an affordable price, their ROI is pushed up even more.

One leading retailer that recognises the power of the personalised message is IKEA, which earlier this year appointed direct and digital agency LIDA, part of the M&C Saatchi Group, to conjure up a new, innovative and highly targeted DM campaign.

To encourage consumers to ‘Make more of your garden’ (in the process purchasing garden items from the Swedish furniture company) LIDA created a mailer featuring a personalised weather forecast for 900,000 UK members of the IKEA Family loyalty card scheme.

In addition to personalising the front of the pack with the weather outlook for the day and the words ‘Forecast for …’s garden’, recipients were given a five-day forecast along with suitable furniture items to match that day’s outlook.

For example, if the outlook was for rain, customers were presented with a picture of a garden umbrella.

“We had fun personalising with possibly the most unpredictable variable of them all – the British weather,” says LIDA Executive Creative Director Nicky Bullard. “When the sun comes out, our personalised weather forecasts are sent, along with all the inspiration you need to really enjoy your outdoor space.”

When it comes to pushing the boundaries of what’s possible in magazine publishing, the one title that consistently delivers innovative concepts is Wallpaper*, one of the world’s most influential design and style magazines.

In 2010, Wallpaper* invited readers to become the magazine’s art director by creating their own ‘Custom Cover’, through a unique online personalisation tool. The initiative was so successful, attracting more than 20,000 aspiring designers, that the magazine repeated the trick in 2011, but this time with a twist.

In addition to creating their own cover using a palette of graphics, shapes, colours and photography, Wallpaper* fans were also invited to create a personalised Rolex advertisement that would be bound on the back cover of the same issue featuring their cover design.

They were asked to choose from one of two Rolex watches and submit a date that meant something to them. When they received their printed issue featuring their custom cover, the date appeared on their chosen timepiece alongside the words ‘Some days are made for greatness’.

“Our last Custom Covers project was incredible, with more than 21,000 unique covers created and delivered,” explains Wallpaper* Publishing Director Gord Ray. “This time around we had an even better design tool, while the back cover ad from our partner Rolex really added to the interactive, bespoke experience.” PP

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BRAND STORIES IN PRINT Consumers don’t have time to be interrupted by advertising anymore, but will always have time for a great story. It’s the brave and forward-thinking marketer who continues to embrace print to create great moments in brand storytelling

Photography: Nick Georghiou

By Sonoo Singh

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magazine advertising / direct mail / door to door / customer magazines / catalogues

A

jolly, roly-poly man in a red suit and white beard. Most people around the world will recognise the image: Santa Claus. The iconic Christmas image, which has been shaped by the early Coca-Cola print adverts. The image of Santa Claus and the red Coca-Cola cans is one of the most enduring moments of print, a point in time when advertising was elevated to become part of our culture.

There are many such examples in the history of print advertising. But as advertisers are hit with newer technologies and the proliferation of data, it is becoming quite a challenge to craft brand stories that will connect with their audiences. The array of marketing tools is also leaving both brands and their agencies perplexed on how best to reach their consumers.

Surrounded by all this bling and the promise of a new future, are brands forgetting how to explore so-called traditional media such as print? Writing print’s epitaph has almost become a fashionable hobby for naysayers, but many brands have recognised that print is not going to lose out.

Objet de désir

“People are multi-tasking and multi-consuming.

In this multi-channel environment, we have to allow people to consume in different ways, and therefore print will always be part of the overall media mix,” says Jaguar Global Marketing Communications Director Ian Armstrong.

As an automotive brand, albeit luxury car brand, there will always be a transactional element to Jaguar, where it will continue to push press ads targeting its trade audience >>

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SOMEHOW THE WORLD LOOKS DIFFERENT IN A JAGUAR. It may be hard to explain, but once you experience the sumptuous luxury and agile handling, you’ll notice something more. A Jaguar XJ just feels alive. So take a look for yourself and you’ll see what we mean.

Experience extraordinary luxury from just £56,260.

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“ ”

IN THIS MULTI-CHANNEL ENVIRONMENT, WE HAVE TO ALLOW PEOPLE TO CONSUME IN DIFFERENT WAYS, AND THEREFORE PRINT WILL ALWAYS BE PART OF THE OVERALL MEDIA MIX ian Armstrong Global Marketing Communications Director, Jaguar

JD POWER 2012 #1 MANUFACTURER

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HOW A LI V E A RE YOU ?

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Combined 24.4–46.3 (11.6–6.1). CO2 Emissions 270–159G/KM. ©2013 Jaguar Cars Ltd.

UK_Alive_SEPT_XJ_297x210.indd 1

Are you sitting comfortably?

(Previous page) The iconic Wayne Rooney print ad for Nike created for the 2006 World Cup. (Above) Jaguar’s ‘Alive’ campaign aims to connect with a new audience using emotion, while (above, right) Coca-Cola’s Santa is one of the most enduring images in print advertising. (Next page) Barcelona shopping centre Diagonal Mar used print to ‘activate’ different shopping seasons, while (overleaf) Lego uses print to tell stories to a younger demographic.

15/05/2013 15:54

<<

and car dealers. However, Jaguar uses print advertising largely to push brand messages and experience through print campaigns.

Armstrong gives the example of the Jaguar ‘Alive’ multi-channel campaign, which aims to increase awareness of the brand to a new audience by developing an emotional connection and moving beyond the idea that cars are pure utility. Print, he says, became an integral part of this campaign because “I believe that the print environment reinforces the brand message as it allows for greater time, long format and can give a real chance to a brand to show what it is.”

Werner Krainz, the Global ECD of Spark44, the agency that created the Jaguar ‘Alive’ campaign, explains further: “Luxury cars are

like objects of desire,” he says, “and when we place such an object in a double-page spread in a glossy magazine, it creates a brand halo. The target audience for Jaguar is the ‘best-educated elite’ and it needs to see the brand in print, in coffee-table books. The Jaguar design is very strong and powerful, more than its rivals. We need to put in on display. Put it in print.”

Let’s talk

Alex Martinez, Director General Creative of JWT Barcelona agrees and adds: “Consumers are generally not devoted to any single kind of media. For consumers, it’s about seeking what is most attractive. For instance, a doublepage spread in Esquire magazine will be a very different experience to any social media

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magazine advertising / direct mail / door to door / customer magazines / catalogues

experience. And the way a consumer will consume it will also be very different.”

Take, for example, Barcelona’s biggest shopping centre, Diagonal Mar, which uses print to ‘activate’ different fashion seasons.

“For Diagonal Mar, it is very important to be part of the consumer conversation,” says Alex.

“Our latest work, for the spring campaign called Fashion Close to You, approached its customers to help hire models, make-up artists, and everyone else required in a campaign shoot. The campaign was then shot at the shopping centre in front of the public and the result was a print campaign to reach the right target audience.”

Reaching the right audience clearly also means that brands have to live up to the experiences of their consumers who have

changed their behaviour in the digital age. Nike, for instance, recognises that daily newspapers are no longer a major part of the media consumption among young men and women, and it has been reducing its media spend on newspapers. But that’s not to say that it’s left print advertising out in the cold.

“When it needs to respond to major world events and therefore have a direct conversation with the consumer, it can effectively use print as a tactical space,” says Neil Christie, Managing Director of Wieden+Kennedy London.

Who can forget the iconic World Cup 2006 tactical execution by Nike featuring Wayne Rooney, fists clenched, arms outstretched, patriotically painted in the red and white colours of St George?

“The Wayne Rooney ad featured in all the nationals, not as an ad through paid-for media, but in all the editorials,” says Christie. “It had become the story itself. At Nike, we want to be in the moment. It is about being targeted and appropriate and print gives us that opportunity.”

This connection with real-time events is echoed by the latest Coke advert that capitalised on the huge interest following the announcement of Sir Alex Ferguson’s retirement as Manchester United manager with a tactical print ad inviting him to ‘Share a Coke’ with his successor David Moyes.

“Print does still have resonance,” says CocaCola’s Global Head of Connections, Ivan Pollard. “But I think its role in the overall mix has evolved over the last few years and it >>

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magazine advertising / direCt mail / door to door / Customer magazines / Catalogues

<< has probably slipped a little in the hierarchy – but not as much as some might imagine.”

the art of storytelling

Lego is yet another example of a brand that uses print as its prime creative palette to tell its story to its key audience.

Its hugely popular Lego Club Magazine goes out five times a year with a circulation of 4.6m members globally and a much higher readership – the figure includes 860,000 copies in Central Europe.

“Lego is a very traditional brand and will never not have print as one of its main channels to reach out to our key audience of children,” says Katharina Sutch, Head of Brand Relations, Lego Central Europe. “Also, our audience of younger kids are not as digitally active, so print is an

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“

PRINT PRESENTS THE STORY OF OUR BRICKS IN A VERY PHYSICAL FORM Katharina Sutch Head of Brand Relations Lego

important medium to us.

“Our Lego Club Magazine encourages kids to be creative with their Lego bricks and interact with us by sending in pictures of their models.

We also have print catalogues in store and use print adverts in comics. It’s all about telling a story so that the children learn while engaging with the brand. Print for us presents the story of our bricks in a very physical form.”

There’s little doubt that brands are finding print a challenging medium, especially in Europe. But as print continues to provide brands in all sectors with a path to a more established presence, as well as a place where they can unite their big ideas with emotion to present a compelling brand story, print will strengthen its hold within the overall media mix and prove to be an essential part of any campaign. PP

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Pensord Print Power ad issue 4 ad steve:Pensord Print Power ad issue 4 ad 08/10/2012 11:14 Page 1

Putting our customers first, has put us first!

BPIF Company of the Year 2012 The BPIF awards judges said: â&#x20AC;&#x153;Pensord took 1st place through a combination of a strong financial performance, allied to a clear sense of social and environmental responsibility in a relatively deprived area of the UK. However the key differentiation was their courageous acceptance of a digital strategy in recognition of the inarguable point that print is changing, and the successful print company needs to go with this change, rather than fight it.â&#x20AC;?

Thank You BPIF. We think that says it all!

www.pensord.co.uk

sales@pensord.co.uk

01495 223 721

Thanks to our Pensord team members who appear left to right: Gary Best (Business Development Manager), Cathy Hewitt (PA to Managing Director), Krystian Groszyk (Mailing Operator), Sheryl Fears (Receptionist), Chris Pulley (Shift Performance Manager), Caryll Maggs (Accounts Manager)

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“Print is

dead not

that is loud and clear ”

HALLie HArenSKi, CHIEF MARKETING OFFICER FOR CONSUMER LINES, UK AND IRELAND, AT INSURANCE GIANT AIG, EXPLAINS THE CHALLENGES OF MARKETING FINANCIAL PRODUCTS AND HOW PRINT CAN HELP

P h oto g raphy © To m Campb el l

Hallie Harenski’s passport must read like a world atlas. Having held senior positions at global insurance brand AIG in New York, Latin America, Italy and South Korea, she’s now based in London as Chief Marketing Offi cer for Consumer Lines, UK and Ireland. She’s responsible for direct-to-consumer sales and distribution across the general insurance product lines, including travel, accident and health, and personal. Hallie was also recently elected to the UK Direct Marketing Association’s Financial Services Board and is an Insurance Committee Member on the Financial Services Forum. In short, she knows about insurance and she knows about marketing.

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MAGAZINE ADVERTISING / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / CATALOGUES

As an American in the UK, how does the UK insurance market compare to the rest of the world?

The UK is a very challenging market, but fun. Most of my time has been focused on emerging markets and there are really quite vast differences between the UK and the rest of the world. The UK was already probably one of the more highly regulated marketplaces for direct distribution pre-PPI, and now arguably it is more so.

What’s interesting now is seeing if there’s some opportunity for innovation within insurance marketing.

what are your specific challenges?

The UK is the third most sophisticated consumer insurance market in the world.

That means that technology and fl exibility with that technology is really table stakes

to be in the marketplace, which can create challenges for large companies. Without question, cross media or multimedia marketing is changing the game for every marketing department in every company, whether that’s direct marketing or traditional marketing.

what impact has digital made?

Most marketing departments, or certainly direct marketing departments, have been vertically structured by channel distribution, but digital has blown up that model completely. At the moment, all of us are trying to fi gure out how marketing departments can be effective considering this. But this multimedia approach doesn’t necessarily mean that you need to spend more – you just need to be smarter and better at analysing where you are spending. >>

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<< Is print still a large part of your activity?

Print is not dead, that is loud and clear. If anything, print has become more stable and dependable because good data and analytics has meant that channels such as DM are more targeted and therefore more welcome and effective. There’s actually been a stabilisation of the profitability and productiveness of mail, with some very interesting quirks going on. For instance, there are segments where people didn’t think print would work, such as with the younger generation, but there are definite signs of productivity.

Do you think people trust print more than other media?

I think that it’s human nature to be able to touch and feel whatever it is that you’re buying. Always. But I think that people over the past ten years have consistently surprised themselves in getting awfully comfortable buying things that they haven’t ever touched or seen in person.

So is tangibility a factor in marketing?

You’re talking to someone who provides insurance, which is itself an intangible product. We deliver a piece of paper, and so there’s a whole different way of looking at the tangibility, the touch and feel of the

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MAGAZINE ADVERTISING / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / CATALOGUES

“”

THERE’S ACTUALLY BEEN A STABILISATION OF THE PROFITABILITY AND PRODUCTIVENESS OF MAIL, WITH SOME VERY INTERESTING QUIRKS GOING ON

‘product’. That piece of paper means a whole lot of things, but that’s not terribly tangible for people. I’ve done some work in emerging markets about how we create tangibility. Can it be an actual thing that gets delivered? A statue? A box? There are segments that perform better to mail, certain products for which mailing may be more effective.

is marketing an exciting place to be at the moment?

One of the effects of cross media is that it’s making marketing a very exciting industry to work in. More than ever we are only restricted by our own imaginations and our ability to execute and execute consistently, which is incredibly exciting.

Whole sectors are pushing boundaries they wouldn’t have even contemplated before cross media, allowing industries such as insurance to offer deeper access to their customers. Marketing can’t be as simple as a pretty lady in a fancy car any more.

It has to be more complex than that, and it’s that intellectualisation of marketing which is very exciting. PP • Hallie Harenski will be speaking at the Cross Media 2013 event on wednesday 23 october.

Cross Media 2013 brings together a large number of the world’s leading brands, companies and organisations for two days of learning, networking and doing business in the rapidly developing area of multiplatform marketing.

Whether you are a marketer, publisher, agency owner or printer, Cross Media 2013 will expand your knowledge and push your business forward into the next phase of marketing, helping you and your colleagues understand this increasingly complicated sector.

Need more convincing? Here are seven reasons why you should attend.

01 UnDerStAnD tHe eMerGinG worLD oF CroSS MeDiA

With new technology, emerging platforms and more demanding consumers, campaigns are getting more and more complex. Cross Media 2013 will give you all the insight and information you need.

02 DiSCoVer new tHinKinG

With a full programme of educational and thought leadership sessions at Cross Media 2013, you can build your knowledge of a wide range of subjects, from exciting innovations and industry trends to the latest multichannel marketing techniques.

03 networK networK networK

Live events are ideal to make new contacts and develop existing ones, and Cross Media 2013 offers the perfect environment to network from first thing in the morning to last thing at night.

04 Meet new BUSineSS PArtnerS

Industry events such as Cross Media 2013 are proven to be the most effective way to research and evaluate new services and suppliers – information that’s vital to any business wanting to move forward.

05 GAin ACCeSS to Senior DeCiSion-MAKerS

There aren’t many opportunities to get yourself in front of the world’s top marketers, publishers and industry experts, but here you will have the chance to discuss your plans with people that have the power to transform your business.

06 eXPLore new SeCtorS

In order to develop your business and stay on top of current trends, you need to know who’s doing what – and how. Discovering new innovations, trends and services could give your business vital long-term benefits.

07 HAVe A GreAt tiMe

Cross Media 2013 is a business event, but that’s no reason not to enjoy yourself.

And with London on your doorstep, enjoying yourself is virtually guaranteed.

• Cross Media 2013 will be held on 23-24 October 2013 at the Business Design Centre, London. For more information, go to www.crossmedialive.com

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EXPANDING THE PARAMETERS OF PRINT If youâ&#x20AC;&#x2122;re looking for new ways to bring print to life through personalisation, targeted direct mail, social media, augmented reality or a host of other cutting edge marketing communication channels, then Cross Media 2013 is the event for you.

AN EVENT FOR INNOVATIVE PRINT PROFESSIONALS Register to attend for FREE

crossmedialive.com/regpp

PP_06_Book_Inners_V2.indb 50

HEADLINE SPONSOR

CONTENT PARTNERS

PAPER PARTNER

DIGITAL MEDIA PARTNER

PUBLISHING PARTNER

DATA PARTNER

PRINT PARTNER

AR PARTNER

BRAND PERFORMANCE PARTNER

publishing compelling content profitably

the Digital Printing Initiative

ASSOCIATION PARTNERS

17/10/2013 12:39

NEWSPAPERS MAGAZINE ADVERTISING / MAGAZINES / DIRECT / DIRECT MAIL MAIL / DOOR / DOOR TOTO DOOR DOOR / CUSTOMER / CUSTOMER MAGAZINES MAGAZINES / CATALOGUES / CATALOGUES

KNOWLEDGE OVER THE NEXT FIVE PAGES, WE’LL BE GIVING YOU THE LATEST RESEARCH, INFORMATION AND INSIGHT INTO THE

FIVE KEY MEDIUMS COVERED

BY PRINT POWER. EACH ONE HAS THEIR INDIVIDUAL STRENGTHS AND ADVANTAGES, BUT USED IN COMBINATION WITH EACH OTHER, THEY CAN OFFER A POWERFUL SOLUTION TO ANY MARKETING CHALLENGE.

DIRECT MAIL With an industry value of £25bn in the UK, customer engagement averaging at over ten minutes and up to 40% ROI, direct mail is thriving.

DOOR DROP MAIL With a client expenditure of £277m a year, door drop mail is hugely successful and ideal for getting a great level of response from the most amount of people.

MAGAZINE ADVERTISING Read by 87% of the UK population, magazines provide an ideal opportunity for brands to get in front of specialist audiences that regard the title as their friend.

CUSTOMER MAGAZINES One of modern marketing’s true success stories, customer publishing has swelled to a £10bn global industry thanks to the huge levels of engagement it offers brands.

CATALOGUES One of the oldest forms of marketing, catalogues are still a highly effective sales driver, with 17.7m consumers in the UK making purchases from a catalogue in the past 12 months.

If you would like further information on the vital role print plays in marketing, plus the latest news on print media around the world, go to www.printpoweruk.co.uk

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DIRECT MAIL / 7 reasons 1.

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THE MAIL MOMENT Direct mail enters an individual’s home and is consumed on a one-to-one basis.

This gives you much more time with your customer, time to engage them in a relaxed environment at a time of their choosing.

EFFECTIVENESS Recent reports have demonstrated the enduring effectiveness of direct mail, with 48% of UK adults having done something in the last 12 months as result of mailing and 30% having bought something (Royal Mail, 2011).

94

SENSORY EXPERIENCE The physicality of a mailing adds another dimension to the brand experience. Using your customers’ senses you can stimulate and entertain, getting them to reassess your brand and drive response.

GET CREATIVE Direct mail is unique in that mailings can be produced in a wide variety of formats, using different shapes, sizes, colours and materials to create a surprising and memorable brand experience that will stay in the home for weeks and even months.

%

4.

PRECISION TARGETING Direct marketing works best when it’s made relevant for the recipient, with tailor-made content appealing directly to the consumer. New digital printing technology can make this personalisation even easier.

MAKE PEOPLE ACT Direct mail is the most likely form of communication to get a response from a customer, with the cost of every response measured with accuracy. As it’s a tangible object, DM is also likely to hang around.

INTEGRATION Adding direct mail to an integrated campaign can raise the campaign’s effectiveness by up to 62%, while bridging technologies such as QR codes and augmented reality make it simple for consumers to go from print to digital.

56

%

The percentage of multichannel campaigns in which print is an element (Canon, 2013)

TETRA PAK

The percentage of people that regard print marketing as the most trustworthy of media channels (fast.MAP, 2013)

The global carton company wanted to raise awareness and instigate trials of their new carton design by putting the physical product directly in the hands of prospects.

Personalisation was key, with each box containing three Alice In Wonderlandthemed mini-cartons: a drinkable Tetra Pak with ‘Drink Me’ printed on it; a second with a mock-up of a brand’s own product and logo printed on it accompanied by ‘Inspire Me’, and a three-panel leaflet titled ‘Read Me’, which contained personalised information about how Tetra Pak could benefit the prospect’s brand or business. Results were impressive, with 53% of targets signing up for a meeting – the highest response rate in Tetra Pak history.

“

THERE IS STILL A ROLE FOR PRINT. IT’S NOT GOING TO GO AWAY BUT ITS RELATIONSHIP WITH DIGITAL IS CHANGING, DRIVEN

BY THE CUSTOMER John Rahim Head of Digital Rhapsody

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NEWSPAPERS / MAGAZINES / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / CATALOGUES

DOOR DROP MAIL / 7 reasons

“ ” 22

EDF ENERGY

The energy company used door drops as part of a fully integrated campaign to target the 50% of energy consumers who, according to the UK energy regulator Ofgem, had never changed providers. Many tended to be older and less likely to go online.

EDF Energy used door drops alongside DM, press ads and inserts to raise awareness of its new product, the ‘Blue+Price Promise’ and new character ‘Zingy’. The campaign resulted in 43,000 calls and almost 20,000 direct sales (30% more than expected), as well as winning the Direct Marketing prize in the 2013 Marketing Week’s Engage Awards.

DOOR DROPS ARE ALL ABOUT THE TARGETING. ONCE DELIVERED, THE AMAZING CREATIVE, EXCITING COPY AND OFFER CAN DO THE REST Jim Fox Associate Director Carat UK

%

The percentage of consumers that have purchased a product because of a sample or coupon delivered through their letterbox (DMA, 2012)

90

%

The percentage of consumers that value addressed and non-addressed mail above social media (Print Power Europe, 2012)

1.

2.

3.

5.

6.

7.

IT DELIVERS ROI Door drop drives rapid and measurable response. That response shows an impressive ROI. In a UK study, door drop scored three times better in cost-perresponse than the average of all other media (RDP Ltd).

IT’S CREATIVE A lot of brands take advantage of the creative potential of door drop, with many using innovations such as holograms, scented paper, 3D techniques and pop-ups to grab attention.

MASS-MARKET MEDIUM Door drop is the only truly national mass media available to marketers, with a satisfying 100% reach. Despite the advances in other media, door drop is still the only way of delivering a document into the hands of millions of households.

SAMPLE DISTRIBUTION Getting your product direct into the kitchen of your prospects is a fantastic way of raising awareness of your brand, as well as getting your customer to try it.

RIGHT ENVIRONMENT The fact that the consumer receives your material in their own home is crucial. They can take in and respond to the messages in their own time, never forced or coerced.

4.

TARGETED WHEN REQUIRED Using geomarketing, you can pick and choose which demographic you’re after, gathering vital data along the way. With this data, your campaigns can become more and more sophisticated.

EASILY INTEGRATES Door drop works harder when used as part of an integrated campaign, pushing people to go online or call a number for more information.

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CUSTOMER MAGAZINES / 7 reasons 1.

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5.

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7.

SUBSTANCE There’s nothing to beat the feel of a magazine. Taken with its portability, ease of use and sense of glamour, it offers the reader control and entertainment in one neat package.

LOYALTY One of the most common reasons for launching a customer magazine is increasing loyalty, with a brand achieving regular and reliable time with its customers.

ENGAGEMENT Magazines are the most effective medium when it comes to engaging your customer, entertaining and informing them while delivering your brand messages.

ENTERTAINMENT A magazine builds your customer’s faith in your brand by offering great content at little or no cost to them.

Entertain them and you’ll have their attention all to yourself.

TARGETING POWER Since a customer magazine is so versatile with its content, it can target any number or group of people, from specialist interest to mass market.

4.

EFFECTIVENESS When it comes to results, customer magazines are among the best.

Print offers a vital guarantee of measurability, with brand awareness, sales tracking and ROI calculated within days of the magazine’s release.

COMPLEX CONTENT Print works fantastically well at getting across complex content or messages.

So if you need to explain something in detail, a customer magazine may well be the best option.

1.9M 27

MINUTES

The circulation of Tesco Magazine – the biggest in the UK (ABC, 2013)

VUE

The average reading time of a B2B customer magazine (Kantar Media, 2011)

Produced for the cinema chain, Vue magazine combines film previews, reviews, exclusive features and interviews with the world’s top film stars and directors to give cinema-goers the ideal print accompaniment to their favourite movies. The A5 title is available in foyers at all 80 Vue cinema sites across the UK and Ireland, and has recently increased its circulation from 200,000 to 500,000, making it the UK’s top dedicated film title. The growth comes after just five issues, signifying long-term investment in the magazine by the client, Vue Entertainment.

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“”

WHEN THERE’S SOMETHING TO SAY, PRINT IS ONE OF THE MEDIA PEOPLE REACH FOR Sarah Warby Marketing Director Sainsbury’s

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MAGAZINE ADVERTISING / 7 reasons 1.

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5.

6.

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FANTASTIC REACH With over 50,000 titles published in Europe selling in excess of 20bn copies per month, magazines are one of the most widely distributed forms of media in the world.

INTEGRATION On average, more than half of all readers take action on magazine ads, a response that can be optimised when the ad is used as part of a wider campaign. Brand awareness, for example, can be doubled.

FINE-TUNED TARGETING Each magazine title is specialist in some way, reaching a certain demographic or interest group that will fully engage with relevant advertising or featured brands.

AWARENESS GENERATION Research shows that awareness generated by magazines and TV is roughly the same, but given that the expense of advertising in magazines is much lower, they offer a much more cost-effective solution.

93

%

4.

FOCUSED ACTIVITY Reading a magazine requires high levels of concentration, the same levels of concentration that will be devoted to advertising as well as editorial content.

THE TRUST FACTOR Magazines are a trusted friend to their loyal readership, and any brand that places themselves in that magazine can capitalise on that trust and use it to foster a new relationship.

DRIVING SALES Research shows that magazines are a powerful tool in driving sales. A PPA study showed a 12% increase in sales revenue when they compared customers exposed to magazine advertising with non-exposed.

91

%

The percentage of female magazine readers that engage with print ads (YouGov, 2013)

The percentage of 15-24 year olds that read print magazines (PPA, 2012)

DOVE SELF-ESTEEM PROJECT

The Dove Self-Esteem Project aims to improve the self-esteem of girls across the world. To highlight the damage an adult’s words or behaviour can inflict on girls, they created an ad that invited readers to write down the worst thing they were called in their childhood. A hidden layer of carbon paper then transferred those words onto the shirt of a child on the next page, with the text ‘Words Mark Children Forever’. The ad increased the Project’s local web traffic by 20% and helped get schools involved in the programme.

“

WE PUT A LOT OF MONEY IN THE PAPER BECAUSE THERE’S SOMETHING ABOUT THE TACTILE EXPERIENCE, THE PORTABILITY AND THE FEELING YOU GET OF SEEING BEAUTIFUL PHOTOGRAPHS ON GLOSSY PAPER Randall Lane, Editor, Forbes magazine

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NEWSPAPERS / MAGAZINES / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / CATALOGUES

CATALOGUES / 7 reasons

“ ” 9/10 66 IT’S ERRONEOUS TO ASSUME THAT ALL HOME SHOPPING ACTIVITY REVOLVES SOLELY AROUND THE INTERNET. OTHER CHANNELS, ESPECIALLY CATALOGUES, HAVE A COMPLEMENTARY ROLE TO PLAY IN INFLUENCING SHOPPER PURCHASING DECISIONS James McCoy Research Director YouGov SixthSense

WATCHES OF SWITZERLAND

Calibre Produced for luxury watch retailer Watches of Switzerland, Calibre is a catalogue that’s mailed to 20,000 customers twice a year.

The catalogue is the retailer’s flagship publication, positioning it as the authority on watches and demonstrating the exclusive relationships it has with top-end brands. With industry experts working on the editorial and celebrated still-life photographers providing the images, the publication is just as stunning as the products it displays.

%

The amount of consumers that have more trust in advertising in catalogues than on the internet (Print Power Europe, 2012)

The percentage of 24-25-year-old Australians that prefer to read catalogues in print rather than online (Australian Catalogue Association, 2013)

1.

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5.

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ACCESSIBILITY The advantages of print catalogues is their ease of use, level of trust and accessibility. They’re portable, aspirational and designed to be picked up repeatedly.

TARGETING OPPORTUNITY Since the main distribution method for catalogues is post, targeting is a key element to ensure you’re reaching the right prospect. Whatever demographic you’re after, you can reach them in a matter of hours.

INFORMATION-PACKED The catalogue is a lightweight and readily available source of information, with most questions answered within its pages. Price, look, colour, size, quality, performance, can all be communicated quickly.

BRAND LOYALTY A well-produced catalogue which stays true to the brand will foster large amounts of brand loyalty, with the customer satisfied that their custom is worth the effort and cost involved in its production.

SEDUCTION TECHNIQUE For high-end products, a catalogue offers an opportunity to draw the customer into the brand’s world, giving them an experience that goes beyond the shop window.

4.

BUILDING THE BRAND Catalogues offer the brand a significant amount of time with their customers, strengthening the relationship and building the brand.

EFFECTIVENESS Working alongside direct mail, online and digital mediums, the catalogue’s ability to have its results measured quickly and accurately is a significant advantage for the marketer.

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QA &

NEWSPAPERS / MAGAZINES / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / CATALOGUES

FINAL WORD JON KING IS UK MANAGING DIRECTOR OF STORY WORLDWIDE, THE WORLD’S LEADING POST-ADVERTISING AGENCY, WITH A VAST CLIENT LIST THAT INCLUDES CHRYSLER, LEXUS, UPS AND WESTFIELD. BEFORE HIS CAREER IN MARKETING, JON WAS THE LEAD SINGER IN LEGENDARY PUNK BAND GANG OF FOUR

WHAT’S PRINT’S CORE STRENGTH? Its ability to get attention. From a marketer’s perspective, they are always trying to get an audience’s attention one way or another. And in terms of time and engagement, content people can hold in their hands gets a lot more attention than screen-based content.

WHY DOES IT GET THAT ATTENTION?

It provides a physical experience. Anyone in marketing knows the value of customer experience, and print marketing, when done well, delivers a positive and valuable experience. What I find disappointing though is that brands haven’t quite twigged that they need to make an investment into the quality of the print experience.

If you give someone something that’s poor quality, the customer won’t spend much time with it and it won’t deliver the results the brand’s after. They need to invest in the experience of print. WHAT ADVANTAGES

DOES PRINT HAVE OVER DIGITAL?

Aesthetically, I think anyone who’s got an ounce of creativity in their bodies would enjoy what something looks and feels like. Nothing beats the experience of a beautiful font, lying there in its seductive little bed of touchy-feely paper. Blacks are black and whites are white, and a colour is a real colour in print compared to on a screen.

Photography doesn’t sit very well on a screen, so when you really want to get a point over, when you really want to gain an audience who are highly visual, to whom colour matters, then you would never want to use a screen.

“NOTHING BEATS THE EXPERIENCE OF A BEAUTIFUL FONT, LYING THERE IN ITS SEDUCTIVE LITTLE BED OF TOUCHY-FEELY PAPER” WHAT SHOULD PRINT DO TO SAFEGUARD ITS FUTURE? What it’s got to do is adapt. Everything

must change so everything stays the same. Print has got an amazing, unique, wonderful quality, but it has to adapt to survive, either by becoming more integrated with digital or more innovative. As an example, I get the Neiman Marcus clothing and accessories catalogue from New York every year. It uses paper architecture, like a pop-up book.

You’ll turn the page and a streetscape will pop up. The people behind it really play with the medium and it looks and feels amazing. WHAT ABOUT INTEGRATING PRINT WITH DIGITAL? I’m a big fan of using links to the web, but not necessarily by augmented reality.

I actually find it a bit boring. Where it is interesting is when it uses your location to give you extra information, tips or advice. If you can use your smartphone when out and about to overlay say, images from the past or stories or information on the best places to eat, that’s interesting.

Just linking to a video isn’t.

• Jon King is speaking at the Print Power & Two Sides Autumn Seminar on Monday 4 November 2013.

For more information and to book your place, go to www.twosides.info/Autumn-Seminar-2013

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Celloglas is the UK’s leading specialist in decorative print finishing. Decorative print finishes can be used to deliver innovation and added value, increase user interaction, demonstrate brand category leadership, enhance sensory experience and even stimulate debate in social media circles.

Publishing / Packaging / Multimedia / Promotional / Greetings Ask us about: Silkscreen applications Gloss UV / Matt UV / Tinted UV Textured / Cellotex Water based varnish Pealescent Varnishes Re-moist Gumming Fragrance burst / scratch and sniff Thermochromic Ink / Rub and Reveal Photochromic / Light reactive Fluorescent Inks / Glow in the dark Silver and gold latex / Rub and remove Hi-build UV Glitter varnish

High Speed coatings New Gloss and Matt varnish combinations Textured varnish Fragrance burst / scratch and sniff Pealescent varnishes Velvet varnish - New And many more…

Lamination Cellotouch - Soft-to-touch Cellogreen - Recyclable and biodegradable Foil Blocking Metallics / Pigment foils / Holographics / Security foils / Textured foils

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