SPRING 2016_PROMOTING THE EFFECTIVENESS OF PRINT MEDIA THROUGHOUT EUROPE
The beautiful game
Why print will be one of the stars of Euro 2016
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BRAND IN THE HAND Why content marketing is the success story of 2016 TRUSTED, ENGAGING, EFFECTIVE The enduring appeal of newspapers for advertisers SURPRISE THE SENSES Give your marketing the wow factor with special inks and finishes THE DIGITAL BACKLASH Will print get a boost from privacy concerns and adblocking?
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Redefining print as personal
www.dstwatercooler.com
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/ CONTENTS
22 | ADD EFFECTS, ADD POWER
26 | VOGUE
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.printpower.eu
04-10 Engage The latest European news, research, opinion and trends in the world of print, media, advertising and marketing.
100% RECYCL ABLE Print Power is printed on 100% recyclable paper from sustainable managed forests. Printed using vegetable-based inks by an ISO 14001-accredited printer. PRINT POWER Published by Print Power www.printpower.eu Content by Soul Content www.soulcontent.co.uk Editor Sam Upton Design Ian Findlay Coordinators Martyn Eustace Jonathan Tame Shareena Patel Print PCP Data management DST Cover: © SCAU architects. Didier Rogeon associate architect. Image: Luxigon PrintPower UK iCon Centre, Eastern Way, Daventry, Northamptonshire, UK NN11 0QB info@printpower.eu +44 (0) 1327 262 920 www.printpower.eu #Printpower © 2016 Print Power
Sponsored by
30 | EURO 2016
12-13 Take 5 Discover how to make a car manual interesting, play a record without a turntable and make a puppy hungry, all with the use of print. 14-15 Thought Leaders Mike Colling, CEO of media agency M&C, explains why direct mail is on the rise, while Tim Milne of design agency Artomatic explores the positive effect digital media has on print. 16-20 Content marketing As one of the fastest-growing areas in the marketing industry, content marketing is used by brands of all sizes all over the world. Discover the vital role print plays in this exciting sector. 22-25 Add effects, add power From thermochromic inks to colours that change when exposed to sunlight, the range of treatments and effects you can add to paper is expanding rapidly. Find out how to make your print marketing more impactful. 26-29 Vogue The global fashion icon is celebrating its centenary this year, so we explore what makes the world’s most famous magazine so successful.
46 | NEWSPAPER ADVERTISING
36-39 The digital backlash With increasing concerns about privacy, ad blocking and viewability, marketers are bracing themselves for a ‘digital backlash’. Could this be an opportunity for print? 40-41 A guide to digital print Digital print is transforming the way brands communicate with their customers. Find out how with a number of Europe’s biggest print companies. 42-45 Long-form marketing In these days of 140-character copy and quick bursts of content, there’s a new-found love of long-form print journalism and marketing. Discover why brands are taking the long view. 46-49 Newspaper advertising Why is the daily newspaper one of the world’s most effective advertising platforms? We ask Mario Calabresi, director of Italian newspaper la Repubblica, and Manfred Werfel, deputy CEO of WAN-IFRA. 51-57 Knowledge From direct mail and customer magazines to catalogues and magazine advertising, discover why print media should be a key part of your marketing strategy. 58
Final word Gerry Human, Ogilvy & Mather London’s global executive director, on the power and effectiveness of print advertising.
30-34 Euro 2016 With Europe’s biggest football tournament kicking off in June, we look at the vital role print will play for its organisers, sponsors and the many brands launching football-themed campaigns this summer.
www.printpower.eu | PRINT POWER _ 03
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INTELLIGENCE AND INSIGHT GATEWAY TO MARKETING IN EUROPE
- Current postal and email addresses targeting marketing and communication decision makers - In-depth and up to date insight and intelligence on European advertisers and agencies, brands and media (geographic location, sector participation, number of employees etc.)
- Advertiser spend across media (e.g. who is spending most in digital media in France)
- The relationships between the advertisers and their agencies (who works with whom?)
- Detailed contact information for key target people including job title and function
*let’s connect
www.tbsgroup-europe.com ndaniel@tbsfrance.com *let’s connect
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Engage The latest news from the world of print
PUT YOUR TRUST IN PRINT A number of cross-media research studies have stated that magazines and newspapers are the most trusted and effective marketing media. The latest Edelman Trust Barometer survey has found that 70% of people trust traditional media over new media, with 82% of respondents agreeing that “we all need more trustworthy information” and 59% agreeing that social media was less trustworthy than sources they grew up with. “It’s clear from the findings that even with new ways of finding news and entertainment online, that traditional media is at the heart of people’s consumption,” said Edelman’s UK CEO Ed Williams. “Even by using search engines or social media, they are coming across the same familiar media brands, especially in news.” This follows a report by Millward Brown called The Print Campaign Analysis, which analysed data from a large number of marketing campaigns from 2007-2015. The study found that when it comes to brand favorability and purchase intent, print advertising achieved greater effect than online or TV advertising. Another key finding was that media combinations were
most effective when print was part of the mix, with TV, online and print the strongest combination. Another Millward Brown cross-media study, produced on behalf of trade body Magnetic, found that once initial awareness has been built, magazines and newspapers deepen engagement by communicating more specific and longer messages. “When we index each channel’s share of investment against its share of impact, magazines punch well above their weight and are the most efficient at delivering both awareness and reinforcing associations,” said Jane Ostler, Head of Digital and Media at Millward Brown. “We believe this is due to the trust consumers have in the editorial they read.” + For more information on the Edelman Trust Barometer 2016, go to www.edelman.com + To read Millward Brown’s The Print Campaign Analysis, go to www.magazine.org/insightsresources/research-tools + For more information on Magnetic research, go to http://magnetic. media/insight
70% OF PEOPLE TRUST TRADITIONAL MEDIA OVER NEW MEDIA
www.printpower.eu | PRINT POWER _ 05
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Luxury purchases triggered by print while younger consumers care more about the ethical and environmental impact of luxury brands. “With the vast amount of content now available, it’s understandable that more than ever, consumers need a quality edit from sources they can trust,” says Anna Jones, CEO of Hearst Magazines UK. “It’s encouraging to see the results of this project showing the vital role magazine brands continue to play in the luxury sector.” + For more information, go to http://bit.ly/1S2rG43
Over 40% of luxury purchases by millennials (aged 20-early 30s) are triggered by a print magazine, according to new research. Titled The New Language of Luxury, the study from Hearst Magazines UK, explores the lives of adults aged 25-65 who have bought a luxury item in the last six months, and finds that Millennials are changing the shape of the luxury market. As well as the key influence of print magazines, the study also found that luxury consumers want to ‘discover’ products and are wary of over-exposure,
Print in the mix
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The latest IPA Touchpoints survey has revealed that print plays a dominant role in the lives of consumers. The highly influential cross-media study asked 5,000 adults about their media consumption, the results of which are used by agencies, publishers and brands in their campaign planning. Central to the report is the fact that consumers are more multidevice literate than ever, using two or more media at the same time, with 87% of all adults now multimedia tasking each week. Print is certainly one of those media, with 81% of adults reading their newspaper in print for over an hour a day. Magazines also come out well, with adults spending more time reading a print magazine (49 minutes per day) than their online versions (38 minutes). + For more information, go to www.ipa.co.uk/touchpoints
fo s f r aroun d 51 s or m ill e n n i al
Source: IPA TouchPoints6
06_ PRINT POWER | www.printpower.eu
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/ ENGAGE The world of print
Facebook turn to print Social media giant Facebook has been busy commissioning a number of print projects to show off its creative side to ad agencies all over the world. The first was a beautiful deck of 52 illustrated playing cards, which showcased its marketing insights to creatives and agency heads. Each card offered a unique and engaging insight about Facebook and its users, with the packaging personalised for each agency that would receive the pack. Facebook also commissioned the same agency, Human After All, to produce a fascinating print book that showcased and celebrated the best creative campaign work on Facebook in 2015. Described by Facebook Chief Creative Officer Mark D’Arcy as “stunning”, the book features work produced for Proctor & Gamble and Lexus, as well as interviews with some of Facebook’s top creatives. + For more information, go to www.humanafterall.co.uk/work
“UK adults spent over £1.2 billion on print magazine media in the first six months of 2015” Sue Todd, chief executive of Magnetic
PRINTED DIRECT MAIL REQUIRES 21% LESS COGNITIVE EFFORT TO PROCESS THAN DIGITAL MEDIA Canada Post, 2015
+ Belgium’s top creatives have been donating their sperm and eggs in an effort to ensure the country’s creative future. “One small drop for me, one giant drop for Belgian creativity,” said Geoffrey Hantson, chief creative officer of Happiness Brussels. + Research has found that over 60% of clicks on mobile ads are accidental, with ‘fat thumbs’ identified as the main culprit. Just 16% clicked on a mobile ad because they “like the product”. + IKEA have joined in with the colouring-in craze by creating its own colouring book. The book features repetitive patterns of their most popular products, such as wardrobes and kitchen utensils.
+ Disney have created an augmented reality colouring book that lets your children (or you) colour in characters on a page then use your mobile or tablet to bring the characters to life. The digital drawings will even move as you move the page. + You can now order your internet history delivered to you as a print newspaper. By downloading the Google Chrome Extension HTTPrint you can recheck facts, read in detail or discover exactly what you’ve been doing all day instead of work. + A book created for Australian optical chain OPSM has been named by Warc as the world’s best campaign. The book aims to highlight vision problems in children, with the optician increasing the amount of eye tests conducted by 23% year-on-year.
www.printpower.eu | PRINT POWER _ 07
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/ ENGAGE Event diary 31 May – 10 June 2016 drupa As the world’s leading trade show for graphic and industrial print, drupa attracts over 300,000 people from 130 countries to understand the rapidly changing world of print. This year, the legendary show will focus on innovation and future technologies, making it a mustattend event for everyone in the print, media, advertising and marketing industries. + Düsseldorf, Germany www.drupa.com 18-25 June 2016 Cannes Lions The eight-day programme of creative inspiration, celebration, education and networking, Cannes Lions attracts over 15,000 delegates from around 100 countries, as well as miles of column inches and millions of page impressions. As well as the coveted award ceremony, confirmed speakers include Keith Weed of Unilever, David Lubars of BBDO and Bruce McColl of Mars Inc. + Cannes, France www.canneslions.com 30 June 2016 PPA Awards 2016 As the most important celebration of talent in the UK publishing world, the PPA Awards is a vital indicator of the health of the magazine industry. Spread out over 24 categories, the awards recognise the multi-channel editorial and publishing excellence that continues to make magazines such a pleasure to read and advertise in. + London, UK www.ppa.co.uk/awards 22 September 2016 International Doordrop Media Congress 2016 Europe’s leading doordrop agencies and suppliers will this year descend on Berlin for the annual International Doordrop Media Congress. With Print Power as media partner, the event will combine thought leadership and networking to create an inspiring and powerful forum for the doordrop industry. + Berlin, Germany www.doordropmedia.nl 10-12 October 2016 World Publishing Expo Focusing on all aspects of publishing news, the annual World Publishing Expo keeps the world’s publishing companies up to date with the latest technologies and developments in all areas of news production. With presentations from international media experts and over 200 exhibitors from around the globe, the event offers a comprehensive look at current trends in the newspaper industry. +V ienna, Austria www.wan-ifra.org/events/worldpublishing-expo-2016
Augmented reality a reality A new media design studio has succeeded in creating the world’s first augmented book that doesn’t require a smartphone or expensive glasses to view. The studio, based in London, set up a system whereby a reader could turn the pages of a print publication, with each page featuring a 3D image able to be viewed from all angles. Admittedly, it’s a complex set-up, with coding required, as well as a powerful computer and a Kinect movement tracker. But as a vision for the future of paper and its relationship with digital content, it’s a very exciting development. + For more information and a video of the technology in action, go to www.instructables.com/id/Augmented-Book-Prototype
Print drives more shoppers than social A report by TimeTrades has found that print ads beat social media, mobile ads and email marketing in attracting consumers in-store. Asking over 5,400 consumers which marketing initiatives are most likely to drive you into their store, the report found that 49% said ‘Print ads’, 38% said ‘Email campaigns’ and just 20% said ‘Marketing campaigns through social media’. The 2016 State of Retail Report found that print ads were second only to special promotions on retailer websites in driving consumers into a store, which scores 55%. + To download the full report, go to www.timetrade.com/stateretail-2016-press-release
Retailer initiatives likely to drive in-store traffic Based on a survey of 5,444 consumers in January 2016
“ Of the following marketing initiatives by retailers, which ones are most likely to drive you into their store?”
55%
Special promotions displayed on their website
49%
Print ads
38%
Email campaigns Location-based promotions that you have opted into through a retailer’s mobile application
29%
Text notifications that you have given permission to receive Marketing campaigns through social Mobile ads
27% 20% 18% www.printpower.eu | PRINT POWER _ 09
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ENGAGE
\ Get creative at drupa 2016
The leading international trade fair for print and cross-media solutions is gearing up for one of its most successful shows in the event’s 65-year history. Taking place in Düsseldorf, Germany from 31 May to 10 June, drupa will have a special appeal for marketers and advertisers, with a day dedicated to print innovation and cross-media strategy. On June 3, Creative Day will begin with a conference, with sessions led by industry experts. You will then be given a guided tour based on the four main areas of drupa, including multi-channel publishing and 3D printing, before you take part in a networking event with fellow marketers and agencies. + Ulbe Jelluma of Print Power will be speaking at The Cube on Monday 6th June. For tickets and information go to www.drupa.com
$46 billion
THE AMOUNT US COMPANIES AND ORGANISATIONS SPENT ON DIRECT MAIL IN 2014 DMA, 2015
Direct mail on the rise again
“Online influence is often driven by a central print product. These brands produce professionally edited original content that inspires audiences and are the most welcoming, creatively diverse and productive environments for marketing activity” Abby Carvosso, Group Managing Director, Advertising, Bauer Media
Direct mail continues to defy the challenge of digital media by growing by 4.5% in the first half of 2015. According to the latest Advertising Association/ Warc Expenditure Report, mailshots are third only to digital and TV as the fastest growing medium. While modest gains were recorded for radio (2.9%), cinema (2.7%) and posters (2.3%),
direct mail continues to show its resilience, with figures showing that spend is predicted to be £1.86bn in 2015 and £1.88bn in 2016. That doesn’t include unaddressed letters, leaflets and doordrops, which will push total budgets way over the £2bn mark. + For the full report, go to http://expenditurereport. warc.com
Share of UK display advertising expenditure by medium H1 2015 Direct mail
£965m
Internet pure play
£1,091m TV spot
£2,364m
£6.4bn
92% 92% of students prefer books In a new study conducted by American University linguistics professor Naomi Baron, researchers have found that an overwhelming majority of students prefer physical books over e-books for reading. For the study, Baron surveyed over 300 university students from the US, Japan, Germany and Slovakia about their reading preferences. When given options between physical books and electronic reading devices, 92% of students said they concentrate best with physical books. “There are two big issues,” Baron told US magazine The New Republic. “The first was they say they get distracted, pulled away to other things. The second had to do with eye strain and headaches and physical discomfort.” But the love of books goes further than just reading efficiency — readers are charmed by the presence of physical books. “In the Slovakian data, when I asked what do you like most about reading in hard copy, one out of 10 talked about the smell of books. There really is a physical, tactile, kinesthetic component to reading,” says the professor. + To read the full article, go to http://bit.ly/1NSwnWC
FOR MORE NEWS ON THE PRINT MARKETING, ADVERTISING AND MEDIA INDUSTRIES, GO TO WWW.PRINTPOWER.EU
/PRINTPOWER
10_ PRINT POWER | www.printpower.eu
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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 Pearlescent 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 Gloss and Matt varnish combinations Textured varnish Fragrance burst / scratch and sniff Pearlescent varnishes Velvet varnish - New And many more… Lamination Cellotouch - Soft-to-touch Cellogreen - Recyclable and biodegradable Gloss / Matt / Anti scuff / silk / linen / holographic Cellolux - Luxury lamination
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takefive
This issue, we discover how a car brand made their manual a thing of beauty, the art of playing a record using paper, and how to attract the challenging demographic of dogs
12_ PRINT POWER | www.printpower.eu
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/ TAKE 5
Abraxas beer ad The bridge between print and mobile gets even closer with this ad for Abraxas beer that ran in an issue of Peruvian magazine Lima. But it’s not a QR code or augmented reality that gives the reader more content, it’s the light function on the phone. Readers are instructed to switch on the light on their mobile and place the phone behind the page to reveal a hidden image of a bottle of Abraxas, along with a poetic message about how few can discern between light and dark.
Kontor Records mail Anyone involved in music marketing will tell you that one of their hardest tasks is to get journalists and agency creatives to listen to their bands. So German dance label Kontor Records decided to grab some attention by pitching their music in the much-loved vinyl format along with a paper turntable to play it on. ‘The Office Turntable’ works by posting the vinyl record in a mailer that folds out into a 2D paper turntable, then inviting the listener to download a custom-made app to their phone and positioning it on the record. A virtual needle then comes up on the screen and the record plays through the phone. And it worked: the approach increased targeted listener responses by 64%.
Dacia car manual The humble car manual is rarely a thing of beauty, forever consigned to the back of the glovebox until the owner needs to look up tyre pressures or how to change a lightbulb. But the Romanian auto brand Dacia have injected their publication with a large dose of creativity and storytelling to produce the car world’s most attractive manual. Produced by agency Publicis Bucharest to celebrate Dacia’s 10th year of sponsoring the Gaudeamus book fair, the book is filled with illustrations, poetry and literature, turning chapters with titles such as ‘Tools’, ‘Dashboard’, ‘Child Security’ and ‘Safety Belt’ into stories that range in genre from science fiction to romance.
Audi airbags ad Audi gave its Turkish customers something to think about in a recent ad campaign focusing on the safety features of its cars. Created by Tribal DDB Worldwide’s office in Istanbul, the twin ads imagine what a brief glimpse into the afterlife would be during a car crash – would you be going upwards or downwards? Tagged with the line ‘Not yet! Intelligent airbag system’, the ads suggest the automaker’s safety technology will keep you from reaching eternity before your time.
Scratch-and-sniff book for dogs While millennials and middle-aged men seem to dominate the target markets for advertising, one demographic that’s traditionally ignored is dogs. But now, US pet food company The Honest Kitchen is trying to redress the balance with Is That My Dinner?, a scratch-and-sniff book about a puppy looking for a meal. The book tells the story of a pup on the hunt for something to eat at a party, where he is exposed to the scents of everything from candy canes to pumpkin pie. Customers were able to order a free copy from the company’s website, with the campaign inviting them to share images of their pets enjoying the book on social media.
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Thought leaders Mike Colling, founder and CEO of media agency M&C, gets to grips with the appeal of direct mail and why it’s on the up, while Tim Milne of design agency Artomatic explains how the physicality of print forges deep emotional connections with consumers
T
The reputation of mail is currently one of bubbling curiosity. If you’d asked me two years ago, I think its reputation would have been, at best, a dinosaur medium. But over the last two years, particularly 2015, marketers have started talking about it again. There are three reasons for that. The first is the body of research that Royal Mail has done over the last 18 months, which has dragged mail kicking and screaming into the 21st Century. They have made the sort of investment that previously only television, posters or digital media have made in terms of understanding their medium, gaining enterprise-level insight into how consumers use and value mail. With their Private Life of Mail research, Royal Mail conducted the largest ever neuroscience study by a European media owner, wiring up consumers while they read their mail to understand the impact that mail has on their brains. So rather than doing another case study that just says ‘Mail works’, they did some fundamental research that says ‘This is how mail works with consumers’ brains and in their lives’. It’s groundbreaking. The second thing is that we’re seeing a turnaround in mail volumes. We’ve now got two quarters-worth of evidence that clients are mailing more, so there’s real growth in the retail letters business. Then the final thing is a reappraisal of the efficacy of digital investments. Growth in search has topped out and there are big concerns over data fraud, viewability and even audience engagement in the digital world. There’s a reappraisal of the amount of investment being made in digital media in the UK. But there are still hurdles for clients and the mail marketing industry itself, including understanding what consumers value in mail. The trend over the last 15
years has been for cheaper and cheaper packs, driving down the cost of production. That may be the wrong trend. If you look at the IPA Touchpoints data, more than three quarters of us read mail every a day, with the average adult spending 21 minutes per day reading mail. Now given that each of us only gets around nine pieces a week, that means a consumer will spend up to 10 minutes reading a piece of mail. So why do we send them crappy little envelopes full of toilet paper? It’s like booking a 60-second television spot then creating a 20-second commercial. It turns out that the most effective pieces of mail are highly personalised, highly individualised, highly tactile and highly involving. Isn’t the insight from this that clients need
to invest in high quality pieces created by experts? In the future you’ll see more and more people moving towards trigger-based mail. You’re actually seeing that now, with the interest in digital and on-demand printing, but we see a future where mail will be used like re-targeted online banner ads. If you go to Easyjet and don’t buy the flight, why wouldn’t they send you a letter rather than stalk you around the internet? Because you’re somewhere in the region of a hundred times more likely to buy the flight if you see a letter than an online banner. These are the things that are bubbling around the whole mail industry at the moment, causing clients to reappraise the medium and move back towards it.
14_ PRINT POWER | www.printpower.eu
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/ OPINION “ Given that a consumer will spend up to 10 minutes reading a piece of mail, why do we send them crappy little envelopes full of toilet paper?” Mike Colling, founder and CEO of media agency M&C
I
If we are to seriously consider the future of print in a digital age, we have to first accept that Gutenberg’s original vision has finally, after 550 years, reached its sell-by date. We might also conclude that the internet is the final realisation of his vision: information-for-all. Far from the existential threat that many in the industry see, new technologies differ so fundamentally from printed communications that they reveal its hitherto hidden qualities. As well as liberating print from the burden of transporting information, new media provides the backdrop against which a new future for printed matter can be defined. In the digital age, we can at last look upon printing as the physical medium. It might be blindingly obvious, but printed objects exist in a way that virtual entities like Facebook don’t. Tangible materials and the irreversible act of putting ink on paper shape our relation to the messages they carry. We understand the authenticity of physical print and for things that matter such as money. We trust its currency – bank notes might only be bits of paper but we accept their value because of how they’re printed and by whom. Forgeries need to be masterful acts of deception to get past our acute print sensitivity, and digital currencies such as BitCoin remain pioneer technologies that are yet to become stable and useful. The UK Government continues to print its laws on vellum (which lasts for 5,000 years) rather than paper, which lasts only 500 years, but the additional 4,500 years feels more durable and stable now. The digital equivalent, Wikipedia finds a kind of stability from the idea that someone who knows better must have corrected it. It’s unlikely we’ll see a wiki-style approach to law making before the vellum deteriorates.
“ New technologies differ so fundamentally from printed communications that they reveal its hitherto hidden qualities” Tim Milne, Artomatic
Because of print’s ubiquity, everybody intuitively understands its manufacturing lexicon: materials, formats, construction etc. through which brands can project status, stability, tradition, beliefs, ideas and feelings, all of which can be hard to articulate digitally. Indeed, the most powerful communication language residing in print is emotion: exquisite print makes consumers feel special because human beings conflate emotional and physical sensation – evolution necessitated that feelings from physical inputs drive immediate decisions. We are heavily influenced by tactile sensation – carefully considered packaging rather than opulent stores have helped Net-a-Porter become a powerful luxury
online retailer. Brands are emotive entities and making consumers feel something has long been the driver of brand advertising. Elsewhere in the media landscape, digital technologies are re-shaping television with technologies that enable consumers to avoid TV advertising or tailor it around attention-grabbing offers. These will be difficult landscapes on which to build lasting emotional brand relationships, so it might not be inconceivable that print will emerge as the emotive communications medium, rich in tactile language and free from burdensome information (all available online). If so, we might see a bright and lasting future for this medieval technology and a role to which it’s finally and perfectly suited.
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THE $150 BILLION SECTOR
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/ CONTENT MARKETING
Content marketing is one of the industry’s biggest success stories, with brands devoting more of their time and budgets to building a better relationship with their customers – and right at the heart of that relationship is print — By Mark Hooper
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FOCUS
Is sues in depth
FOCUS
# 22 1/2016
Multiplying investment, insurance and retirement knowledge
TIME FOR FULL ACCOUNTING OF PUBLIC WEALTH Realizing the public wealth of nations could spur new growth and boost productivity
WAITING FOR NO MAN
I
It can be measured but it can’t be seen. It flies, it crawls; it’s how we measure our lives. But what is time, actually – and is it on our side?
# 22
TIME What is the nature of time and how do we make the best of it?
MICRO
MACRO
META
With declining birthrates and high levels of female education, Iran’s leaders are creating more incentives to have children
Sustained growth can only be achieved by boosting productivity – but it’s a catch-22 situation
Astronaut Samantha Cristoforetti has set new records after spending 199 days away from Earth
Do governments really know the value of the commercial public assets they’re supposed to be managing?
Time before and time after: always pointing to the present
6
•
Allianz
ITH GLOBAL SPEND on content marketing currently estimated to be $150bn, rising to over $300bn in 20191, it’s clear that this relatively young marketing sector is booming. With content produced for all platforms, this is a truly multi-channel sector, with online, mobile, video, social and experiencial all coming under the banner of content marketing. However, following a brief fl irtation with digital-only solutions, it appears that brands are discovering that print is the best medium to get a brand’s message across and engage its customers for the longest time. Furthermore, with industry-wide concerns over the challenges of ad blocking and the public more anxious than ever about digital privacy issues, print content marketing offers a neat solution, together with the offer of deeper engagement and increasing loyalty among consumers.
Allianz • 7
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Allianz
The heart of the mix Name any major European brand and it's highly likely they will have some form of print content marketing. From retail giants such as ALDI and LIDL to car manufacturers such as Volkswagen and BMW, companies use their own magazines to control exactly what messages are sent to their customers. “Print content marketing continues to be an integral part of the overall marketing mix,” says Clare Hill, Managing Director of the Content Marketing Association (CMA). As founder of the International Content Marketing Forum, a collection of 14 European trade bodies dedicated to promoting and showcasing the value of content marketing, the CMA are ideally placed to comment on the success of the industry across Europe. “The customer journey has become more and more complex, with multiple touch
n 1085 William the Conqueror commissioned one of the most remarkable statistical exercises in European medieval history, and one which may have a compelling parallel for modern governments. He ordered the valuation and cataloguing of all assets in England. The result was published in 1086 in what has come to be known as “the Domesday [doomsday] Book.” It was a highly detailed record of all the country’s assets and their ownership. William wanted a view of his kingdom’s financial resources in terms of taxes he could collect and the revenues he could generate from Crown lands. Part of the exercise was also to clearly identify Crown lands. This may well be one of the earliest attempts at establishing a national inventory or balance sheet. Yet, despite all the advances in economic understanding and statecraft, few modern governments really know the value of the assets they’re supposed to manage. Over the years, a number of economists, such as Willem Buiter, now the Global Chief Economist at Citi, have called for the creation of national balance sheets. Now a new book called The Public Wealth of Nations says that not doing so is a huge missed opportunity. And given the scale of public debts and rising social obligations across much of the
Allianz • 15
points – interacting with brand websites, email communications or social media," continues Clare. "This shift in consumer behaviour doesn’t discount traditional media such as print, and in many cases actually increases the requirement.” This is a sentiment echoed by Andrew Hirsch, CEO of global content marketing agency John Brown Media. “Our mantra is that it’s a multi-channel approach, but more often than not, print is at the heart of that,” he says. “It’s interesting that a few years ago people were saying, ‘Print is unaffordable, it’s not fashionable, let’s do everything in a digital format’. But in most cases a digital-only approach doesn’t work. The vast majority of solutions is print alongside digital.” Hirsch cites Waitrose Food, the awardwinning monthly magazine John Brown Media produces for customers of the supermarket chain Waitrose who sign up for
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/ CONTENT MARKETING
FÖRSVARETS
FORUM
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03/ 2015
ÖVNING
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Under två hektiska majveckor pågick den internationella flygövningen ACE 15. Så vad hoppades de deltagande länderna få ut av övningen? Från Sveriges sida var svaret glasklart. – Vi övar tillsammans, skapar tröskeleffekt, är trovärdiga och tillgängliga, säger Carl-Johan Edström, biträdande övningsledare för ACE 15.
Text Dag Enander/InfoS Foto Alexander Karlsson/ComCam
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ör andra gången arrangerades Artic Challenge Exercise inom ramen för det nordiska samarbetet mellan Sverige, Finland och Norge. Den här gången med Norge som huvudansvarig och övningsledare – med en av baserna i Luleå och F 21. Och det flygs mycket under en övning av ACE 15:s storlek. – Det flygs ungefär 2 000 timmar under ACE 15 att jämf jämföra
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Egentligen skulle han ha blivit civilingenjör. Men det kom lite emellan. Typ 40 år i kronans kläder. De senaste sex och halvt åren som Sveriges överbefälhavare.
Text Jesper Tengroth/InfoS | Foto Anton Thorstensson/ComCam
“With strategically distributed content, we build communities around brands and create long-term relationships with the customers” Gregor Vogelsang, CEO of German content agency C3
their loyalty programme. Each member is entitled to a free issue, but because there are over four million active members, the print run of 700,000 magazines is snapped up within the fi rst few days of each month. Long-term solution For Gregor Vogelsang, CEO of German content agency C3 (Creative Code and Content), the strength of content marketing is in its ability to aim at the entire customer lifecycle. “With strategically distributed content, we build communities around brands and create long-term relationships with the customers,” he says. “Print is still highly relevant in most content marketing programmes. Physical presence, visual impact, orientational and opinionated content, as well as comprehensive background information, these are the strengths of print which we harness across our content marketing activities with major
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IN I DIMMAN. Till vardags är 510th Fighter Squadron baserade i italienska Aviano. Några ur den amerikanska markpersonalen tyckte det norrbottniska vädret var ”interesting”.
“The Roger Colective magazine has been a tremendous success and one of the most cost-effective communication tools we have ever devised” Saskia Dornan, Head of Virgin Group Internal Communications
“Magazines produced by brands deliver an average of 25 minutes of engagement. Can you think of many other channels or platforms that do that?” Clare Broadbent, CEO of Cedar
key clients.” C3 produces Project M for Allianz Asset Management, which aims to reach decision makers in the fund management, pensions and fi nancial management area. While it works as part of a joined-up strategy including digital, Vogelsang fi nds significant cut-through from print with the target market: “Print is the medium for higher-educated executives,” he says.
also in speaking to its own staff worldwide, across a diverse variety of roles. “Instead of going all out on digital, the Virgin Group has gone down the multichannel route when communicating with our people, which includes the tangible and accessible benefits of print,” she says. “The Roger Collective magazine creates a community that readers fi nd irresistible: it connects with them, while exciting and inspiring them. “Print works really well for us as it reaches many more of our people who are not desk workers, and for many of whom the nature of their job dictates that they can't be looking at a mobile screen throughout the day. It’s a great example of how a global magazine can have a real impact on so many different businesses and connect people around the world. It’s been a tremendous success and one of the most cost-effective communication tools we have ever devised.”
Virgin paper In short, people want print. But let’s not just take the word of those selling the solution: the proof comes from the brands themselves, who have their ROI to consider when looking at the cost-effectiveness of print in their content marketing strategy. Saskia Dornan, Head of Virgin Group Internal Communications, reveals how a global brand has recognised the benefit of print not simply for its customer base, but
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CONTENT MARKETING
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Owned media The prospect of brands owning their own media is an enticing one, with more and more brands building a successful customer base using print content marketing. There are examples where print is the only logical option, such as in-flight magazines, where brands have access to that rare thing: a captive audience with quality, engaged time on their hands and who have been asked to switch all their digital devices to flight mode. Ink Global produces a variety of magazines for brands such as EasyJet, Norwegian Airlines and Air Berlin. B Inspired, the title they produce for Brussels Airlines, is a particular success: when surveyed, 94% of passengers said they had read the magazine, with an advertising recall of 44%2. Such a high recall figure opens up another potentially lucrative revenue stream: as well as the benefits of more sophisticated content, brands who own their own media also have access to traditional ad revenues: 14% of passengers had bought jewellery worth more than €1,500 in the previous year, while 44% had bought a fragrance worth more than €75. The soft sell Proof of cost-effectiveness is, of course, a crucial factor. Clare Broadbent, CEO of global content marketing agency Cedar Communications, remarks on the “culture of marketing short-termism” that results from the “cult of ROI” where marketers face pressures from CFOs to deliver a clear return for their marketing efforts. “Generally, content marketing is subtle in the way it ‘sells’ to a client’s customers,” she says. “Overt sales messaging is often kept to a minimum. Often, the main objective of content marketing is to deliver brand messages, and attributing an ROI figure to a piece of content, especially a high-cost piece of content such as a magazine, often requires lots of time and effort. But it can be done. In best-case scenarios, where we have seen ROI figures for our clients’ work derived from customer data, results have been staggeringly good.” For example, Cedar produces Tesco Magazine, with a readership of nearly five million readers per year. “We measure
“ Physical presence, visual impact, orientational and opinionated content, comprehensive background information, those are the strengths of print which we harness” Gregor Vogelsang, CEO of German content agency C3
effectiveness carefully and the magazine more than succeeds on so many levels,” says Debbie Chernin, Publishing Manager for Tesco. For a start, average reading time is 38 minutes – well above the CMA’s industry norm. The magazine also delivers a proven sales uplift on products they feature. The new marketing arena Of course, the landscape in which content marketing is now operating has changed significantly. “Compared to even a few years ago, it’s much more difficult for advertisers to land brand messages and sell,” says Broadbent. “Today’s consumers are brandweary, their trust having been eroded over time from receiving uninvited and invasive ‘broadcasts’ from advertisers. And online – where the lion’s share of ad spend is going these days – there’s a load of new and popular software programs to block ads.” In its annual Digital and Media Predictions
report, research consultancy Millward Brown noted that the rise of ad blocking – one of the biggest issues for digital marketing – has seen brands place a higher emphasis on providing quality, engaging content for their customers. Duncan Southgate, global brand director for digital at Millward Brown, noted that this will “separate the successful marketers from those that simply annoy”. He also predicted a more integrated consumer journey, adding, “Brands that fail to target consumers appropriately, adapt content across formats or rely solely on paid advertising content are unlikely to build engagement and drive sales.” By modifying their marketing communication strategy from a push to pull model, producing content that consumers want, where they want it, and in a format they are receptive to, brands are able to keep their customers engaged for longer, at a deeper level, in order to deliver their brand messages. “Magazines produced by brands deliver an average of 25 minutes of engagement 3,” says Broadbent. “Can you think of many other channels or platforms that do that?” The next level The big question is where print content marketing will go next. Ironically, improved digital technology means that personalisation is now possible at a much higher level, while better sales tracking can prove the cost-effectiveness to the client. “We only recommend print solutions if it makes strategic and economic sense,” says Vogelsang. “To thrive with a print magazine, you need to have unique control of costs and revenues and a clear competitive advantage in distribution, promotion and pricing.” But everyone agrees that print is now the disruptive medium, offering stand-out for the client and a sense of value for the customer. Which, after all, is what content marketing is all about. Sources 1 PQ Media’s ‘Global Content Marketing Forecast 2015-19’ 2 IPSOS European Affluent Survey 2015 3 CMA Advantage Study
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FINISHING TOUCHES The range of stunning treatments and effects you can add to print is expanding rapidly, giving you the ability to add the wow factor to your marketing — By Simon Creasey
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A
at a time when consumers are bombarded
with a cacophony of noise from competing media channels, it’s never been more challenging for print to stand out from the crowd. Although different finishes can be added to print to help it create cut-through, such as die-cutting, foiling and embossing, these finishes can be costly and time-consuming. As a result, a growing number of marketers are turning to special inks, substrates and treatments that can be completed in a single pass on press and elevate a piece of print way beyond the ordinary. The number of possibilities with treatments and effects are increasing every week, but here are just a few that are catching the eye of forward-thinking marketers.
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Thermochromic Thermochromic inks and varnish react to heat and are a great way of surprising people by revealing a previously unseen image. Steve Middleton, sales director at Celloglas, says thermochromic varnish can be set to an accuracy of within one degree and the effect is “interactive and really gets consumers involved in the brand”. Steve cites a recent example where the company applied a wine glass-shaped varnish onto a wine box and when the box reached room temperature it revealed the words ‘Ready to drink’. Celloglas also did a special cover for Computer Arts magazine in November last year using thermochromic inks that revealed hidden printed messages when the ink was rubbed. Metallic board Printing onto mirrored metallic board is an inexpensive way of giving an image a premium look and has been used by a number of magazines for special covers, including Esquire, Wired and Empire. Mirri, a division of Celloglas, supplies a special metallic substrate available in gold and silver to printers who use a UV press to cure the inks. High intensity inks When BSkyB wanted to create a direct mail campaign to launch its Sky Q product it wanted a premium offering. “Our brief to the creative agency as well as the printers was that we wanted the best in class creative and fi nish,” explains Kirstin Phillipson, senior marketing manager at BSkyB. A key element of the pack was the use of vibrant high intensity inks, which are incredibly eyecatching and can be printed on conventional
The book you can cook The Croatian creative agency Bruketa & Zini designed an annual report for food company Podravka that had to be baked in an oven before it could be read. Titled 'Well Done', the report features blank pages printed with thermochromic ink that, after being wrapped in foil and cooked at 100°C for 25 minutes, reveals text and images in the illustrations of empty plates within the book. Get it wrong however, and like any other baked product, it will burn and make its contents unusable.
Mirror mirror (Left) Magazines such as Esquire have used the highly reflective Mirri board to great effect, giving the publication fantastic stand-out value on the newsstand
presses. According to Phillipson, the resulting DM pack more than met the brief. “It’s the most premium direct mail Sky has ever done,” she says. “It’s world class and has real impact.” Virtual embossing Merck has developed a 3D Evolution technology that enables users to print 3D effects on standard materials using conventional printing presses. First a standard image is printed offset then the sheet is transported to the second coating unit for the ‘3D’ effect and UV curing. The effect is applied to the still-damp coating using a 3D Evolution polymer plate, which creates an impression of depth – it’s effectively a 3D illusion that can be seen but not touched. The technique can be used
A different angle for Sky The April 2016 issue of Wired magazine featured a stunning 3D lenticular cover wrap to promote the launch of Sky Q. The lenticular wrap appears to show the image moving as the reader shifts their angle of sight. “We are very proud to be working with Sky and to have been chosen as the only title in the UK to run this creative,” said Nick Sargent, Commercial Director of Wired, “proving that Wired is the title of choice for interesting and innovative campaigns across all of our platforms, with print remaining at the heart of the Wired brand.”
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/ PRINT EFFECTS
“ It’s the most premium direct mail Sky has ever done. It’s world class and has real impact” Kirstin Phillipson, senior marketing manager at BSkyB
for a wide range of different applications including magazines and direct mail. Another company offering the ability to add an extra dimension to print is ColorLogic through its Pattern-FX technology, which is targeted at digital printers. Pattern-FX uses five inks – white plus CMYK – printed onto a reflective surface to create a series of different patterns, including watermarks. “It’s taken off in all markets, but especially in direct mail because it stands out so much,” says Mark Geeves, director of sales and marketing at Color-Logic. “Ricoh used this technology in some of its direct mail pieces in Europe, and because of the white ink in the pattern it creates an embossed effect – it’s got a real texture to it.”
The wipe-off skincare advert Product samples have always been a great way to get your brand known, but it’s rare that samples are able to be demonstrated in the pages of a magazine. Skincare brand Neutrogena worked with Brazilian weekly Caras to create a special cover on which the reader could try their Deep Clean wipes for themselves. Using the free wipes, the reader is able to rub the makeup off the model’s face, showcasing the product’s effectiveness and the ability of print to interact with its readers.
Photochromic Photochromic inks change colour when they are exposed to sunlight or UV light. So for instance, you might have a standard black and white image printed on the cover of a magazine, newspaper or piece of direct mail, but when you go outside into the sunshine it turns into a beautiful picture full of colour. Using this technique, the DDB agency in Sao Paulo created a magazine insert that neatly highlighted the need for sunblock for the Sundown brand of sun cream (see images, left). The insert invites the reader to guess which of the two sunbathers is wearing sunblock. When exposed to the sun’s UV rays, the image of the man quickly becomes red, while the woman keeps her tanned colour. “These inks are proving to be particularly popular with charities who are looking to raise awareness of the damage that UV rays can cause to the skin,” says Oliver Dredge, materials consultant at SFXC. Colour shifting inks These inks can’t literally change colour, but they reflect various wavelengths in white light in a different way, depending on the angle of sight. The effect has been used for a wide range of different applications, including magazines and direct mail. When combined with pigments of other colours, Dredge says these inks can yield an “exceptional range” of colour shift possibilities and make an eye-catching and engaging effect. “If you look at an image from one angle it might appear white, but as you move it you get a shimmer of red or green,” he adds.
Spead the warmth with print The charity Age UK used a magazine cover wrap to highlight the problem of the elderly not being able to afford to heat their homes. By using heat-sensitive thermal ink, some objects in the pictured room glowed orange when readers placed their hands over them, showing how older people can be made warmer through donations. The wrap led to 910,000 donations from readers to Age UK’s campaign, with a 625% lift in donations from a younger audience.
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“THE INDUSTRY SHOULD LOOK AT VOGUE TO UNDERSTAND HOW TO PROTECT THE FUTURE OF PRINT” ENYI NWOSU, HEAD OF STRATEGY FOR MINDSHARE WORLDWIDE 26_ PRINT POWER | www.printpower.eu
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Vogue magazine is a vital cog in the world’s fashion engine, as well as a high-revenue model for print success. In the year of its centenary, we get to the heart of why everyone wants to be in Vogue — By David Benady
vogue , the bible of high-class designer fashion, celebrates its British centenary this year with a bumper edition and an exhibition of its photos at London’s National Portrait Gallery. The glossy magazine has defined fashion over the past century and reminds us why print matters to readers and advertisers, so the centenary is definitely worth celebrating. Around the world, the highly influential Vogue magazine is a must-read for those in the fashion industry and a much soughtafter vehicle for showing off designer trends. Crucially, it’s also a luxurious treat for millions of women between the ages of 16-80, all fascinated by this exclusive world. Vogue maintains its mystique by treating fashion shoots as works of art, using some of the industry’s best photographers, while putting the product together with high production values, top quality paper and beautiful binding.
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As Vogue’s publishing director for the UK Stephen Quinn tells us: “Vogue’s success is based on its fashion credentials and being perceived by the magazine-buying public as the leading glossy for fashion. The print edition is an object of beauty – great photography, clever and sharp styling enhanced by wonderful layout and design.” Quinn says the top fashion brands spend 50% of their UK glossy budgets in Vogue, as they reach out to a readership of 1.2 million. And he believes that Vogue’s success is a signal of the power and longevity of print advertising. “Print advertising is effective because a high percentage of magazine readers pay attention to it and rate it above website and tablet formats. Of course, editorial enhances the message, creating the hunger for the brand and identifying a lifestyle which the reader follows,” he adds. Fashion-forward Advertisers know there are few other places that offer the credibility and influence bestowed on their brands by placing an ad in Vogue. Enyi Nwosu, head of strategy for media agency Mindshare Worldwide, who also works on the Chanel account, says Vogue offers a powerful lesson in how magazines can move with the times and become agenda-setting thought leaders in their sectors. “The industry should look at Vogue to understand how to protect the future of print," he says. "The lesson is being clear about what your proposition is – in Vogue’s case as the reference point for the fashion world. It’s really clear about exactly who its audience is and doesn’t try to be all things to all people. If you follow Vogue’s lead, you’ll have a future in this post-digital world.” Status symbol The US magazine’s 1916 launch in the UK was the first stop on Vogue’s journey to becoming a global brand. It launched in France five years later and now boasts 21 editions across the world, each with their own local flavour. Vogue’s European editions reach around seven million readers, while it boasts 23 million readers globally. Most recently, the magazine launched in The Netherlands in 2012, where it has a readership of 195,000, while its largest European readership is in Germany, with a monthly circulation of 1.5 million. It appeals to advertisers both as a national and global platform for showcasing their brands.
A strategic view Enyi Nwosu, head of strategy for media agency Mindshare Worldwide, says Vogue "offers a powerful lesson in how magazines can move with the times and become agenda-setting thought leaders"
Mainly a vehicle for top-end brands such as Chanel, Gucci, Versace and Miu Miu, it also runs ads by more accessible high street brands such as TopShop and Mango. Eleni Chalmers, director of strategy at Leo Burnett Luxury and Lifestyle, describes the emotions of a Vogue reader: “Opening the latest issue gives you permission to disengage from the rest of the world, to set aside time to immerse yourself in the gloss, colour and fantasy of fashion, beauty and luxury," she says. "Its hefty price, size and weight command attention and insist that ‘only those serious about fashion’ would bother. It’s not designed for ease. It’s designed for passion. And as such, it separates the fashion-forward ‘sheep’ from
“The print edition of Vogue is an object of beauty – great photography, clever and sharp styling enhanced by wonderful layout and design” Stephen Quinn, publishing director of Vogue
the disheveled ‘goats’. And, not surprisingly, it also acts as a relatively inexpensive marker of your own status.” An upwards trend The print title continues to perform strongly, with digital and print circulation in the UK hovering around the 200,000 mark. Vogue UK has also produced its biggest-ever March issue this year, with a massive 275 pages of advertising – an increase of 27 pages from last year – with ads from global brands such as Apple, UBS and Issey Miyake. The edition is also debuting advertisers such as designer label Christopher Kane and ba&sh. Publisher Quinn says Vogue will take out press ads for the March issue in The Times and the Evening Standard and run digital billboard ads across the country. Tammy Smulders at luxury consultancy LuxHub says Vogue also has a strong online presence and does much to create high quality images in digital media, though she adds: “There is a tangible and institutional status that the print book has, and many women like to have it on their coffee table. It’s a sign of their discernment. They have the print copy and keep it in their home.” Importantly, in these times of constant change, she says Vogue is not resting on its laurels. “Vogue is evolving as a title,” she says. “They have just launched Vogue Video, they are doing mobile apps, they are not just sitting there saying we are going to stick with print whatever else happens. They are being proactive and reacting to the changes in consumer behaviour and disruption.” By moving with the times and having a crystal clear understanding of their brand proposition, print titles can gain some of the longevity that has kept Vogue at the top of its sector for over a century.
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/ VOGUE
Vogue has a monthly global print audience of
23.5 million people Its websites have five billion page impressions every month
ÂŁ1 million
Vogue is mentioned in other print media on average four times a day, generating worth of coverage Vogue readers spend more on fashion every year than the readers of Elle, Marie Claire, InStyle, Vanity Fair and Harper’s Bazaar
93%
Each issue of Vogue is read for an average of two hours of Vogue readers own designer fashion, while 94% own premium beauty products When Vogue readers last recommended a product to their friends, 54% of cases resulted in a purchase
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3.5bn fans, 23 â‚Ź2bn revenue, 2 ten stadiums,
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/ EURO 2016
230 countries, e, 2.5m visitors, ms, one winner
The Euro 2016 football tournament is just around the corner, meaning that brands, companies, sponsors and UEFA itself will be launching some of their biggest print campaigns of the year. Are you ready for kick off? — By Knud Wassermann
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on the night of Friday 10 June, the world’s
third-biggest sporting event will kick off as France play Romania in Paris. Yet well before UEFA Euro 2016 gets underway, magazines, newspapers and brochures featuring adverts, sponsored content, previews, game-plans and pocket guides will have hit the shelves in a colossal media campaign of which print is an integral part. These print campaigns not only give fans everything they need to know about the tournament, the teams and the players, but provide UEFA, the sponsors of Euro 2016, and a vast range of global brands with the foundation for their communication strategies for the summer. Promotion prospects With an estimated 3.5bn fans worldwide, football is the world’s most popular sport, attracting the biggest multinational
sponsors, billionaire investors, and publishers of newspapers and magazines who understand how deeply it resonates with their readers. The perfect illustration of this appeal is Gazzetta dello Sport. Famously described as ‘Italy’s cheapest style accessory’, the sports daily – its print edition reaches 3.3m readers a day – analyses football with the same meticulous accuracy, authority and depth that the Financial Times devotes to business news. During Euro 2016, some 2.5m visitors are expected to visit the ten stadiums in France – one million from abroad. The matches will be broadcast in 230 countries. In 2012, the cumulative global TV audience for the tournament topped 8bn, a figure that will be easily beaten this year as the finals feature eight more teams and 20 more games. The TV broadcasting rights alone earn UEFA €1bn, with sponsors providing around €400m. Once you add in ticket sales and catering income, UEFA’s revenues from the 2016 tournament will reach around €2bn. Each international sponsor pays top dollar to take part in Euro 2016. Simon Rines, editor of sports marketing journal IMR, told Marketing: “On average the international sponsors are collectively spending $10-15m annually. Compared to the last time, in 2012, I’d suggest there’s been around a 50% rise. For big markets, there’s been a huge inflation.” The rising price encourages sponsors to spend from 50% to 160% as much again on targeted promotional activities to ‘activate’ – as sports marketers say – their investment. In return, UEFA does all it
can to protect its partners. Only official sponsors are allowed in or around the stadiums and to sell product in the fanzones. The companies clearly consider their investment worthwhile: the likes of CocaCola, McDonald’s and Carlsberg are there, tournament after tournament. Businesses from the emerging economies with global ambitions have also stoked the competition for sponsorship rights: Turkish Airlines, Azerbaijani oil firm SOCAR and, most recently, Chinese electronics company Hisense have joined the roster for Euro 2016. Guy-Laurent Epstein, Marketing Director at UEFA Events SA, says: “We are excited to welcome Hisense, one of the fastestgrowing Chinese brands in Europe and America, as part of our UEFA Euro 2016 partners’ family. The tournament will offer Hisense a platform second to none to continue their international growth thanks to its established global appeal and brand values.” The added value of print Assessing a return on investment for such sponsorships can be complex. Management consultancy McKinsey says companies should consider cost per reach, how they magnify the impact through activation, sales/margin per dollar spent (the best performing sponsorships can, research shows, have an exponentially bigger impact than those for lesser events) and long-term brand-building (a priority for Hisense). There is little pan-European consensus on the advertising value generated by sponsorships. However, the Austrian Focus
0% of advertising value generated by 6 sponsorship is through television and 40% through print. Print ads featuring a sports star also enjoy 7.5% more awareness than those that don’t
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/ EURO 2016 Institute believes that 60% of advertising value is generated by television and 40% by print. Studies also show that print advertisements featuring a sports star enjoy 7.5% more awareness than those that don’t. Hard data confirms the benefits of Emirates airline’s FIFA World Cup sponsorship. Roger Duthie, Global Head of Sponsorship for Emirates, says: “We would normally expect six dollars’ worth of TV exposure for every one dollar invested. Print adds many more millions of dollars in coverage.” The souvenir effect Hardcore football fans love collecting things and print, as a tangible, enduring, physical product, is uniquely placed to satisfy this desire. This is one reason why UEFA, through IMG, will publish EURO 2016 preview magazines on newsstands in the UK and France, a separate programme previewing the tournament in and around the grounds, and a souvenir programme for the final on 10 July in Paris. The official programmes are also an indispensable part of sponsors’ efforts to reward their customers. Panini has been publishing football stickers at international football tournaments since 1970. The stickers attract such a passionate following that 300,000 cards were stolen shortly before the 2014 World Cup. The Euro 2016 album will be the tenth to mark the European Championships. To further encourage collectors, the Italian company has launched an app for swapping stickers, while Panini has also played a part in
a M stu in p enc com pri
Marketing goals Most top European clubs and many national teams have their own publications, which are sold on newsstands, at the ground or used to reward members. Trinity Mirror Sport Media produces quality print and digital publications for such leading teams as Inter Milan, Manchester United, and Arsenal. Products include official magazines, matchday programmes and books about individual stars. “With our experience we can adjust in line with the continuous changes in the market and create informative and innovative products for our customers’ fans,” says Steve Hanrahan, Managing Director of Trinity Mirror Sport Media. The company has expanded beyond the UK and counts Inter Milan among its customers. For a 2015 derby between Inter and AC Milan, the company produced a 75,000-run booklet, distributed free to fans, a major innovation in Italian football.
Abov uses and in desc issue North oil ind
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EURO 2016
\
Coca-Cola’s strategy to stimulate sales at major football events, with the soft drinks giant offering special stickers with their multipacks. High performance For Hyundai, Euro 2016 is a promotional platform it will use to reach out to – and interact with – a broad public as it seeks to fulfil its communication objectives. “Print is a key channel which, backed up by other advertising media over the entire promotion period, will achieve the desired activation of potential customers,” says Emanuela Novakovic, Marketing Manager at Hyundai Import GmbH in Vienna. “Magazines are particularly suitable for building image and increasing brand awareness or to support product launches.” Newspapers, whether they are general tabloids like Germany's Bild or specialist titles like Portugal's A Bola, are a perfect medium for sponsors seeking to reach a large audience very quickly. A 2014 study by GfK Panel Services found that every Euro spent on newspaper print ads delivered a return of €1.20. The research concluded: “The internal pacing of print ads enables the reader to confront them at a suitable moment. If the message is relevant, readers can take time to examine the offer. Because the reach is within 24 hours, newspapers perform very quickly.” The real thing At the beginning of this year, Coca-Cola launched its ‘Taste the Feeling’ campaign globally. This new ‘one-brand approach’ communicates all four Coca-Cola varieties
– Coke, Coke Zero, Diet Coke and Coca-Cola Light – with a new visual language as the company seeks to broaden its customer base. The campaign for Euro 2016 continues this approach, forming the focus of attention from mid-April onwards. The campaign covers TV spots, print ads, out-of-home, social media and in-store campaigns offering free products with Coca-Cola multipacks. “Our bottles, with their special Euro design, will again become coveted objects for fans”, says Philipp Bodzenta, Head of Communications & Public Affairs at Coca-Cola. “During Euro 2016 itself and in the weeks running up to it, our entire print campaign will naturally be devoted to the topic. In our ads we mainly draw attention to our numerous competitions.” Print activities will also focus on the Krone Fan Tour presented by Coca-Cola. Together with Austria’s largest daily newspaper Krone, which sells around 900,000 copies, Coca-Cola is bringing Euro 2016 to fans through public events. The tour, with matches shown on big screens at 26 stops and accompanying events to promote the products, will cover the whole of Austria and is looking to build on the 2008 event, which attracted more than 100,000 fans. A fan favourite Print has always had a strong bond with football fans. The game’s magnetic appeal sells newspapers (including other sports titles such as Spain's Marca and France's L’Equipe), consumer magazines (such as Kicker, which reaches around 2.9m readers in Germany), and matchday programmes
Print and goals
and fanzines, which are independent, publications produced by supporters. The GfK study found that print ads in magazines generated €1.30 in revenue for every €1 spent. The report suggested they were especially effective because they offered precise targeting and a choice of ‘umfeld’ – a German media planning term for the editorial content surrounding adverts – for campaigns. In an age when fans face more temptations than ever to change their allegiance, many clubs use magazines to help keep them loyal. For example, 215,000 members of FC Bayern receive a 100-page club magazine before every home game. Other European clubs to publish titles – sometimes for members, sometimes for sale, sometimes both – include Barcelona, Chelsea, Inter Milan, Juventus, Manchester City, Manchester United and Paris SaintGermain. Advertising in these publications is usually reserved for sponsors. So whether you’re trying to reach a collector, an armchair enthusiast or an extremely valued customer, print has a cachet no rival medium can match. A quality printed product can even help enhance the prestige of the competition itself – which is why, during London 2012, the usual souvenir programmes were complemented by daily magazines. Souvenir editions of newspapers, special programmes only available at the stadium or a book of Panini stickers will resonate with consumers long after they have forgotten that photo on Instagram. At mega-events such as Euro 2016, print has a power all of its own.
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BACK TO THE FUTURE
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/ DIGITAL BACKLASH
Fuelled by ad blocking, click fraud and low viewability, digital advertising is currently suffering confusion, with marketers looking for new ways to reach their customers. But could the answer be right under your nose? — By David Benady
echnology fatigue is much in evidence these days. When it comes to the latest trends, forget smartphones and virtual reality. Think instead of vinyl records, which are making a comeback, and the latest fashion accessory for hipsters: 70s-style Polaroid cameras. Kodak is also harking back to old times with the launch of a new Super 8 movie camera. This is all part of a growing 'digital backlash'. Having all our communications, entertainment and information needs met by the device in our pockets has left many of us hankering after the simpler days of typewriters, record turntables and print. Marketers are also having second thoughts about the digital world, though their doubts are not being fuelled by nostalgia. The fact
is that digital display advertising – low cost, highly targeted and easily measurable as it may be – faces a huge series of challenges in its claim on marketing budgets. Ad blocking, click fraud and low viewability of ads have all become major headaches for brands as they consider the value they get from their digital ad spending. A medium suffering confusion This year’s Toolkit report, created by the World Advertising Research Council (Warc) in association with consultancy Deloitte Digital, predicts that such issues will lead to a significant "digital backlash" among marketers in 2016. Worries about the poor effectiveness of digital advertising have led brands to look at www.printpower.eu | PRINT POWER _37
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Mode (Far le Creat EVP C at Sw Bee, D Marke at Harro
The backlash begins (Left) Sebastien Houze, Secretary General of the Federation of European Direct and Interactive Marketing (FEDMA) says ad blocking represents a lack of trust in the marketing industry, while (right) Rachel Aldighieri, managing director of the Direct Marketing Association, states simply: "Ad blockers are there because people don’t think the ads are interesting”
new ways of reaching consumers, which can be witnessed by the growth of native advertising. Marketers are now taking the opportunity to reappraise print advertising, which is immune to the problems that currently surround the digital medium. So how bad is the digital advertising crisis? According to a February 2016 survey by AudienceProject, 36% of internet users in Denmark, Finland, Norway and Sweden used an ad blocker, while 68% of Spanish internet users said they would like to avoid ads if they could (IAB Spain). “Adblocking should have been a very clear and powerful alarm signal for the marketing industry because it was reflecting a lack of trust,” says Sebastien Houze, Secretary General of the Federation of European Direct and Interactive Marketing (FEDMA). “It should have been taken more seriously a lot sooner.” Meanwhile, viewability is also a serious issue for marketers. Just because a publisher serves a brand’s ad to someone visiting their website, does that mean the user has seen it? What if the ad is ‘below the fold’ (ie. you need to scroll down the page to see it)? After all, if the user doesn’t scroll down, they won’t see the ad. Unilever chief marketing officer Keith Weed said last year that brands should demand 100% viewability of their ads. He also pointed to ad fraud as a big problem, quoting figures showing that 29% of website traffic is generated by robots posing as humans. Google has released research showing that an incredible 56% of ads served online are never seen by consumers.
Google has released research showing that an incredible 56% of ads served online are never seen by consumers
Around the block In truth, ad blocking is largely down to the poor creativity and often irritating nature of digital ads. No wonder users want to screen them out, reaching for any technology that cuts off irrelevant and irritating advertising. Rachel Aldighieri, managing director of the Direct Marketing Association, says that ad blocking reflects badly on the medium. “Ad blockers are there because people don’t think the ads are interesting,” she says. “It’s a case of brands being put in front of the wrong people. They haven’t looked at the audience and personalisation, they haven’t used the data.” Aldighieri believes that the biggest issue for advertising is relevancy – creating engaging ads that are addressed to the most appropriate audiences, who will actually want to interact with them.
She adds that this is not just a problem for digital marketing – it could also apply to direct mail. If people feel they are being bombarded with irrelevant mail, they will sign up for the Mail Preference Service which screens out direct mail. That said, she thinks that the low costs of email and digital marketing make these media magnets for low quality ads that people want to block. “Mail seems to be more targeted and the creative seems to be getting better,” she says. A new static model The mismatch between marketers’ expectations and the reality of digital advertising has massive implications for online publishers, according to some. “It’s really clear that the digital publishing industry is struggling to strike the right balance between free access and providing non-intrusive ads,” says Dominic Harrison, director of trends at Future Foundation. “The ad model we have become used to is not going to be sustainable in the next decade.” Research carried out by Future Foundation for the out-of-home advertising industry has revealed some interesting and counterintuitive findings. “It’s tempting to think that people are digital robots, always connected to the internet, but it’s simply not the case,” he says. “Static advertising has its benefits – people see it as less disruptive to their daily routines, an opt-in medium, a more passive form of messaging.” The print solution For advertisers, though, the big question is
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/ DIGITAL BACKLASH “ Yes we know digital is important, but is a 0.02% click-through-rate actually an indicator of advertising engagement and campaign effectiveness? The answer is no” Dino Myers-Lamptey, head of strategy at media agency The7Stars
whether they are getting value for money from their digital spend. Dino MyersLamptey, head of strategy at media agency The7Stars, says that digital advertising has some very low response rates. “Yes we know digital is important, and we spend more and more of our time glued to our devices,” he says. “But is a 0.02% click-through-rate actually an indicator of advertising engagement and campaign effectiveness? The answer is no.” Myers-Lamptey says that print has created value by offering quality content in an engaging context. “The print industry has to evolve with pride," he says, "knowing that in a world of abundance, it is curation and editing that has the highest value to people and brands.” Magazine trade body Magnetic carried out a study into how readers perceive magazine media. This showed that reading magazines results in a 6% uplift in subjective wellbeing. This positive feeling makes readers more amenable to seeing ads. Indeed, the study found that 35% of consumers of print media welcome ads, as opposed to 10% of online users. Meanwhile, 80% of print magazine readers say they don’t find advertising a distraction, compared to 60% online. “This is a crucial moment for the paper and print industry,” says Sebastien Houze, “because now print has the attention of the advertising agencies and brands. People understood that print is a powerful medium, so now it’s time to take it seriously again. If you want to provoke behaviour in a customer, if you want to use the power of touch, then print is the best medium.”
APOCALYPSE NOW Three reasons for the “digital backlash” Ad blocking Ad blockers such as Adblock Plus are used by up to 20% of online users and block banners, pop-ups and video ads. Advertisers carry some blame for this, serving irritating, poorly targeted ads with little creativity. Brands are now turning to native advertising to bypass the ad blockers, hoping that automated or ‘programmatic’ advertising, which serves ads to audiences based on the sites they visit, can improve targeting.
Viewability Just because an ad impression is served to a user, it doesn’t mean they will see it. The ad may be positioned low down the page (‘Below the fold’) so it’s only viewable if the user scrolls down – which they often don’t. Or the user may scroll down and miss an ad at the top of the page.
Click fraud Bad actors abound in the world of online advertising. Fraudulent sites can superimpose themselves on popular sites and steal their clicks to get paid automatically by advertisers. Robots can be created which click on ads, boosting revenues to publishers without humans actually seeing the content. Some research estimates that up to a third of clicks on paid digital ads are fraudulent.
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Your 10-minute guide to digital print What it is, what it can do and why it’s the most revolutionary thing to happen to printing since the invention of the press — By Simon Creasey
What is digital printing? In the simplest of terms, digital printing is the printing of a digital image onto a substrate. There are two key differences between digital printing and traditional techniques such as litho or flexo. “Digital print doesn’t require plates, making it highly suited to fast turnaround, personalised or small-run jobs,” explains John Blyth, market development manager in production printing at Ricoh Europe. “The ink doesn’t permeate the substrate like litho – it sits on top of the sheet then requires fusing with a heat source.” Ricoh recently digitally printed a highly collectible coffee table book for Porsche (see left), which celebrates the ownership and enjoyment of the classic car brand. The book’s stunning photography and high class production values demonstrate what can be achieved with digital print – a short-run publication produced for a niche market. From start to finish, digital print is much quicker to produce than conventional print, which has enabled print service providers (PSPs) to develop a range of ‘print on demand’ products. — Print on demand? “Print on demand allows customers to produce as many or as few documents as they like, allowing order processing to be done when required instead of ordering large quantities in advance,” explains Mark Lawn, European director of professional print solutions in the business imaging group at Canon Europe.
“ It’s about driving efficiency and productivity in the whole business process of producing the end product, whether that’s books, brochures, magazines, bills, statements, portfolios, whatever” Mike Holyoake, Country General Manager UK & Netherlands for Xerox
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/ DIGITAL PRINT Can you achieve the same quality of print on a digital machine as you can on a traditional press? Digital print technology has come on in leaps and bounds over the last decade. So much so that Lawn argues: “For digitally printed documents in colour, it’s very difficult even for industry professionals to be able to tell an offset printed document from a digitally produced document.” Much of these improvements have focused on the print engine technology and how the image is put on the page, but advances have also been made in the different types of media that digital printing presses can handle. As a result, end users such as Emanuele Bandecchi, marketing director at Rotolito Lombarda, a European PSP with operations in Italy, France and Germany, believe modern digital presses are getting even closer to their offset equivalents. “For the production of middle to low coverage jobs,” says Bandecchi, “we consider inkjet to be an ‘offset substitute’ technology.” — So what are the main benefits of digital print over other technologies? Lawn cites speed of turnaround, costefficient shorter-run lengths, more flexible stocks, a more environmentally friendly process, plus greater levels of customisation and the ability to personalise content, which means that communications can be more targeted and relevant. “Personalisation is a key strength for digital,” says Bandecchi. “The possibility
“ Digital print is highly suited to fast turnaround, personalised or small-run jobs" John Blyth, market development manager at Ricoh Europe
of creating personalised content is very important for marketing activities and now there are more and more products suitable for digital with these features.” According to Mike Holyoake, Country General Manager UK & Netherlands for Xerox, the movement from traditional to digital is about the bottom line. “It’s about driving efficiency and productivity in the whole business process of producing the end product," he says. "That end product can be books, brochures, magazines, bills, statements, portfolios, whatever – it’s about driving efficiencies into that process.” — What can be printed digitally? Thanks to improvements in technology, pretty much anything. Short run digitally printed magazines are now commonplace. Websites such as Magcloud.com, which was set up by digital press manufacturer HP, allow publishers to place digital versions of their magazines on the site that can then be ordered by consumers and printed off on demand on digital presses calibrated to produce magazine-quality print. The Newspaper Club also gives publishers and marketers the opportunity to produce short-run newspapers that are digitally printed. And a huge percentage of direct mail – particularly direct mail carrying personalised or variable data – is digitally printed these days. — Are there any limitations as to what digital print can do? Not anymore. In the early days digital print
was regularly used for personalised direct mail campaigns or short-run brochure and catalogue printing, but it’s made significant inroads into areas such as magazine printing and packaging. Lawn says most applications can not only support being printed digitally, but can bring “significant added value by allowing things like personalisation and customisation of the content to suit the audience and make the content more meaningful and relevant to the recipient”. That’s what Spanish-based Mailing Andalucia found when it started using Canon’s imagePRESS digital machines to meet growing customer demand for variable data printing. In the first four months the machine produced one million pages, including one non-stop run of 56,000 high quality pages in just seven hours. “The imagePRESS 1135 allowed us to introduce applications previously unimaginable,” says Daniel Sanchez, a director at Mailing Andalucia. — Will there be further improvements to digital print technology in the coming years? “The world of digital print production is evolving fast,” says Blyth. “Perhaps the most significant developments are in the field of inkjet, where speeds can rival litho. "However, the next generation of print machines look set to showcase the power of digital printing and open up a world of opportunities for brands to unleash their creative potential."
“ Digital print can bring significant added value by allowing things like personalisation and customisation" Mark Lawn, European director of professional print solutions at Canon Europe
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Size is everything In a media world dominated by 140-character copy and quick bursts of content, there’s a new-found love of long-form journalism and marketing. We travel to Berlin, Paris, London and New York to discover why the media world likes to go long
— By Paul Simpson
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/ LONGFORM MARKETING
WHO HAS TIME to read these days? In an age when we are bombarded with up to 5,000 commercial messages in a typical day, when 7,094 tweets are sent every second and we spend so much time on our smartphones we now have a shorter attention span than a goldfish (it takes us eight seconds before we lose concentration, the fish last nine), it seems a minor miracle that any of us pick up a newspaper. In this context, it seems even more of a miracle that longform journalism and marketing are staging a significant comeback. A series of ads from Tate Britain in London Underground stations recently engaged travellers with poetic copy about some of their most famous works of art, while online mattress retailer Eve ran a simple 150-word ad on posters and in print publications. “People will read what interests them and there’s no reason on earth why that can’t be an ad,” said Paul Belford, founder of Paul Belford Ltd, the ad agency that created the advert. “It’s simply down to the promise of what the reader will discover and how interesting the writing is.” In journalism, the British quarterly Delayed Gratification, which boasts about “being last to the news”, is one of the most visible symbols of the longform renaissance.
Yet its success has been mirrored elsewhere by the launch of specialist titles such as So Foot, the vibrant French football monthly, and 11 Freunde, devoted to the same sport in Germany, and by the renewed commercial and fi nancial vigour of The New Yorker, one of the oldest, longform magazines in the world, which posted its highest-ever paid circulation of 1.05 million last year. The long and short of it In many ways, the revival of longform journalism and marketing is a return to traditional media. Some of the most famous print adverts ever created – such as the 1915 Cadillac ad, The Penalty Of Leadership, which stretched to 414 words – have taken their time to make their point. In the 1960s, when Esquire magazine published all 13,781 words of Norman Mailer’s story on JFK, longform was the norm. Yet as TV snatched a greater share of ad spend, publishing budgets shrank and space for such editorial marathons became scarce. In 1982, Gannett’s launch of USA Today prefigured the Buzzlist editorial culture of the internet offering ‘McNuggets’ of news for time-poor readers. In the AngloAmerican media, the new fashion was for brevity, clarity and easy access points, a strategy that culminated in the launch of the i newspaper in 2010 which will survive as a printed product under new owners Johnston Press.
No limits journalism Yet in truth, this was never the whole story. In Germany in 2000, when print was deemed to have a viable future and long reads had not fallen out of fashion, two football supporters Philipp Köster and Reinaldo Coddou H. launched a fanzine called 11 Freunde (11 Friends), with a circulation of 3,000 copies. Ten years later, the magazine was doing well enough for Gruner + Jahr, part of Bertelsmann, to acquire a 51% stake. Christoph Biermann, 11 Freunde’s deputy editor, says the magazine has never worried about the McNugget editorial formula: “We have long reads and very short elements, but from research we know that our readers like to spend time with the magazine. It’s about entering the 11 Freunde world. It’s easy running long stories because we know our readers love them – if they’re good. That’s why we don’t have a maximum word count.” Research shows that 56% of the magazine’s readers prefer reading long stories in print (just as well, since some stories run over 4,000 words). The magazine has its own idiosyncratic agenda and doesn’t slavishly pursue the latest stars, transfers or results. Underpinning its continued success is the fact that, Biermann says: “Our approach hasn’t changed since we started. It’s not really an editorial philosophy but I think readers feel that we really like football and our jobs.”
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EL-HADJI DIOUF “Les gens m’appellent ‘Son Excellence’”
Strong and very long (left to right) German football monthly 11 Freunde, its deputy editor Christoph Biermann, and French football magazine So Foot
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ENTRETIEN FENOMENAL
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“I like the idea of something that gives you a chance to step back, because we’re so programmed into thinking about now” Dan Hagen, chief strategy officer at Carat UK The French connection A similarly enthusiastic vibe inspired the launch of So Foot in France in 2003. Franck Annese was editing the cultural magazine Sofa when his colleagues jokingly dared him to launch a magazine about football. He accepted the challenge, creating a magazine that was successful enough to provide the foundation of independent media group So Presse, which has since launched movie mag So Film and last year, in its biggest gamble, a news fortnightly called Society. Annese sums up the company’s editorial creed as “It’s all about the three H’s: history, human interest and humour.” “It sounds incredibly cheesy,” Annese says, “but we laugh every day in the office.” That fanzine spirit infuses – and distinguishes – So Press’s magazines. One French sports journalist says: “What they have shown is that there’s not a crisis in print media in France, there is a crisis of originality – too many magazines do the same thing, at the same time, year after year.” So Press and 11 Freunde are not alone. Convinced there are riches in niches, longform football mags – often built on a subscription model – are now flourishing in the UK (The Blizzard), the US (Howler, 8X8), the Netherlands (Panenka) and Sweden (Offside). These all exist online and in print, as does The New Yorker. In the US, the fashion for longform has inspired the launch – and closure
– of many online journals. Some were pure vanity projects but some such as Narratively (tagline “ordinary people with extraordinary stories”), general interest sites Matter and The Big Roundtable have endured. Project management software company Basecamp launched a longform mag for SMEs, The Distance, in 2014, later turning it into a podcast (which is, in essence, another kind of longform.) What’s in it for brands? Dan Hagen, chief strategy officer at Carat UK, is a subscriber to Delayed Gratification. “I like the idea of something that gives you a chance to step back," he says, "because we’re so programmed into thinking about now.” Advertisers, he believes, could turn to titles with a certain pedigree and scale. It will take years for any of the launches to begin to emulate The New Yorker, but that title’s return to splendour shows what can be done. Hagen also believes that advertisers could also benefit from ‘brand rub’, where the context, content and feel of a longform magazine rubs off on the ads within it, reinforcing their message by association with the publication. "This effect is particularly powerful," he says, "because, as surveys repeatedly show, consumers trust adverts in printed matter far more than ads online or on their smartphone."
The value of longform Some of these publications don’t accept adverts, but for Hagen, this could be a blessing in disguise. “We need to move beyond a legacy mindset where adverts are part of the price the consumer pays to watch TV or buy a magazine to something more dynamic," he says. "So, for example, look at how we, as advertisers and brands, can provide content that adds to the value of the editorial proposition.” Longform may always remain a niche, but Hagen can see a role for it in the marketing mix: “A lot of advertising is about the need to remind people you’re there. So if you’re Red Bull, for example, you need to go on TV every so often to be sure you’re front of mind.” Yet Red Bull does lots of other stuff that underlines the brand’s association with adrenaline, action and adventure with targeted audiences and, Hagen says, “If you’re really good, those two strands complement each other.” Michael Brunt, chief marketing officer of The Economist, believes that: “People will keep valuing the experience of holding a print magazine in their hands. In the next few years, print publications will become increasingly identified as affordable luxury items.” If Brunt is right, longform journalism could help the best publications stand out as desirable and affordable luxuries.
“People will keep valuing the experience of holding a print magazine in their hands. In the next few years, print publications will become increasingly identified as affordable luxury items” Michael Brunt, chief marketing officer of The Economist
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/ LONGFORM MARKETING The long view Four longform adverts that broke the rules
Minds for Minds This clever ad, created by Whybin/TBWA, switches between the mind of an autistic person (the words in black) and that of a scientist studying the disease (the blue type), in a campaign that built awareness and raised donations for research into the mental condition in New Zealand. Cadbury Wispa Fondly recalling the 1980s, an age when hair and shoulder pads were big and swimming trunks were small, this ad celebrated the resurrection of the Cadbury Wispa bar, back by public demand in 2007 after being canned in 2003. Cadbury’s test run of 23m bars sold so well the brand’s return was made permanent.
Jungle Sound Studios The copy for this ear-catching ad is 613 words long, but agency TBWA pushed the envelope by recording each word as a voiceover and then printing them as soundwaves, bolstering Jungle’s reputation as one of the most innovative sound design studios in the UK. The real text for this 2015 ad starts: “Not to boast or anything but if you can read this you probably work at Jungle.”
XO Beer To prove a point to clients who thought print was dead, Neil French, one of the great longform copywriters, created the fictional beer brand XO and promoted it with quirky ads likening the taste to being “slightly nicer” than “being struck behind the ear with a sockful of wet sand”. Consumers flocked to shops and bars to buy the beer, only to discover it never existed. As French says: “Barmen were even assaulted for not stocking it.” He proved his point handsomely.
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Read all about it!
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/ NEWSPAPERS
Discover why newspaper advertising remains one of the most engaging and effective advertising platforms for brands across Europe, and what Bild Zeitung, The Sun and Tele Star are doing to make sure it stays that way — By Johnny Sharp
TWO YEARS AGO, the Finnish daily newspaper
Helsingin Sanomat began a project that would provide its advertisers with the same level of data as its TV and online rivals. This groundbreaking project aimed to move newspapers out of the traditional data model that only provided circulation data twice a year, into a brand new system of identifying reader preferences and detail on how much attention individual pages received. They did this by assessing the reading habits of 7,000 readers of the digital PDF version of their print newspaper. Having conducted research that found that reading patterns on the tablet and print editions of the newspaper were continuously the same – and therefore predictable – they were able to create a reliable model to calculate all the data their advertisers needed. A pilot of the model using an IKEA advert in the newspaper proved its success, with results including the fact that 630,000 people saw the advert (79% of the total readership) with 68% stopping at the page and 50% getting interested, spending more than five seconds looking at it. The model also identified the male:female split, as well
as attention levels according to age. “Marketing management wants proof on effect of their marketing investment,” says Petteri Putkiranta, president of Helsingin Sanomat, “and we are now much further in giving the evidence.”
So why do brands keep coming back to the print newspaper as a suitable home for their advertising? It may have something to do with reader loyalty. “In most countries in Northern and Central Europe you have a high level of subscription rates,” says Manfred Werfel, deputy Loyalty and trust CEO of WAN-IFRA, the World Association With the global newspaper industry of Newspapers and News Publishers. “So generating an estimated US$ 179 billion in you have a very loyal audience.” circulation and advertising revenue (more That point about loyalty is crucial. In than the book publishing, music or fi lm contrast to internet websites or social industries)1, it's clear that newspapers are a media, newspaper readers have very strong brand attachments and trust what they read hugely valuable multiplatform business. in their favourite daily2. “Many brands, especially “Printed advertising is from the fashion world, not blocking you from keep on advertising in reading, whereas on newspapers as they know that opinions are formed a mobile, you want to from reading print,” says read an article and Mario Calabresi, director an ad jumps in of Italian newspaper la front of you” Repubblica. “The experiManfred Werfel, ence of a full-page advert is cult to reproduce in a deputy CEO of diffi digital environment.” WAN-IFRA Such consumer loyalty www.printpower.eu | PRINT POWER _47
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Extra! Extra! Five successful newspaper print campaigns
Sky 1 & Trinity Mirror, UK The cable broadcaster partnered with the leading British tabloid newspaper to produce a memorable piece of native advertising, creating an ‘End of the World’ edition of The Mirror and 10 of Trinity Mirror’s regional newspapers to advertise their new series ‘You, Me & The Apocalypse’. The ‘O’ in The Mirror’s masthead was replaced with a meteor, while a one-off TV listings page ‘blew up’ the listings from 9pm, once the new programme had been aired. The show subsequently attracted the largest audience of any new Sky 1 series.
– far stronger than the relationship with, say, a television channel or website – creates an environment for advertisers in which the customer is already positively disposed towards what they’re reading. Furthermore, engagement among newspaper readers has been shown to be higher3 and encourages greater focus, as Olins points out. “When someone buys a newspaper, they typically spend over an hour reading it, so you also have the quality of time that people spend,” he says. “When you’re reading a newspaper article it requires you to pay proper attention. That’s one reason why people like Sir Martin Sorrell are saying that newspapers offer better value to advertisers than was previously assumed, purely because of that level of engagement.” Meanwhile, the format in which advertising is presented can make a big difference to how it is perceived. “Aside from the fact that you can’t block printed ads the way you can in digital, printed advertising is not blocking you from reading,” says Manfred Werfel.
Fiat, cut-out ad, Europe The Italian car manufacturer stylishly employed the tactile nature of newspaper print by inviting the reader to create a paper doll, complete with its own set of clothes and Fiat 500 car. This invited the reader to physically engage with the advert while giving them something permanent to play with.
LA Times, Oscars issue, USA Every year, staff at the LA Times spend hours coming up with ways to make their Oscars preview issue special. This year they used the translucent nature of newsprint to make their cover stand out. At first glance, the cover shows the outline of eight Oscar statues, but then put the page up against a window or in front of a light and the statues suddenly become coloured in gold and clothed in outfits representing the eight best picture nominees
ild used Inline Inkjet B technology to give each reader an individual day pass to their digital content. “We saw a three per cent rise in print circulation as a result,” says Tobias Kuhn of Bild publisher, Axel Springer “Whereas on a mobile device, you want to read an article and an ad jumps in front of you. That’s disturbing because it’s holding the customer from what they want to do. Print advertising is just there, and you can decide for yourself if you want to look – it’s not disturbing you. But when ads pop up on mobiles or online you instantly feel negatively towards them. Regardless of how good the message is, you’re already offended by the way they appear. It’s like you want to speak to somebody and somebody else jumps between you and interrupts you – it’s not what you want or expect.”
The personal solution For all those strengths, a tough challenge remains for newspapers: to take advantage of a readership that has steadily shrunk in print and increased online, while capitalising on the consumer loyalty, increased engagement and favourable media environment that print still offers. They also need to pass those benefits on to advertisers. What’s in it for the brands that provide a sizeable chunk of publishing revenue? Europe’s two biggest-selling newspapers have already rolled out groundbreaking hybrid printing technology to address this. Germany’s Bild Zeitung (circulation 2.5m) and UK tabloid The Sun (1.8m) invested heavily in new Kodak technology that not only incentivises readership of their print editions and links them to their paid-for digital equivalents, but also personalises print copies of the paper to facilitate targeted content and advertising. Bild used Inline Inkjet technology to give each reader an individual day pass to their digital content, as well as individually illustrated images for sweepstakes and
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/ NEWSPAPERS
BMW, 3 Series, Europe BMW used a panoramic newspaper ad to chart 40 years of its 3 Series. Starting in 1975 with the line “A new movie inspires nightmares about the open water. A new car inspires dreams about the open road” and culminating in 2015 with “Various politicians promise to reduce emissions. The new BMW 3 Series actually does,” the ad also stops off in 1982, 1990, 1998, and 2005. To see the creative in its entirety, the reader has to unfold the pages of the ad, making touch a crucial step in the process.
The Times and Warner pictures, UK For the cinema launch of ‘In The Heart Of The Sea’, a movie based in 1820, News UK’s commercial content team created a panoramic half-wrap of The Times based on authentic 1800s editorial from the newspaper’s archives to create a replica edition. Research subsequently found that three times more Times readers planned to watch the film at the cinema compared to the general population.
games, plus individual winning codes for advertising clients. “We wanted to make print readers premium customers with special benefits, so we made a huge investment in 33 Kodak print heads in 12 different printing presses across Germany,” says Tobias Kuhn, head of manufacturing and logistics at Bild’s publisher, Axel Springer. “We saw a three per cent rise in print circulation as a result. It also removed the need for costly scratchcard inserts and meant we could offer advertisers improved interaction with our readers.” In one instance, individually printed ads with unique codes gave readers the chance to win a Volkswagen car. Kuhn also points to a stronger relationship with readers and improved engagement and interaction as a result of this innovative new system. Additional revenue was also forthcoming via readers’ response calls. Nonetheless, Kuhn believes their ambitious experiment showed “room for improvement” and believes it’s an area that has a promising future for publishers. Their
report on the project added that “Individual ads open up new perspectives for contentspecific and individual advertising”, not to mention “cross-media application” as the codes and ads can as easily be applied online. “We see this as a marathon rather than a sprint,” Kuhn says. Other print publications across Europe have since also adopted the technology, including El Mundo in Spain and Tele Star in France4. Combination is the key All this suggests that this combination of print advertising with its digital equivalent is a highly effective way of getting marketing messages across. “Newspapers supercharge other media,” says Rufus Olins. “With John Lewis, for instance, they see their newspaper ads as supporting the television advertising because the television ads attract a lot of attention, but it’s the two in tandem that work well together. “Our most recent research powerfully indicates that the different platforms
amplify each other. So if you want to make the most of a campaign in a newspaper, you’re better off using two of the other platforms as well. If you also use a tablet and online, they’ll all work harder than they would alone. There’s a multiplier effect rather than just addition. You get more opportunities to see it on different platforms and the results improve.” Mario Calabresi also thinks that the future of newspaper advertising lies in a combination of channels, as well as producing special editions and creating editorial content that complements the advertising around it. “We need to find a balance between print and digital advertising to give a new mission to paper,” he says. “We can no longer think of selling generic advertising spaces, but building spaces dedicated to specific subjects in which advertisers meet quality readers. Special and single issues built on events will also work more and more.” Meanwhile, Manfred Werfel points to innovations such as Porter magazine’s scanning system that links print advertising with online shopping5. “This is a very effective way of advertising,” says Manfred Werfel, “combining full colour, high quality print ads that really show you all the details of the advertised products. And on the other side you can interact immediately and buy the things. So that’s one area to look to in the future – the newspaper becoming a shopping portal in itself.” But Werfel has no doubt about the abiding message for advertisers going forward. “No brand should rely on one media channel only,” he says. “All the successful ones work within a media mix.” And at the core of that mix, print remains the key ingredient. Sources 1 World Press Trends Report 2015, WANIFRA 2 www.inma.org/blogs/conference/post. cfm/printed-newspaper-trusted-by-86-ofpeople-ram-survey-shows 3 www.newspaperscanada.ca/sites/default/ files/Media-and-Ad-Engagement-ResearchSummary.pdf 4 www.printpower.eu/UK/Europeanpremiere-in-line-personalisation-inmagazine 5 www.campaignlive.co.uk/article/macleodsmith-spearheads-print-revolution-net-aporter/1332201 www.printpower.eu | PRINT POWER _49
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NEWS CASE STUDIES INSPIRATION OPINION INSIGHT RESEARCH Whether on paper or online, Print Power works hard in promoting the use of print across a number of channels. Access the latest news, opinion and our exclusive database of case studies showcasing the value of print at: www.printpower.eu | /printpower And if you want to subscribe to Print Power magazine, go to www.printpower.eu/Subscribe
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Knowledge Over the next five pages, we’ll be giving you the latest research, information and insight into the six 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. 52
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Newspaper advertising Newspapers are still the number one medium for shaping public opinion. Their credibility, knowledge and values remain a formidable force. — Magazine advertising With over 50,000 magazine titles currently published in Europe, they are an ideal way to get your brand in front of a key target audience. — Direct mail With an ROI of up to 40% and an industry value of £25bn in the UK, direct mail is one of the most effective marketing channels.
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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. — Door drop The door drop market is rising by both volume and revenue, and is ideal for getting a great level of response from the most amount of people. — Catalogues One of the oldest forms of marketing, catalogues are still a highly effective sales driver, generating over £16bn of sales in the UK every year.
If you would like further information on the vital role print plays in marketing, plus the latest news on print media from around the world, go to www.printpower.eu
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7 reasons_Newspaper advertising
1_ Reach and reliability Not only do newspapers reach a lot of people, these people span a wide age range (60 per cent of German 14-29 year-olds are reading), while different sections and supplements allow advertisers to tap into specific groups and backgrounds. 2_ People read newspapers For many, newspapers are the most reliable form of news and information, backing up this information with credible opinion and insight. This level of trust leads to readers spending a huge amount of time reading their newspaper – 69 minutes on average. 3_ Emotional connection Neuroscience has demonstrated the power of newspaper advertising to drive a strong response. Tracking of in-market campaigns has reinforced this, with 20 in-market studies providing clear evidence of national newspapers’ strength in generating increased emotional identification (NMA). 4_ Universal appeal Newspapers know that if they are to thrive in a hyper-media world, they need to offer their reader not simply news but a huge variety of content. This means that no matter what the brand, there’s always relevant content to fit into.
Metro World Cancer Day Demonstrating how newspapers can create a powerful campaign, the 4 February 2016 issue of Metro, the free London newspaper, was taken over by World Cancer Day. With the ‘o’ in its masthead replaced by the charity’s ‘Unity Band’, plus advertising strips running across the first 10 pages
of the paper, an editor’s note penned especially for the cause, four pages of branded content and a special interview with the charity’s ambassador Gaby Roslin, the paper’s 3.3m readers couldn’t fail to get the message. This follows similar campaigns in the Metro, including a ‘Rainbow Laces’ edition, created for Paddy Power’s initiative to tackle
homophobia in football. Following publication, #rainbowlaces trended on Twitter for seven hours post-publication and 100,000 people requested a pair of rainbow laces.
5_ Versatility Newspapers are the only media where a brand can alter their campaign late in the day and still communicate it to half the adults in an entire nation the next morning. 6_ Integration Studies prove that newspapers are fantastic at driving readers to advertiser websites, proving the significant cross-media effects of using online and offline advertising. 7_ Effectiveness Newspapers give any brand an immediate response, as virtually all of the reach is delivered on the day the ad appears. And compared to other media, newspaper production costs are low.
Touching print ads increases purchase intent by 24% Newsworks, 2015
24%
“ In a busy, crowded world, print is a moment of silence, stillness and communion of ideas between viewer and artist” Pablo Del Campo, worldwide creative director of Saatchi & Saatchi
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7 reasons_Magazine advertising
1_ 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. 2_ Fine-tuned targeting Each magazine title is specialist in some way, reaching a certain demographic or interest group that will engage with relevant advertising or featured brands. 3_ 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. 4_ 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. 5_ 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. 6_ 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 lower, they offer a more cost-effective solution. 7_ Driving sales Research shows that magazines are a powerful tool in driving sales. A PPA study showed that 63% of readers were driven to action after exposure to magazine advertising.
Lucozade FourFourTwo Lucozade wanted to develop Lucozade Sport’s credentials with footballers and football fans, so went to football magazine FourFourTwo to create a platform to deliver its message using editorial content. The drinks brand and the editorial team created a monthly advertorial, positioning
Ashley Young as playereditor of the magazine’s ‘Performance’ section, which aims to help amateur players improve their game. Young offered authoritative game, fitness, nutritional tips and advice in the magazine, as well as online interviews and demonstrations. The content was a huge success, with bespoke editorial exposure aggregating at 565k
Magazines yield the highest ROI of all media, using just 10% of ad expenditure Nielsen, 2015
unique users in a single month across multiple platforms. Engagement figures were also high, with the average FourFourTwo reader recording a dwell time of 5.5 minutes on the branded channel.
10%
“ It is reassuring how resilient the upmarket magazine circulations have been, with two-thirds of our brands growing in print copies as well as digital” Nicholas Coleridge, Managing Director, Condé Nast Britain
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7 reasons_Direct mail
1_ 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. 2_ 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. 3_ 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. 4_ 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. 5_ Effectiveness 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). 6_ 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. 7_ Integration Adding direct mail to an integrated campaign can raise the campaign’s effectiveness by up to 62% (BrandScience), while bridging technologies such as QR codes and augmented reality make it simple for consumers to go from print to digital.
Meet Dave O2 O2 Business targeted its top 50 high-value business prospects with a direct marketing campaign that featured a personalised hologram. Each of the 50 potential targets was sent their own holographic digital advisor called Dave, whose personalised message is revealed when they open a box.
MBA created 50 customised scripts in which the holographic advisor speaks to each client personally and tells them what O2 can do to help their business. The campaign continues a broader strategy for O2, which is seeking to inform clients that they are now a complete provider of digital solutions, as well as mobile phones and network coverage.
The amount spent on direct mail in the UK in 2015 was £1.9 billion Royal Mail, 2015
“We are very proud of this personalised holographic campaign,” said Stephen Maher, the chief executive of MBA. “It’s a disruptive piece of technology which reflects the way O2 Business are so successfully disrupting the market for digital solutions.”
£1.9b
“ As the world becomes increasingly digital, smart people will turn towards direct mail” Ben Hammersley, International Technology Consultant
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7 reasons_Customer magazines
1_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. 2_Engagement Magazines are the most effective medium when it comes to engaging your customer, entertaining and informing them while delivering your brand messages. 3_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. 5_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. 6_Entertainment A magazine builds your customer’s faith in your brand by offering great content at little or no cost. Entertain them and you’ll have their attention all to yourself. 7_Complex content Print works fantastically well at getting across complex content or marketing messages. So if you need to explain something in detail, a customer magazine may well be the best option.
My VIP Pets At Home The magazine produced for the UK’s largest pet supplies retailer Pets At Home is read by over 700,000 pet owners and members of the store’s VIP Club. Not only does the free magazine provide members with useful content, exclusive offers and rewards, it’s a commercial success for the brand, providing a lucrative advertising platform for its suppliers. With content covering all pet types from dogs to chinchillas, along with celebrity interviews and practical advice, the magazine gets across the
brand’s key messages while reinforcing their expertise and knowledge about pets. Since launch, the VIP club has gained 3.2 million members, doubling in the last 12 months, with an impressive 96% of VIP members saying they have read the magazine.
75% of people say they prefer to read magazines in print Deloitte Media Consumer Study, 2015
“Print allows us to share rich and relevant content via publications that provide tangible reasons for customers to visit our stores,” says Gavin Hawthorn, head of customer relationship management and content at Pets At Home.
75%
“The macro trend is about physical interaction with things. I think it’s here for the long haul” Ron Boire, chief executive of Barnes & Noble
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7 reasons_Door drop
1_ It delivers ROI Door drop drives rapid and measurable response. That response shows an impressive ROI – and it’s growing. In a study by ELMA, the door drop industry grew by 0.5% in volume and 1.5% in revenue over a 12-month period (ELMA). 2_ 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. 3_ 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. 5_ 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.
Costco The European membership warehouse club Costco was opening its 26th UK warehouse in Hayes, West London, and wanted to maximise membership of the new store. Knowing that the success of the launch relied on optimising mail and door drop, they created a highly targeted media plan that attracted
the right audience from the right geographic area. While new prospects were mailed twice, door drops covered all targeted audiences up to three times. Behavioural and timing insight from previous campaigns showed that those touched multiple times by mail and door drop had higher response rates., which guided the ideal media mix, frequency and timing.
6_ Sample distribution Getting your product directly 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. 7_ 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.
Print advertising stays in the home for an average of 17 days Royal Mail MarketReach, 2015
Hayes was the most successful Costco opening to date. The mail and door drop campaign generated a first-day ROI of 3.7:1, with 63% of new members recruited before opening day. This led to Costco increasing its investment in mail and door drop by 12% annually.
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“ With print you get to touch it, feel it, see a better quality image, smell the paper. All that stuff is evocative and none of it can be achieved by pixels” Tim Lindsay, CEO of D&AD
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7 reasons_Catalogues
1_Accessibility The advantages of print catalogues are their ease of use, level of trust and accessibility. They are portable, aspirational and designed to be picked up repeatedly. 2_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 and performance can all be communicated quickly. 3_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. 5_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. 6_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. 7_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.
Flight Centre August The catalogue for international travel company Flight Centre is an elegant mix of product information and editorial, which firstly engages the reader before inspiring them with ideas about their next holiday with knowledge and expertise. Whether it’s a short break, a luxury holiday or a world trip, the catalogues pushes home the message that Flight Centre take the
stress and confusion out of trawling the internet for a flight or holiday. With dedicated phone numbers throughout the publication that allows the brand to track booking numbers and revenuegenerating leads that come
90% of consumers use catalogues to learn and get ideas about things that interest them InfoTrends, 2015
through the publication, the title demonstrates clear effectiveness, with one in four customers booking a flight with Flight Centre, 40% visiting flightcentre. com, 18.5% calling Flight Centre, and 18.7% visiting a store.
90%
“If we learned anything in 2015, it was that the death of print media has been greatly exaggerated” Adweek, 2015
www.printpower.eu | PRINT POWER _ 57
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FINAL WORD
\
Gerry Human Ogilvy & Mather London’s global executive director on The Gunn Report, the resurgence of creativity and the value of print advertising
How important is the Gunn Report to agencies? The Gunn Report has been championing the link between creativity and effectiveness for years, so we owe them a debt of gratitude. For a long time there’s been an argument that tried and tested, formulaic work is more effective than highly original, creative advertising. It seems that the pendulum has more recently swung towards creativity. Organisations like Gunn have helped make clients aware of the great value that can be gained from creativity. Most of our clients actively seek out really creative, original ideas because they know they are much more effective. Your ‘28 Too Many’ campaign against FGM was hugely successful. Why was print chosen as one of its main channels? The objective was to give stature to the 28 Too Many brand. The campaign was so graphic and provocative that it was bound to leap out of the page and bring people’s attention to the issue of FGM. I think media people call that impact! Which is exactly what happened, so much so that the work was subsequently shared hugely across the internet and social media – nothing is just a print campaign anymore.
What’s the current reputation of print in advertising circles? It’s a hugely respected medium. People dismiss print too easily, often because they haven’t actually nailed a clear idea. Almost all of our clients demand a ‘key visual’ as an expression of a campaign idea – essentially a two-dimensional image with some words alongside. If you can distill a message down to its essence then you know you’re onto something good. Has print been undervalued as an advertising medium? Of course traditional print has changed dramatically, but it’s still a highly effective and unique way to communicate with huge audiences. And it’s especially great at giving brands status and stature. So yes, it is undervalued.
“ Print is still a highly effective and unique way to communicate with huge audiences”
What are the benefits of using print in advertising? When brands are placed alongside carefully edited and skillfully curated content, such as in the great business, fashion and lifestyle publications, they are imbued with the same lustre or attitude as the host. When print ads have been well thought-through, they can be immensely powerful and effective.
58_ PRINT POWER | www.printpower.eu
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I
AM A
BOOST TO
YOUR
ROI
I am the power of print. When using the optimal media mix for FMCG campaigns, which involves increasing magazine’s share, return on investment (ROI) will increase from 1.64 to a ROI of 1.75. By optimizing your print investments in FMCG you can increase your ROI by 17%. Read the BrandScience analysis for w w w.printpower.eu more details on www.printpoweruk.co.uk
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04/05/2016 12:01
“ AS THE WORLD BECOMES MORE DIGITAL, SMART PEOPLE WILL TURN TO MAIL.” Ben Hammersley Former Deputy Editor, WIRED magazine
What role does mail have to play in an increasingly digital world? Discover new thinking from the best minds in the business in a series of exclusive thought pieces at
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04/05/2016 10:56 12:01 02/02/2016