Print Power 12

AUTUMN 2016_PROMOTING THE EFFECTIVENESS OF PRINT MEDIA THROUGHOUT EUROPE

WHAT ARE YOU LOOKING AT?

How print feeds the appetite for food marketing

BEST FRIENDS FOREVER How print inspires loyalty, devotion and commitment HOT OFF THE PRESSES Create topical print campaigns with fast turnaround ads THE 360-DEGREE REVOLUTION We explore how print is working with virtual reality THE LIONS THAT ROARED The best print campaigns from this year’s Cannes festival

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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/ CONTENTS

16 | VIRTUAL REALITY

22 | TACTICAL ADVERTISING

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 All the latest European news, research, opinion and trends from the worlds 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 Deputy editor Johnny Sharp Design Ian Findlay Coordinators Martyn Eustace Jonathan Tame Jessica Taylor Print PCP, Windles Group Data management DST Cover: Creative cold foil

by Windles Group www.windles.co.uk coldfoil@windles.co.uk Foil supplied by API Image: Michael Crichton michaelcrichtonphoto.com PrintPower UK iCon Centre, Eastern Way, Daventry, Northamptonshire, UK NN11 0QB +44 (0) 1327 262 920 www.printpower.eu #Printpower © 2016 Print Power

Sponsored by

26 | POLITICAL PRINT

12-13 Take 5 Spotlight on the full range of innovations in print, from fast food trays that make music to a car ad that literally lights up the page.

14-15 Thought Leaders Tiffanie Darke, Director of News UK’s creative agency Method, on the growth of native advertising, plus Denise Turner, Insight Director of Newsworks, on the robust ROI print delivers.

16-20 Virtual reality The use of new technology in media and marketing continues to grow, and print is playing an important role in promoting virtual reality in tandem with more traditional formats.

22-25 Tactical advertising Print may be regarded as having a long turnaround for advertising, but savvy brands are reacting quickly to news stories to create eye-catching topical ads whose impact is boosted by the trustworthiness and deeper engagement levels of print.

26-29 Print and politics Despite the many new channels through which politicians can reach voters, campaigners, marketers and spin doctors keep coming back to print when they want to make an impact with their message. They tell us why print is such an effective route to power.

30 | FOOD MARKETING

36-41 The cream of Cannes Three of the judges at Cannes Lions discuss their favourite examples of print ads at their most effective, as celebrated at the international advertising festival.

42-45 The freesheet revolution Increasingly brands are finding ways of reaching commuters in big cities through the medium of free newspapers. Huge readerships, high engagement and desirable demographics mean free newspapers and magazines continue to grow in importance for marketers and media buyers.

46-49 Loyalty No matter what the brand, customer loyalty is a hugely important yet elusive commodity.

That’s why print’s ability to create an emotional bond with consumers, instil trust in them and retain their attention in the longer term, can make all the difference to marketers.

50-57 Knowledge Whether it’s through direct mail and customer magazines or catalogues and magazine advertising, here’s why print media remains a key part of any brand’s marketing strategy.

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Final word Marcus Rich, CEO of Time Inc UK, on the developing role of print in publishing and the marketing mix, and the impressive results native advertising can offer to brands.

30-35 Food tastes better in print Food marketing has evolved significantly in recent years and brands have found that print presents recipes, grocery offers and culinary invention in the most appetising way possible. www.printpower.eu | PRINT POWER _ 03

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Engage The latest news from the world of print

MAGAZINES GENERATE AN AVERAGE RETURN OF $3.94 FOR EVERY AD DOLLAR SPENT

MAGAZINES DELIVER THE BEST RETURN ON AD SPEND It took 11 years and over 1,400 campaigns from 450 brands. Now Nielsen’s study into advertising returns has finally published its findings and the clear message they are giving media buyers is that magazines deliver the best return on ad spend.

The global study of consumer packaged goods advertising found an average return of $3.94 for every dollar spent on magazine advertising, putting the print platform no less than 50% above display advertising, its nearest rival, which commanded a return of just $2.63.

“The NCS data set integrates 90 million households of in-store purchase data, with each of the media platforms in a single

source to determine the incremental sales impact of advertising,” Nielsen explained in the report’s accompanying press release.

The study used new methodology to measure the impact of “secondary print magazine audiences” – ‘passalong’ customers in the same household or workplace who read magazines after the first reader has finished with them – have on sales.

“This new approach provides the ability to measure crossmedia impact and captures print magazines’ total audience, allowing publishers to accurately compare print magazines’ contribution to sales versus other

media,” the release went on.

The news was greeted enthusiastically by publishers such as Caryn Klein of Time Inc. who said, “With the inclusion of secondary audience impact, it now places print on an equal playing field with other media and we can unequivocally prove the importance of including print in the mix, given the strong ROAS that it provides for our marketing partners.”

The study looked at products across seven categories – baby, pet, health and beauty, general merchandise, food, beverage, and over-the-counter products.

Intriguingly, digital video, which has attracted an increasing amount of ad expenditure in

recent years, showed the lowest ROAS at just $1.53 – less than 40% of the figure magazines achieved.

The authors of the study were quick to point out that “ROAS is impacted by the cost of the media”, and when considering incremental sales per exposed household, linear TV performed best, while mobile drove the highest incremental sales per thousand impressions. But in terms of value for money, they fall well short, suggesting that a print magazine campaign is by far the wisest way to spend an advertising budget. + For more information about the Nielsen study, go to http://bit.ly/29SVS2f www.printpower.eu | PRINT POWER _ 05

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Addressed Addressedmail mailgenerates generatesresponse response ByBy lifelife stage, stage, allall groups groups cluster cluster close close toto thethe average average

THE LIFE STAGES OF MAIL SUMMARY REPORT JUNE 2016

26.7% 26.7% BOUGHT BOUGHT OROR ORDERED ORDERED FROM FROM DIRECT DIRECT MAIL MAIL IN THE IN THE LAST LAST 12 12 MONTHS* MONTHS*

FLEDGLINGS FLEDGLINGS

23.3% 23.3%

SHARERS SHARERS

21.7% 21.7%

COUPLES COUPLES

26% 26%

YOUNG FAMILIES YOUNG FAMILIES

29.6% 29.6%

OLDER FAMILIES OLDER FAMILIES

26.9% 26.9%

EMPTY NESTERS EMPTY NESTERS

25.8% 25.8%

OLDER RETIREES OLDER RETIREES

31.7% 31.7%

*Source: *Source: TouchPoints TouchPoints 6 6

Young adults respond best to direct mail + Fledglings are 32% more likely to For older generations, the sound of the Clearly, Clearly, however, however, there there are are differences differences between thethe groups. groups.

For For direct direct response response trust information they see in print day’s post dropping on the doormatbetween compared tothey onused the internet. may have long the ago lost itsimportant thrill.

But is is marketers, marketers, perhaps perhaps the most most important in in thethe channel channel they used toto respond. respond. + However, consumers aged 18-24 according to The Life Stages Of Mail receive less mail, including direct research by Royal Mail MarketReach, Response Responsechannel channelvaries varies mail, than any other age group. the ‘Fledgling’ demographic – young Respondents Respondents toto TouchPoints TouchPoints who said said they they bought bought oror ordered ordered something something asas a result a result adults still living with their who parents – are “Our– latest report showsonline that consumers more likely to were open direct mail than their of of receiving receiving mail mail were asked asked how how they they responded responded by – by post, post, phone, phone, online viavia PC, PC, all life stages read, engage with, share older counterparts, with communications online online via via tablet tablet oror smartphone, smartphone, SMS, SMS, oror in in a shop. a in shop. and respond to mail,” explained Jonathan in the post representing a relative novelty Harman, Managing Director of Royal Mail in their digital-dominated world.

They They could could choose choose more more than than one one channel, channel, asas they they may may have have responded responded toto more more MarketReach. “Even in this digital age, The study found that: than than one one item item and/or and/or have have used used a number a number of of channels channels in in response one one item. item.to every group firesponse nds mail to toto be relevant their lives. Young people, living at home, + Fledglings are 18% more likely than are some of the most engaged and Please Please see see thethe chart chart overleaf overleaf forfor details. details. the general population to welcome interested recipients of mail. Brands that direct mail and 32% more likely to overlook this aspirational group, and the find it memorable. power of mail to connect with them, are + Almost a quarter (23%) of missing out.”

Fledglings have bought or ordered + To download the full report, watch something as a result of receiving an exclusive video and download a direct mail in the last 12 months. + One in three (31%) have kept a piece series of tips go to www.mailmen. co.uk/campaigns/lifestages of direct mail for future reference.

Newspaper ads increase ROI Advertising with newspapers increases overall revenue return on investment by three times, a new study has found. Presented at Newsworks’ Effectiveness Summit in July, the results show that newspapers increase overall campaign effectiveness, as well as boosting other media’s ad effectiveness when used in tandem. For instance, TV ads’ effectiveness doubles, while online display is four times more effective when combined with a print newspaper campaign.

It’s further hard evidence that a cross-channel, multimedia campaign is the most effective way of maximising ROI for advertisers. “Newsbrands are a crucial part of Asda’s marketing mix and this large-scale study allows us to continue to invest with confidence,” said Claire HarrisonChurch, VP of marketing at Asda. “Retailers know that adding newsbrands to a campaign increases the effectiveness of other media – here we have the evidence to prove it.” + For more, go to https://effectiveness.newsworks.org.uk

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06_ PRINT POWER | www.printpower.eu

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/ ENGAGE The world of print

+ Star Wars makers Lucasfilm and Disney took out a full-page ad in the Irish Examiner earlier this year to thank the communities of Crookhaven, Goleen and the Brown Head peninsula for putting up with the cast and crew while they filmed scenes for the next Star Wars movie – Episode VIII . + As more proof that politics sells publications, iconic US magazine The Atlantic had to print a second run of its July/August issue, after the initial run of 550,000 sold out.

The issue, with the cover story ‘How American Politics Went Insane’ is the first in the publisher’s 160-year-old history to have a second print run.

The US innovation that could revolutionise direct mail The US Postal Service is currently testing a new service that promises to change the way we engage with postal correspondence. The service sends an email to customers with electronic scans of each piece of letter-sized mail due to be sent to them that day, so they can see in advance what’s being delivered.

Where it gets interesting for brands is the ability of USPS to add mailer-provided links to the images, so that a recipient may

“ When viewability in digital is an issue, there’s nothing more viewable than advertising in print” Rebekah Brooks, CEO, News UK

see not only the envelope but also an invitation to click through to the sender’s website. This has prompted industry observers to suggest that this service could offer all manner of opportunities to advertisers.

Titled ‘Informed Delivery’, the service has proved popular in its trial stages and already appears to have boosted direct mail response.

“The amounts and types of digital data collected would be massive,” suggested a report in US trade

magazine Publishing Executive.

The report also suggested a number of opportunities for magazine publishers: “Direct-mail subscription offers could link to a digital sample issue, with anyone who clicks on the link but doesn’t subscribe getting a ‘cookie’ that would lead to follow-up offers via ads on other websites.” + For more information on the Informed Delivery service from the US Postal Service, go to http://informeddelivery.com

96%

THE PERCENTAGE OF MILLENNIALS (18-34 YEAR OLDS) THAT CONSUME NEWSBRANDS ON A MONTHLY BASIS Newsworks, 2016

+ An online shop based in Japan has started selling envelopes that contain entire galaxies. Japan Trend Shop sells the envelopes whose insides show accurate depictions of the night sky. Go to www.japantrendshop.com for some paper-based astronomical fun. + A new Canadian magazine has been launched with one key difference: it’s 100% ads. Titled It Ran, it promises to run adverts that, for one reason or another, never made it into a real publication.

Full-pages ads cost $500 but all revenue goes to charity. + Elle magazine in the UK demonstrated the versatile nature of print by producing an embroidered cover for its September 2016 issue. Using the skills of bespoke embroidery company Hawthorne & Heaney, Elle is using the cover to show that both the fashion world and the magazine are changing “beyond measure”. + In a new study by HubSpot and Adblock Plus, print adverts were found to be the least annoying of all ad formats. Top of the ‘annoying’ list was online pop-ups, closely followed by mobile phone ads, pre-roll online videos and online banner ads.

www.printpower.eu | PRINT POWER _ 07

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Redefining print as personal

www.dstwatercooler.com

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/ ENGAGE Event diary

1 November 2016 Power of Print Seminar The annual one-day event organised by Print Power gathers a number of media and marketing experts to share their thoughts on print and its high value in the marketing mix. From Tiffanie Darke, Director of News UK’s creative agency Method, to design guru Wayne Hemmingway, the conference boasts an enviable line-up of speakers. + London, UK http://powerofprint.info 3 & 4 November 2016 Direct Mail Seminar Following the EU’s Data Protection Regulation reforms, Intergraf and FEPE have joined forces to put on a seminar to explain how this could affect the DM industry. As well as the seminar itself, the event includes a tour of the HP Graphics Experience Centre, a presentation by Smithers Pira, as well as dinner and a welcome cocktail in the city of Barcelona. + Barcelona, Spain www.intergraf.eu/events 30 November - 2 December 2016 Eurobest Located in a different city every year, this fascinating festival brings together thousands of advertising and marketing professionals to identify, discuss and celebrate the very best in European creativity. Through its awards programme, cutting-edge seminars and exciting locations, Eurobest delivers inspiration and learning for the creatively curious, as well as those committed to producing, commissioning or distributing better work. + Rome, Italy www.eurobest.com 6 December 2016 DMA Awards The most important night of the year for data-driven marketers, the DMA Awards are notoriously difficult to win, with only the most effective and creative campaigns coming through the tough judging process with a prize. A recent survey by the DMA found that the winners deliver the highest ROI, achieve their objectives and use a multi-channel mix. + London, UK http://dma.org.uk/awards 8-9 March 2017 Marketing Week Live With over 5,000 international marketers expected to attend, Marketing Week Live is shaping up to be the UK’s leading marketing exhibition and one of the highlights of 2017. The 2016 event featured speakers such as Chris Bates from John Lewis, Nick Bonney from Camelot, and Richard Ellwood from The Walt Disney Company, so expect a fascinating insight into the modern marketing industry. + London, UK www.marketingweeklive.co.uk

Print drives consumers to other channels Online shopping may be a permanent part of the economic landscape, but evidence continues to show that it’s partly driven by traditional media. A recent InfoTrends report has found that print plays a key role in the marketing mix, and a resurgence of print-based direct marketing is triggering purchases both on and offline.

The study found that two-thirds of direct mail is looked at and over 40% of consumers have made a purchase in the last three months because of a piece of direct mail they received, either online or in stores.

Meanwhile, catalogues were found to be as popular and influential among millennials as they are in older demographics. “Catalogues are effective at triggering online and retail purchases,” said Barb Pellow, Group Director of InfoTrends consulting group. “62% of consumers receiving catalogues who made a purchase within the last three months were influenced by the catalogue.” + For more information, go to http://bit.ly/2au0EAP

Finnish study says invest in print A Finnish study into Sales and Marketing Yield (SAMY) measuring the effectiveness of different channels found that SAMY in print marketing increased significantly when expenditure was moved from newspaper advertising to ‘newspaper-annexed print attachments’.

The research initiative, led by professor Petri Parvinen (left) of Aalto University, analysed data from three major retailers in Finland, focusing on home electronics, fast casual food and furniture, to examine the return on marketing investment by the companies.

The same algorithms have now been used to devise The Media Machine, a tool that continually monitors marketing spending and results across all media channels, and suggests improvements for the media mix employed by different brands. Expect to hear more findings from Prof. Parvinen and the Media Machine in due course. www.printpower.eu | PRINT POWER _ 09

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ENGAGE

\

AUTUMN 2016_PROMOTING THE EFFECTIVENESS OF PRINT MEDIA THROUGHOUT EUROPE

WHAT ARE YOU LOOKING AT?

How print feeds the appetite for product marketing

BEST FRIENDS FOREVER How print inspires loyalty, devotion and commitment HOT OFF THE PRESSES Create topical print campaigns with fast turnaround ads THE 360-DEGREE REVOLUTION We explore how print is working with virtual reality THE LIONS THAT ROARED The best print campaigns from this year’s Cannes festival

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Snapper snaps snap of snapper By now you will have noticed the very large fish adorning the cover of this issue of Print Power. The stunning image taken by Canadian photographer Michael Crichton, has been made even more compelling by the addition of inline creative coldfoil supplied by API, enhancing the fish’s scales and luminescence.

Most print foiling techniques are limited to silver or gold, but Windles Group in the UK are able to create a full range of metallic colours, which adds depth and a sense of luxury to any image – in our case, a vivid red snapper.

“The process we use allows us to tint a layer of foil in perfect registration with any colour we like,” explains Ian Kear-Bertie, Design & Creative Manager of Windles Group. “So we can enhance certain areas of an image to really make it stand out.” + For more information about Windles Group and their range of print effects, go to www.windlesgroup.co.uk

22/07/2016 10:33

79%

The percentage of people that agree that print on paper is more pleasant to handle and touch when compared to other media Toluna, 2016

National print newspapers Short online videos Commercial TV on demand National newspaper websites Print magazines Commercial broadcast TV Commercial news websites National Commercial radio Social media 0% 20% 40% 60% 80% Solus media usage

Multiple media usage x high focus

Why print commands your attention

“ Print is a key channel which, when backed up by other media, will achieve the desired activation of customers” Emanuela Novakovic, marketing manager for Hyundai

Demands on the attention of consumers have never been higher, but which medium keeps our focus most amid the chatter of competing media channels?

According to a survey by Newsworks and consulting firm PwC, it’s print newspapers. Their survey of 2,643 adults and 15 media types didn’t just look at the attention consumers have for each medium in a ‘solus’ situation (when it’s the only medium being engaged with), but also how long each medium held their attention in a ‘multimedia’ environment,

with other media in the room.

In addition to 60% of national newspaper readers typically not consuming any other media while reading, a further 20% made these a focus despite other media, such as the TV or radio, being consumed at the time. By Newsworks’ criteria, this gave a figure of 80% for total attention commanded by national newspapers in print, with regional newspapers close behind on 76%, making them the two most attention-retaining media formats. + For more information, go to www.newsworks.org.uk

48% think direct mail is a good way to connect Recent efforts to improve the quality and targeting of direct mail are paying dividends, according to a recent survey

by Wilmington Millennium.

The data specialist questioned 2,000 consumers and discovered that 48% regarded direct mail as a good way for brands to connect with them.

This figure was up by 7% from a similar survey in 2014.

Meanwhile, the study found that direct mail and door drops ranked as the most liked form of direct marketing, in stark contrast to other forms such as website pop-up ads, which gained only 2.7% of preferences.

Wilmington Millennium product director Karen Pritchard agreed that the figures reflect the hard work done in the direct mail industry.

“We’re pleased by the outcome,” she said. “There has been a great deal of effort put into responsible direct mail over the past few years, targeted and directed to the right people, so it’s good to see that effort is now paying off. When a correctly addressed and targeted piece of DM comes through the door, people are not seeing that as intrusive in the same way as a pop-up.” + For more information, go to http://bit.ly/2a8JYBf

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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Adv

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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takefive

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Discover how to light up a Porsche in print, celebrate the beauty of a gentleman’s beer belly and see an ad image disappear in front of your own eyes

Swipe curates the web into print It seems you can have too much of a good thing. That’s the thinking behind Swipe, a free London newspaper that aims to cherry-pick the best of the week’s stories, memes, quips and opinion pieces found on the internet, and make a good old-fashioned print publication out of them. 20,000 copies of Swipe are distributed to young professionals in affluent areas of London every week, offering lively content for the web-phobic and an important promotional platform for internet publishers. And not a clickbait headline or pop-up ad in sight…

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McDonald’s tray tech Fast food outlets may have evolved considerably since the first golden arches were seen in Europe, but we’ll still keep ourselves amused with a placemat and a pen to doodle with. Now TBWA/Neboko in the Netherlands have helped take that cherished practice to the next level.

McTrax allows you to use conductive ink and an interactive placemat to create your own audio tunes and record your own voice via a thin circuit board and digital touchpoints.

Another glimpse of the future for interactive print media.

Bergedorfer’s beery bump Annie Leibovitz’s famous 1991 Vanity Fair cover featuring a pregnant, naked Demi Moore has been copied so often it’s achieved iconic status. Now German beer brand Bergedorfer has brilliantly parodied the parodies in their ‘Brewed with love’ print ads that picture men (thankfully not entirely clothing-free) nursing sizeable bellies as if they were carrying a baby. Simple, effective and, even if not all men can claim they love their beer guts quite that much, truthful.

Porsche lights up car mag After making a floating hologram of the new Porsche 911 in a previous ad campaign, the luxury sports car brand has caught the eye of young entrepreneurs with its innovative ad in the US business magazine Inc. With the help of agency CramerKrasselt, its new print ad uses LED technology to give readers a glimpse beneath the hood of the new 911, as pressing buttons on the ad reveal graphics and info about the car’s innovative aerodynamics, turbo-charged engine and digital connectivity. What’s more, the insert has been included in copies sent to just 10% of subscribers – those living in the most affluent areas, close to Porsche dealers.

12_ PRINT POWER | www.printpower.eu

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/ TAKE 5

Hyundai’s optical illusion We’ve all heard of disappearing ink, but no such technology was required to make Hyundai’s latest print campaign brilliantly eye-catching. Ukrainian agency Tabasco created a series of images, which, when viewed in a certain way, create a startling and unexpected effect.

This is how it works: close your right eye and focus your left eye on the image in the rear view mirror. Then slowly draw the page towards you and at some point, the adjacent image will disappear.

The blank is created by a ‘blind spot’ where your optic nerve connects to your retina. There are no photoreceptor cells there, so when an image hits, you can’t see it. However, the brain fills the space with a similar colour to that surrounding it, making it look as if the object has simply vanished into its surroundings.

The ad is designed to show how the ‘blind spot’ is potentially hazardous for drivers who could potentially miss oncoming vehicles. The ‘No Zone’ sensor on the Hyundai Elantra promises to eradicate this danger, and is demonstrated in uniquely effective fashion.

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www.printpower.eu | PRINT POWER _ 13

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Thought leaders

I

’ M A PA SSIONATE believer in print. At Method, we create lots of digital content and increasing amounts of video, but print is still my favourite format. There are two reasons for this: fi rstly, print carries an authority that nothing else can replicate, and secondly, if you want luxury, digital just doesn’t offer an alternative. You can see that in the way the luxury advertising market sees itself. Advertising gives luxury brands the expansiveness and premium they desire to show off their products.

But of course, when you are creating print content for brands, it’s vital to measure the effectiveness of what you are doing in the same way you would for digital. The fi rst step is working out what the brand is trying to do with their content. Are they trying to drive sales, increase brand consideration, push their customers towards a new offer? Once you know that, you can set the campaign accordingly then measure against that KPI at the end to demonstrate that you have managed to achieve what you set out to do.

A good example is the native advertising work we did for Brand USA called Secrets of the South. It was all about telling people about the lesser known parts of Southern USA and highlighting their main attractions. This ran in the print edition of The Sunday Times as well as The Sunday Times Travel magazine.

We measured a number of KPIs before and after the campaign and found that over three quarters of the readers wanted to fi nd out more about travelling to the USA – a 30% increase from before the campaign – while over two thirds planned to travel to the USA in the next two years. That represented an increase in traveller spend of over £4m.

We could actually quantify the amount of money that readers who had seen the

“When you are creating print content for brands, it’s vital to measure the effectiveness of what you are doing” Tiffanie Darke, Director of News UK’s creative agency Method

campaign were going to spend on travelling to the USA, money that wouldn’t have been spent had we not produced and ran it. As a result, Brand USA have rebooked the campaign for next year.

Native advertising is an increasingly successful area of advertising. Every brand is producing content but they have a real problem fi nding an audience for it. So if you want to stand out and reach audiences, native is a really good way of doing that. If you partner with a content producer, they can not only create the content but also supply you with the right audience.

I can only see native advertising getting bigger. Because of the world we live in, where everything is content, if brands are going to have a voice, that voice needs to say something that’s either useful, entertaining or valid to its brand value. And print is the ideal medium to deliver native advertising.

14_ PRINT POWER | www.printpower.eu

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/ OPINION

Tiffanie Darke, Director of News UK’s creative agency Method, explains the importance of measuring the ROI of branded print content, while Denise Turner, Insight Director of Newsworks, reflects on groundbreaking research that proves the value of newspaper advertising

S

OM E TH I NGS N E V ER go out of fashion: little black dresses, The Beatles and Harry Potter, to name a few. In contrast, many in the world of media would be quick to say that print newspapers have witnessed a fall from favour of late.

Yet, what hasn’t been reported by industry forecasts and trade headlines is that, amongst all the noise heralding their demise, print newspapers have been quietly continuing to do what they have done so well for the past 200 years: engage their readers and deliver effective advertising for brands.

Print circulations have declined but not as much as people often think, and certainly not as much as advertisers have been reducing print budgets. National newspapers sell seven million copies every day and are read by young people who are supposedly all digital – 60% of millennials still read a paper every month, according to NRS (March 2015-April 2016).

Interviewed at Cannes Lions 2015, WPP’s Martin Sorrell noted that “the pendulum swings too far” when it comes to advertisers’ balance between new media and print.

Fast forward a year and we now have the categorical evidence to prove that Sir Martin is right.

Not only do newspapers boost overall campaign ROI by three times on average, according to a Benchmarketing study commissioned by Newsworks, but BDRC Continental found they also deliver a multiplier effect when combined with digital newsbrand platforms.

These studies make up two parts of Newsworks’ new effectiveness research, along with Peter Field’s analysis of the IPA Databank. While there have been many individual case studies over the years that prove the effectiveness of

“Improvements in ROI range from two times for TV to 10 times for radio when print is in the mix” Denise Turner, Insight Director of Newsworks

newsbrands, we had no defi nitive largescale proof of the brand impact and return on investment that newsbrands deliver when part of a mixed media schedule – until now.

From the three studies, one of the key points that emerges is the integral role that print plays in boosting ROI, brand health and business effects. Benchmarketing’s work, which analysed the results of 500 econometric studies over the past five years, found that print boosts campaign ROI across a range of sectors – most significantly in the automotive and fi nance sectors – while also positively impacting the performance of other media. Improvements in ROI range from two times (for TV), four times (for online display) to 10 times (for radio) when print is in the mix.

As Benchmarketing’s Sally Dickerson said when launching the research at Newsworks’ Effectiveness Summit, the pendulum has indeed swung too far and advertisers would see a better return on their investment if spend returned to 2013 levels. The world has changed and there’s a crucial role played by digital advertising, but there should be “a shift back to when print was being used at the correct rate”.

To date, the effectiveness studies are the most viewed research projects that Newsworks has ever produced – indicative of the appetite there is for quantifiable proof of effectiveness.

In a world where there are so many platforms through which advertisers can communicate with consumers, knowing the impact print has on overall campaign ROI, as well as other media such as social and TV, is a game changer.

It may be one of the oldest media on the block, but as an industry we need to move with the times and value the enduring power of print. www.printpower.eu | PRINT POWER _ 15

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Virtual reality may appear a digital-only phenomenon, but in the real world, it’s print that’s driving its awareness. From The New York Times magazine to The Economist, publications and their advertising partners are using print to push people towards VR content and cause a revolution in marketing. Lights, cameras…

Action!

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By Simon Creasey

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O

N NOVEMBER 8, 2015, readers of The New York Times (NYT) magazine were treated to a ‘multi-media journey’ that included text, photographs and a virtual reality (VR) fi lm delivered via a dedicated app. In addition to a stunning image on the magazine’s cover and content across 30 editorial pages, the captivating story of refugees from all over the world was brought to life in a VR fi lm, The Displaced, watched through a pair of Google cardboard glasses delivered free to subscribers. The NYT christened this initiative ‘a new way to tell stories’.

The launch attracted rave reviews from news outlets around the globe, with media observers asking if VR could be the saviour of journalism. It was also a major hit with readers – in its fi rst week, NYT VR became the most successful app launch ever for the iconic US publication.

A publishing revolution The NYT is not alone in embracing this new immersive approach to storytelling. Print titles such as The Economist, The Drum and InStyle magazine have all dabbled with VR storytelling over the last 12 months, and it’s rumoured that a number of other publishing companies are about to embark on their own VR adventure.

There’s little doubt that the size and scale of VR will be immense. Deloitte Global predicts that VR will have its fi rst billiondollar year in 2016 – $300m of that from content – while Goldman Sachs states that the market could be worth as much as $80bn by 2025.

The original idea was that VR would transform video games, but as well as adding another dimension to the gaming industry, it now looks set to transform journalism. So how does the technology work and what opportunities does VR offer publishers, advertisers and marketers?

In the media’s quest to create greater synergy between offline and online, it’s obvious why VR is so attractive to publishers and advertisers. While augmented reality (AR) has been around for some time and gained plenty of traction, VR has the ability to immerse consumers even deeper within the experience. The ultimate aim of VR producers is to make viewers feel ‘presence’, so the content feels so real that they believe they’re experiencing it first-hand.

Although other media companies dabbled with VR journalism prior to the NYT, its

initiative has been the most attentiongrabbing and successful to date, winning the coveted Entertainment Grand Prix at the Cannes Festival earlier this year.

According to a spokeswoman for the NYT, the paper’s VR app has been downloaded more than 600,000 times, a number that’s sure to rise with the creation of more VR content. “While there’s no exact number of virtual reality fi lms or campaigns in the works,” she says, “there are many exciting projects and collaborations to come throughout 2016 and beyond.”

Announcing the launch of the app, the magazine’s editor Jake Silverstein wrote: “It is hard to know whether readers of the magazine’s issue on 6 September 1896 were as transported by the newspaper’s fi rst photographs as I hope the readers of today will be by The Displaced. But we are proud to carry on a tradition — one as old as journalism itself — of pressing new technologies into the service of storytelling.”

The 360O brand experience What was striking about the NYT’s VR debut was the sheer scale of its ambition.

The company delivered more than one million Google cardboard VR headsets to print subscribers in 2015 and sent a second wave of cardboards to digital subscribers a year later to allow readers to view a wave of VR journalism fi lms. In addition to this content, adverts from brands such as General Electric, Mini, Lufthansa, Hilton and TAG Heuer were specially created using the latest VR technology.

In addition to taking out a partial cover wrap, a print advert on the back page of the magazine and a DPS ad inside the magazine, Mini USA commissioned two short VR fi lms called Backwater (a heist fi lm) and Real Memories (an adventure story), both featuring the Mini car. The exhilarating, fully immersive ads proved a hit with readers, with Backwater gaining over 154,000 views and Real Memories 75,000 views.

“The NYT had a bold project to deliver access to virtual reality technology to over a million of their subscribers via Google Goggles and to create a VR content hub that can help promote the newest innovative storytelling technology,” says Tom Noble, head of marketing for Mini USA. “We saw this as an additional way to share our videos with more people. We have been looking at virtual reality technology for several years so we were excited to get on board with The New York Times, General Electric and Google to help support and promote how stories will be told in the future.”

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/ VIRTUAL REALITY All-round solution Clockwise from left: A 360 camera image from The New York Times’ VR film The Displaced; viewers react to a preview screening; The NYT phone app (below left); InStyle magazine’s November 2015 edition, which included a VR headset; A still from Mini USA’s VR film Real Memories

Other advertisers took a slightly different approach. General Electric created an engaging animation featuring bold colours that showcased the company’s innovative spirit, Hilton’s VR fi lm enabled viewers to feel like they were holidaying with a group of friends at one of the group’s resorts, and Lufthansa’s fi lm shows a couple in a long-distance relationship meeting up after a long absence – a fi lm that’s now been viewed over 1.2 million times.

A global hit A recent survey of 1,300 adults undertaken

by Greenlight VR sheds some insight on why brands are so keen to jump in. The vast majority of respondents (71%) said they felt that the use of VR made brands seem ‘forward thinking and modern’, with 53% of respondents stating they would be more likely to purchase goods and services from a brand that uses VR over one that doesn’t.

The NYT is not alone in embracing this new immersive approach to storytelling.

Over the past year, many of Europe’s leading news brands have already begun to branch out into VR and 360 video to complement their print offerings.

In April, Spain’s El Pais presented Fukushima, Contaminated Lives – a powerful video accompaniment to their print edition’s investigation into the

AND... ACTION! SIX EXPERT TIPS FOR CREATING A STUNNING VR FILM

71% of people said they felt the use of VR made brands seem ‘forward thinking and modern’, while 53% said they would be more likely to purchase goods and services from a brand that uses VR Greenlight, 2016

1_Invest in the right kit A lot of early VR content was shot using standard cameras such as GoPros mounted on bespoke 3D-printed rigs. However, technology has evolved rapidly, with the likes of Nikon and Nokia leading the way in terms of the latest generation of VR cameras. Specialist microphones have also been developed by manufacturers such as Sennheiser to capture 360 sound.

2_Hide the crew To shoot a VR scene, the camera rotates 360 degrees and films everything in its path, including the film crew and equipment, so the film makers either have to find a position that allows them to hide from the camera or they need to blend into the background of the shot.

3_The post-edit problem Once all the scenes for the VR film have been shot, there are further

challenges in post-production since all the footage has to be synchronised and seamlessly stitched together so that viewers can’t see the joins.

“But thanks to the introduction of synchronised cameras and more powerful editing software,” says Henry Stuart of Visualise, “you’re now able to move seamlessly between shots, which adds to the sense of the experience being real.”

4_Distributing VR content When post-editing has been completed, content can be released to the target audience either via a website, a mobile app or, if someone has a pair of Google Goggles, they can insert their smartphone into the front and the app content becomes VR. As the technology is still in its infancy, you may need to tell people how to use the technology.

5_Create bespoke content The other major consideration when shooting and distributing VR surrounds the specific nature of the content. Patrick Milling-Smith from Here Be Dragons says that to create a VR brand experience you have to start with an idea that’s properly crafted for VR. “You can’t just take a TV ad script and make a VR version of it,” he says.

6_Don’t be too aggressive You need to be wary of pushing a product too hard. “The relationship with the consumer needs to be treated more subtly,” says MillingSmith. “Anything too overt will most likely be rejected. We advise clients to think of this as an experience that the company is gifting to the consumer, one that will foster brand awareness, brand building and brand loyalty. The consumer has already chosen to engage so there is no need to scream at them.” www.printpower.eu | PRINT POWER _19

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InFashion Another publication developing VR projects at the moment is InStyle magazine. The fashion and lifestyle publication ran a VR front cover featuring actress Drew Barrymore last year, which was a big hit with readers. The accompanying film allowed readers to get a behind-the-scenes look at Barrymore’s cover shoot, as well as an exclusive interview with the Hollywood star.

Angela Matusik, Director of Branded Content Strategy at InStyle, explains that ultimately, VR and 360 is about storytelling and journalism “giving us creators a way to bring our subjects to life in ways we only dreamed of previously”.

Thanks to the success of its initial foray into VR, the magazine is committed to continuing to innovate and create content in this medium, according to Matusik.

“We are beyond excited to be working with our colleagues here at Time Inc on the launch of Life VR this fall,” she says. “InStyle will be one of the brands showcased in the new app, with a new fi lm we’re collaborating on with one of the subjects from our September issue. We are also working with our partners in the fashion and beauty industries to help bring

01.JUNE.2016 EDITORIAL TEAM OF THE YEAR

their brands to life in VR for consumers.”

“For our next 360 fi lm,” she continues, “we worked with Bella Thorne and created an experience that brings the audience inside one of the hottest events of the year: the InStyle-Warner Bros Golden Globes afterparty. We released this in February 2016 during the height of the red carpet season.

The viewer gets a sense of what it is actually like to arrive at this star-studded event, stopping to pose for photographers and talk with other stars.”

22

M A R K E TING C AN C HANGE T HE WOR L D

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aftermath of the Japanese nuclear plant disaster and its effect on the surrounding communities.

In the same month, Belgium’s leading Flemish-language daily de Standaard gave away a free pair of virtual reality glasses with its Saturday edition, inviting readers to “Take a seat in the middle of the story… become immersed in groundbreaking journalism.”

In Germany, Bild recently moved on from 360 video content to VR, with editorin-chief Julian Reichelt commenting: “Following on from our 360 degree videos, this totally immersive three-dimensional virtual reality report is the next step into the future of journalistic storytelling.”

Axel Springer CEO Mathias Doepfner is one of many leading figures in European publishing who is excited by the possibilities: “VR can really make journalistic content better,” Doepfner said at a Berlin conference in July.

“It’s going to be huge.”

Advertisers have also been only too happy to jump on board. Readers of the Times of India in April were given a free, flatpack Google Cardboard virtual reality headset with which to view a Tata Motors’ ad.

PUT ON YOUR HEADSET NOW TD_37_11_JUNE01-COVER.indd 1

360ON ONAN ANA380 A380 ANATOMY ANATOMYOF OFAN ANAD AD| |360

27/05/2016 16:17

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360 ON AN A380 | ANATOMY OF AN AD

01.JUNE.2016

EXPERIENCE EXPERIENCEHERE HERE vr.etihad.com vr.etihad.com

Since appointing Hollywood actress Nicole Kidman as its brand ambassador last year, Etihad has been on a mission to redefine luxury travel. Now, with more than a little help from VR, it’s looking to ‘reimagine’ it.

REIMAGINING LUXURY TRAVEL by

by Gillian Gillian West West

18 18

THEDRUM.COM THEDRUM.COM

UAE-based airline Etihad turned to Cheil Worldwide and New York-based creative agency Barbarian Group last summer with a very lofty ambition – to create the “most high-end VR experience of all” to promote its Airbus A380 fleet.

Barbarian in turn approached MediaMonks in the autumn of 2015 with a “very detailed” creative idea, to which the creative digital production company pitched a solution that – according to head of VR, Ola Björling – pushed the boundaries of what has been done in the past and what is “barely do-able” in the present.

Using the latest VR technology, ‘Reimagine’ offers viewers a 360 look at the A380’s luxury surroundings, placing brand ambassador Kidman front and centre of the experience which weaves all of the plane’s unique features into “something much grander than just a brochure”.

With just five planes in the fleet, the project’s initial challenge was the logistics around grounding one for at least five days to shoot, and that was before even dealing with Kidman’s availability. Original plans to shoot were moved from November to March, with the time between spent planning everything in great detail. “It’s all that planning that has made this possible to execute,” says Björling.

Recalling early meetings with the creative agency, Björling says Barbarian had no idea if what it had put on paper was even possible, with MediaMonks’ “miles on the meter” in terms of VR production placing it in the unique position of being able to tear up the rule book.

Filmed with a moving camera – a practice generally avoided in VR because of problems with the human vestibular system – past experience enabled Björling and his team to circumvent such problems. “One thing

that really helps is avoiding acceleration and deceleration, so if you have constant movement it doesn’t trigger nausea as easily. A slow straight line of motion is also better than turns or fast movement,” Björling explains.

“By moving through a space you can elevate some of that feeling of ‘being stuck’ that a 360 film in a VR headset can create as in a film, unlike game environments where you can move around, the camera is fixed where the camera was during filming.”

Describing the camera set up as a “secret sauce” Björling keeps his cards close to his chest when describing how the film’s impressive visuals were achieved, admitting that though you can “start quite modest” using GoPros for some VR films, that wasn’t enough for what this particular project had set out to achieve.

“We think it’s a world first in terms of the quality we’ve been able to output, and we’ve solved a lot of technical and engineering challenges in the camera set-up,” he says, laughing that it’ll be interesting to see if anyone, including experienced VR filmmakers, will be able to “work out what we’ve done”.

Shot over three days, with one day of prelights set-up, the entire film – apart from the final scene – was shot within the A380, creating an interesting challenge for MediaMonks.

Björling says even he found it “daunting” to shoot within such a confined space, thanks to the numerous technical tweaks required for shooting, editing, effects and even playback and audio.

“In terms of what wasn’t possible we had some things planned that timings and logistics put an end to, so it wasn’t a technical limitation as such,” he says. “We had originally scoped out more and we got some pushback on the budget so we dialled down slightly but tried to maintain

THEDRUM.COM

“VR allows the reader to take more time to enjoy a printed feature and it has the potential to offer them the chance to experience first-hand what they are reading about” Stephen Lepitak, Editor of The Drum

as much of the original spirit as we could. In the end we didn’t cut much.

“The final scene, however, just could not be shot on the plane as the camera needed to be inside the wall and that just wasn’t physically possible,” he adds.

Of the partnership between MediaMonks and Barbarian, Björling describes an “atmosphere of trust” with the creative agency acknowledging MediaMonks’ prowess in VR and MediaMonks allowing Barbarian to own the tonality and narrative of the film. “It’s Barbarian’s job to know its client and what notes to strike. I’d say we influenced each other but there was never a time where we needed to step into each other’s domain.”

The project was still in post-production up until the 11th hour, according to MediaMonks co-founder Wesley ter Haar. Launched on 27 May, a final stereoscopic version is still in the works for mid-June.

According to Ter Haar, almost 20 people had worked on the project, spanning everything from planning and shooting to the creation of custom playback apps – all of which were handled in-house.

“We’re pushing to be the best there is on every front, not just looking at what is the best today, but looking at what will be best tomorrow,” adds Björling, explaining that the reason for launching a version before the final stereoscopic film, which will add depth perception, is down to Etihad wanting to release the film before Ramadan.

With the pace of VR such as it is, Ter Haar and Björling reveal no two pieces of VR work completed by MediaMonks are ever filmed in the same way, with “almost everything” in this particular piece being new.

“We were conscious that we were asking people to view what is essentially an advert, so you can’t set the bar too high in terms of time and effort,” says Björling.

“But what VR does so well is it allows you to occupy a time and space you could not otherwise be in. There’s an arms race in VR and, with this film, we’re pushing to take the number one spot.”

19

Banging The Drum While these long-standing titles may be delivering richer, more immersive content in a digital format, the key thing to remember is that the journey always begins in print before the reader is directed to the VR content. The challenge is working out the best way to take readers on this journey. That’s the issue Stephen Lepitak, Editor at marketing title The Drum, had to wrestle with when the magazine published a special VR edition in June this year.

“When we decided to create the VR issue of The Drum, part of the challenge was how we could connect print with VR, which are seemingly worlds apart,” recalls Lepitak.

The magazine’s VR issue contained its regular ‘Creative Works’ section, which featured images of campaigns from around the world, only this was fully dedicated to recent VR campaigns that readers were encouraged to view through the cardboard Google Goggles given away free with each issue. It also featured a VR campaign

by Emirates starring Nicole Kidman, a feature on the role VR can play with psychology, and The Guardian’s recently released prison VR project. The magazine successfully pulled it off, with feedback from readers “universally positive”. As a result, it’s not surprising to hear that Lepitak is a major advocate of VR technology and the possibilities it offers publishers.

“VR allows the reader to take more time to enjoy a printed feature and it has the potential to offer them the chance to experience what they are reading about,” he explains. “If you published a feature about visiting a country or interviewing a celebrity, readers could use their VR headset to watch a film and experience the content of the article first-hand. The possibilities are incredibly exciting for anyone in the media who wants to engage and entertain.”

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/ VIRTUAL REALITY International outlook Clockwise from right: Axel Springer CEO Mathias Doepfner; a still from the film Fukushima, Contaminated Lives produced by Spain’s El Pais; Belgium’s de Standaard, which gave away a free pair of virtual reality glasses with every newspaper

“ VR can really make journalistic content better. It’s going to be huge” Mathias Doepfner, CEO, Axel Springer

A vision of the future Judging by feedback from VR content creators, there are plenty of people in the media who are looking to engage and entertain their readers by curating a multimedia experience with VR at its core.

Henry Stuart, co-founder and CEO at VR content company Visualise, which worked with The Economist to build a VR reconstruction of Mosul Museum in Iraq, says his company has already worked with a number of publishers on VR projects.

“They’re all moving in that direction because it’s a great new avenue for promoting their journalism,” says

Stuart. “You can offer readers a number of touchpoints along the multimedia spectrum. You can start from reading and looking at pictures in print and then follow the link to the VR content to have a fully immersive experience.”

Like Stuart, Patrick Milling-Smith, Co-Founder and President of VR creative agency and production studio Here Be Dragons, has been approached by a number of brands looking to ‘fully jump’ into VR. “It’s fast emerging as the only medium that enables brands to fully engage with an audience,” says Milling-Smith. “There’s a great power to VR in the form of creating a feeling of presence within the environment and story. Your brain is tricked by the nature of the 360 environment to believe you are truly there. This helps create a powerful memory of the experience.”

This power is why the medium is so appealing to publishers and advertisers.

It’s also why you can expect to see more publications and brand owners experimenting with VR technology in the very near future. www.printpower.eu | PRINT POWER _21

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Seize the moment Tactical or ‘real-time’ ads are traditionally the preserve of digital media, but with new printing technology and shorter lead times, brands can now take advantage of print’s deeper engagement levels to run last-minute ads that can have an effect for years —

By David Benady it took mindshare norway just three hours

to create an amusing tactical newspaper ad responding to criticism of its client SAS. By acting swiftly, the agency turned a negative story into a piece of positive PR for the airline.

The episode began when a local professor, Victor Norman, made disparaging remarks about customer service on SAS. He joked on stage at an event that he liked flying on SAS to experience their poor service levels.

News reports of this comment created a stir in the Norwegian media and upset SAS employees.

Two days later, the professor apologised for the comments in an interview with the daily business paper Dagens Naeringsliv. SAS, together with its creative agency Los & Co and media agency Mindshare, swung into action.

Within three hours of the interview going live on the paper’s website, Mindshare had negotiated a full-page spot in the next day’s paper, to coincide with the print edition of the interview.

The response from SAS was to run

some pictures of smiling SAS employees with the line (in English) “Dear Victor Norman. No hard feelings.” The paper overcame any fears about a conflict between editorial and advertising, and ran the ad. The press ad received plenty of positive attention in the media, especially in the business sector.

“It was a good example of what you can do with a quick turnaround,” says Per Christian Worren, client adviser for SAS at MindShare Norway. “It was a tiny effort really, but we spent a few hours to align everyone and produce what we needed. We use print in several places like that because it is more of a statement when you go in a newspaper, rather than keeping within the limitations of what we can do with banners.”

A tactical game Press advertising has traditionally been seen as ‘slow’ old media, while digital has been the place for real-time advertising – the type that responds to unfolding events whether on social media or through banner advertising. But new

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Tusen takk for at du er en lojal og god kunde av oss. Vi lover å gjøre alt vi kan for at du og alle andre skal få gode reiseopplevelser med oss også i fremtiden.

“We use print in several places because it is more of a statement when you go in a newspaper” Per Christian Worren, client adviser for SAS at MindShare Norway www.printpower.eu | PRINT POWER _23

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digital printing technology and shorter print lead times has allowed newspapers to run fast-turnaround ads hooked on the latest news stories. This is boosting the effectiveness of press ads by giving them a topical flavour, which amplifies their messages. Consumers are accustomed to seeing the same messages repeated over months, but by acting outside of campaigns, brands are finding ways to stand out and grab the attention of audiences.

Tactical press campaigns are on the rise across Europe. In the UK, news stories with a positive flavour have served as hooks for quick response ads. When rank outsiders Leicester City upset expectations by winning the 2015/16 Premier League football title, the media described the event as a ‘fairytale’, given that the team were on the brink of relegation only 12 months previously. This good news story inspired a number of tactical ads by brands in newspapers the day after.

Walkers, the Leicester-based snack brand owned by PepsiCo, was quick to act. The brand has built a strong association with football over the past 30 years and its brand ambassador Gary Lineker is a former Leicester City and England player. Lineker, who presents the BBC’s Match of the Day football show, had declared earlier in the season that he would strip to his underpants on TV if Leicester won the Premier League.

So, the day after the team won the title, Walkers took out a full-page ad in The Sun newspaper showing Lineker’s face superimposed on a muscular body, dressed only in his underwear.

Football has proved one of the most popular areas for tactical ads. Before last summer’s Euro 2016 tournament began in France, an eye-catching series of timely images helped French charity AIDES promote safe sex with the help of couples painted in different countries’ flags alongside the slogan ‘Make Love, Not War’.

And if the best ads are often the simplest, when it comes to tactical campaigns, that’s all the more true. In 2012 Helsinki-based agency Hasan & partners were tasked with creating an ad to recognize the award of the Nobel Peace Prize to the European Union in 2012. They caught the eye of readers across Europe with a CND symbol in

Quick off the mark Clockwise from above: Captain Morgan rum features Leicester’s Wes Morgan in a timely ad; Gary LIneker advertises Walkers (renamed ‘Winners’ for the ad); GroupM’s Steve Goodman

Previous page: SAS’s ‘Victor Norman’ campaign

the colours of the EU flag, and the slogan “Congratulations to all 503,179,000 Nobel Peace Prize winners.”

Grab your chance Of course tactical campaigns must, by their nature, be used sparingly. Their power derives from their topicality and the strength of association with the event concerned. Brands must seize the moment when it arises and agencies must be agile enough to spring into action as soon as an opportunity comes up.

Media buyer Steve Goodman, Managing Director for print trading at GroupM in the UK, says: “You can get very tactical copy running in the next day’s paper cheaply and, if it’s planned well, in an environment that helps amplify the brand message. It is a great opportunity for advertisers and I’ve often been surprised why they don’t take more advantage of that.”

He says it takes no more effort to

create tactical press ads than realtime ads through digital channels, as creatives still need to be briefed and the ad designed. Goodman believes that newspaper publishers should do more to promote tactical advertising in their papers.

“If they know what’s coming up, they could encourage advertisers to create copy around it or help advertisers develop the text,” he says. “Most publishers have significant solutions departments, which tend to concentrate on the bigger opportunities. As a sideline, they could come up with more tactical opportunities that could be taken up by their creative agencies.”

Deadlines vary according to the section of the paper where an ad may run, but if tactical ads can be sent over to the newspapers by close of play, they can make the next day’s print run. As for cost, Goodman doesn’t believe that they are necessarily more expensive.

“If anything,” he says, “the publishers need to encourage more tactical advertising. I really hope they make it favourable to help that happen, because a lot of advertisers have gone out of their way to use the product in a different way and the publishers should try and encourage that.”

Tactical press ads allow brands to grab the reader’s attention by forging a connection with the events that make the news. Expect to see more in the years to come.

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“Tactical ads are a great opportunity for advertisers and I’ve often been surprised why they don’t take more advantage of them” Steve Goodman, Managing Director for print trading at GroupM www.printpower.eu | PRINT POWER _25

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The

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/ POLITICAL PRINT

Factor In every election in every country, print plays a large part in political campaigning. Whether it’s an incisive piece of direct mail, an iconic poster or a multi-million leaflet drop, it has the potential to sway voters and push a politician into power. Which way will you vote?

—

By Paul Simpson WOULD YOU BUY a used car from this man?”

That blunt question, accompanied by a photograph of Richard Nixon at his most reptilian, was one of the most devastating pieces of political print ever commissioned.

Used by John F. Kennedy’s campaign in the 1960 US presidential election, it fi xed the ‘Tricky Dicky’ stereotype on Nixon, helping to condemn the pre-election favourite to defeat.

Print in all its forms – posters, leaflets, direct mail, newspaper adverts – has swung other elections since. The Conservative triumph in 1979, Solidarity’s landslide in the 1989 Polish elections and the Christian Democrats’ victory in Germany in 1994 all owed something to pithy slogans and eye-catching posters, but the analysis of modern political campaigns suggests that print’s role has since been marginalised.

Yes we can!

In the US, the narrative of Barack Obama’s 2012 victory has focused on big data, micromessaging and clever use of technology, such as the launch of the fi rst iPhone app for a presidential candidate. Yet political analyst Kerstin Plehwe, who has followed many US presidential elections, says this is only part of the story.

“Digital is an important mobilising force in politics,” she says, “but we should resist the temptation to underestimate print’s importance. Whether in the form of newspapers, magazines or direct mail, print is still important.”

Indeed, the stats show that between them, Obama and his 2012 Republican opponent Mitt Romney spent $170m on direct mail – twice as much as on online ads. Richard Beeson, Romney’s political director, said: “There are a number of ways www.printpower.eu | PRINT POWER _27

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to talk to voters and direct mail has proved a very effective one.” During the UK’s EU referendum campaign, the profusion of campaign leaflets sent to 45 million voters accounted for 2% of all Royal Mail’s letters sent in the second quarter of 2016.

Most leaflets – especially at British general elections – follow a familiar formula, says Emily Randall of the Democracy Club, a non-profit organisation that runs electionleaflets.org.

“Leaflets focus on local issues and take advantage of direct mail technology to highlight how ‘local’ the leaflet is,” she says. “The name of your local area or your name will be the centre of focus in a giant handwriting-style-font. There will be a beaming picture of the candidate near a local landmark, perhaps with a checklist of things they’re going to achieve. Many go for a newsletter or magazine style to create a sense of legitimacy or community.”

Few leaflets are great works of political communication. Indeed, some achieve notoriety because of their errors.

“Sometimes the template goes wrong

During the UK’s EU referendum campaign, the profusion of campaign leaflets sent to 45 million voters accounted for 2% of all letters sent through the Royal Mail in the second quarter of 2016

and you get an ‘Insert name here’” says Randall.

As old fashioned as leaflets sound, she says they still work. “This is a guaranteed way to get in front of everyone in your local area. Digital marketing, though increasingly popular – as we saw in the Conservatives’ £100,000 spend on Facebook in the run up to 2015 – still won’t reach everyone a leaflet will. During an election, a party will get a free mailshot if they provide the leaflets. With less mail spam, leaflets can stand out today.”

Mail manifesto An abrasive direct mail campaign paid dividends for Kentucky’s Republican Senator Mitch McConnell in 2014. To retain his seat, McConnell had to win the primary against local tycoon Matt Bevin, who was backed by the rightwing Tea Party. Aiming to reach a small target audience effectively and cheaply, McConnell’s consultants, The Lukens Company, focused on direct mail. One piece depicted Bevin as a snake oil

salesman, featuring a bottle with ‘halftruths’, ‘resume inflation’ and ‘delusions of grandeur’ as ingredients. McConnell won 60% of the vote – quite a margin given that Bevin then successfully ran for governor.

Other campaigns have blended direct mail and digital advertising to target their pitch.

Such tactics show that print still has its place. Plehwe says the challenge is to “reload print with creativity and become more based on data. That takes courage, knowledge and clients who are willing to stand out amid the masses.”

Spain’s anti-austerity party Podemos certainly stood out. Aiming to publish the “most-read manifesto ever”, the party set out its political programme in the style of an IKEA catalogue. The policies were easier to follow than IKEA’s flat pack instructions but didn’t win votes – there was a 3.4% swing away from Podemos in the June election.

Poster politics Standing out can mean many things. In 1972, West Germany’s Social Democrat Chancellor Willy Brandt won the election

“Newspapers are vastly underestimated as a political vehicle – studies show that virtually all newspaper readers are voters” Art Hackney, US political communications consultant

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/ POLITICAL PRINT with the aid of a succinct slogan “Willy Wählen” (‘Vote Willy”) on badges and “Ich bin für Willy” (“I am for Willy”) on posters, which broke new ground in German politics. The absence of his family name positioned him as a pal, not a politician. As Plehwe says, “There is a place for anything that is different and powerful. The slogan ‘Willy Wählen’ mobilised young and old, generating results that the parties today can only dream about.

Like the anti-Nixon poster in 1960 – and Saatchi’s ‘Labour isn’t working’ in 1979 – Brandt’s success showed how quickly posters spread a powerful and succinct message. Savvy media agencies have learned that, as Steven Heller, the former art director of The New York Times, put it, “Posters provide the opportunity to see things more iconically. They can offer an immediate response to a particular event.

They’re portable, displayable and show allegiance. They say ‘We support you’ to the candidate and ‘We support the candidate’ to the media. In an era where visibility and shareability are of utmost importance

to a candidate’s success, that cannot be undersold.”

There isn’t as much research into the effectiveness of political print as there should be. Yet a survey during the 2001 UK general election found that posters influenced one in ten voters. A similar study in Japan found that 9% heeded posters, while another 9% were swayed by newspaper adverts. American political communications consultant Art Hackney says, “Newspapers are vastly underestimated as a political vehicle – studies show that virtually all newspaper readers are voters.”

Even in the US, where social media and smartphones are ubiquitous, research shows that 55% of American households read all their direct mail, while 90% of technophile Millennials trust direct mail.

The most visible, shareable poster of the 21st century has to be Shepard Fairey’s Hope, for Obama. Fairey estimates that he printed 300,000 during the 2008 campaign and thousands more were printed from a fi le on his website. Fairey’s creation

became a cultural phenomenon and, like all the great political posters, created a powerful fi rst impression that defi ned the narrative of the campaign. Great isn’t necessarily about sophistication – in the EU referendum, the fi nest minds at M&C Saatchi didn’t produce anything for Stronger In that resonated as much as UKIP’s controversial poster showing a horde of refugees with the words ‘Breaking point: The EU has failed us all’.

The ayes have it During a political campaign, when voters are bombarded with even more messages than usual – and fi nd it harder to pay attention – print, in all its forms, has an enviable ability to cut through the clutter.

And it’s less wasteful than social media and online as you’re more likely to be communicating with actual voters. All we need, as Plehwe suggests, is more clients with the courage and knowledge to break the mould. Perhaps Hillary Clinton should take a leaf from JFK’s playbook – would anyone buy a used car from Donald Trump?

PRINT AND POWER FIVE CAMPAIGNS THAT CHANGED THE COURSE OF POLITICAL HISTORY Labour Isn’t Working Poster The Conservative Party, UK, 1979 The most devastating poster in British political history only appeared on a few billboard sites but proved a game changer in the 1979 general election. The image of a snaking queue of unemployed – actually 20 Young Conservatives photographed over and over again – hit Labour where it hurt. Denis Healey accused Saatchi & Saatchi of “selling politics like soap powder”, thereby guaranteeing the poster front-page coverage.

Lord Thorneycroft, Tory party treasurer, said the poster “won the election for the Conservatives”. Ironically, the ad almost never made it. Its creator, Martin Walsh, said Charles Saatchi was sceptical and many Tory leaders felt that a similar poster about NHS queues was stronger.

High Noon Poster Solidarity, Poland, 1989 The face of Poland’s first relatively free election since World War II was not that of Lech Walesa, who led Solidarity to a crushing victory, but Gary Cooper, strolling towards a showdown in the Western movie High Noon.

Polish graphic artist Tomas Sarnecki recreated the classic movie poster, giving Coop a ballot paper instead of a gun, a Solidarity logo above his badge and changing the slogan to ‘High Noon: 4 June 1989’ – the election date. Walesa recalled: “The Communists tried to ridicule the freedom movement as an invention of the Wild West, but the poster had the opposite impact, as cowboys in Western clothes had become a powerful symbol for freedom in Poland.”

Not In Red Socks Poster Christian Democrats, Germany, 1994 After the Berlin Wall fell, East Germany’s Communist party morphed into the Party of Democratic Socialism (PDS).

Ahead of the 1994 election, Helmut Kohl’s ruling Christian Democrats claimed the Social Democrats wanted to govern with the PDS. To dramatise their red scare, Kohl’s party created a poster with the slogan “Forward into the future… but not with red socks.” In Germany, a ‘red sock’ is a derogatory term for someone with leftistleanings. When the CDU were re-elected, their general secretary Peter Hintze credited the victory to the poster.

Rock The Vote Direct mail USA, 2008 Determined to boost voter registration and turnout among 18-29-year-olds for the 2008 presidential election, Rock The Vote blitzed their target audience with direct mail, urging them to sign up for text messages to remind them about registration deadlines and Election Day voting. The strategy worked: 200,000 young people opted for text message reminders and turnout among 18-29 year olds rose 4% – 22m young voters split 67/33 for Obama against his Republican opponent John McCain.

Nancy Boyda Newspaper inserts USA, 2006 Nobody gave Democratic candidate Boyda a chance of beating Republican Jim Ryan, a former Olympic track star, in this Kansas Congressional race. Yet she defeated Ryan easily after characterising him as having ‘gone Washington’ and using homespun print to emphasise her ‘woman of the people’ image. Starting with thousands of signs, Boyda focused her pitch on three 12-16 page newspaper inserts, which she designed and wrote at home with her husband Steve. Each one reached 200,000 households at a cost of $25,000 and generated more value in kind as other papers reported on her unusual tactics.

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FOOD MARKETING

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Hungry?

Ever since the first recipe was committed to paper, print and food have had a long and fruitful relationship. Now, with our appetite for gastronomic content growing by the day, print’s ability to display stunning imagery and convey simple, appetising recipes means it’s always on the menu for food marketers —

By Johnny Sharp

E

ver tried cooking with a recipe on your phone or iPad? Some say it’s

convenient, having a world of recipes at your fingertips – many as video tutorials – but then you have to pause after each instruction to carry out the next step. Then the screen times out and you have to swipe and log in again, then tap, scroll, zoom in and so forth, often with fingers sticky with ingredients or covered in flour. You can’t write your own adjustments to the recipe in the margins and God help you if you spill that pan full of stock over it…

As in other areas, traditional media brands often look to digital channels in search of new markets, and there’s no doubt that social media platforms such as Instagram have proved influential in spreading food trends. But it hasn’t been at the expense of traditional media such as cookbooks, food magazines or grocery mail – in fact you could argue that the two work well together to promote our growing obsession with cookery, reflected in the popularity of cookery TV shows across Europe.

Photograph by Jean Cazals Jean Cazals is a leading food photographer. This image is from a forthcoming book for Sketch restaurant in London and won the award for Best Food Photographer 2016 in the Food Portrait Category sponsored by M&S

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Österreich € 3,30 - Schweiz sfr 5,80 - Benelux / Frankreich: € 3,50 - Italien / Spanien: € 3,70

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“Many of our readers tell us that they sit down on the sofa after work, browsing through our magazine, enjoying the appealing food photos to get inspiration for their cooking” Gaby Holger, Editor in Chief of German cookery magazine Meine Familie Und Ich

Food for thought One of the most successful areas of print publishing is currently food and cookery magazines. Across Europe, publishers are catering for a growing audience of food fans, drawn to gastronomy thanks to a steady diet of prime-time cookery shows and a healthy interest in diet and nutrition.

In the Netherlands, supermarket food magazines Allerhande (Albert Heijn B.V.) and Boodschappen (Hoogvliet B.V.) are the second and third most read magazines in the country, with a resilient circulation of four million copies between them.

In France, the leading monthly food magazine Cuisine Actuelle has enjoyed consecutive year-on-year circulation increases. Food magazines also still hold their own at the top of the UK market, where supermarkets Asda and Tesco’s own-brand magazines occupied numbers two and three on the national ABCs for 2015, the former boasting a circulation of over two million, while the magazine produced for Waitrose is at number eight.

All registered a circulation increase in the last ABC fi gures. Among the paidfor magazines, BBC Good Food and Sainsbury’s Magazine were in the top 25 UK food magazines, selling over 450,000 copies a month between them.

Meanwhile, although celebrity chefs such as the UK’s Jamie Oliver and Germany’s Alfons Schuhbeck have risen to fame mainly through television shows, they

quickly gravitate to print, both via the ever-lucrative cookbook market or columns and recipes in magazines – or in some cases magazines of their own, such as Jamie magazine, which over the past five years has launched local print incarnations in every country in Europe and beyond.

Indeed, throughout Europe, food and cookery magazines continue to perform well for publishers and attract advertisers.

German cookery and lifestyle magazine Meine Familie Und Ich celebrates its 50th birthday in print this year.

“Many of our readers tell us that they sit down on the sofa after work,” explains Editor in Chief Gaby Holger, “browsing through our magazine, enjoying the appealing food photos to get inspiration on what to cook next for the family.”

She also believes that print has the edge when it comes to presenting food.

“Photography and content have to be a perfect match – that’s very important. The look and feel of a magazine has to be unique and harmonic. And print is haptic, so you can experience photography and content more intensely.”

That’s a view shared by the editor of a food magazine at the opposite end of the publishing market. Lotta Jorgensen is Editor of Malmo-based gastronomy magazine Fool (slogan: ‘Food, Insanity, Brilliance and Love’), a beautifully presented bi-annual print-only magazine that’s distributed across Europe and the

US, and has so far sold out of every issue produced. Their audience is gourmets and gastronomic obsessives, and she has no doubt that her magazine’s medium suits the subject matter perfectly.

“For us print is something you can hold in your hands,” she says, “something you can more easily share with friends – you can borrow my copy. In that sense it has a lot in common with food.”

And while the editorial team has concentrated on creating a high-quality, luxury experience rather than courting advertisers, brands are keen to be associated with them.

“We don’t actively sell ads,” she says, “but brands contact us because they would like to be in our environment and our target group is very defi ned – it’s chefs, people working in top restaurants, journalists and food obsessives everywhere!”

Thinking inside the box The message that such magazines and other food-related media promote is that cooking is an enjoyable, accessible and rewarding part of the 21st Century. Buying into that philosophy and running with it is another area of the food industry that has snowballed in recent years: recipe delivery services. Although they count themselves as online businesses, brands such as HelloFresh, Marley Spoon and Gousto rely on print when it comes to the all-important business of customers turning their

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Chupones are an indigenous wild fruit native to the Chilean coastal range.

Chupones (or neyu as the fruit is called in Mapudungun) are an important food item for the Mapuche — indigenous inhabitants of south-central Chile.

Maqui, a Patagonian wild fruit loaded with antioxidants, here served as a pie with sheep milk from Chiloé island, maqui extract and the fruit itself.

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“Print is something you can hold in your hands, something you can more easily share with friends.

In that sense it has a lot in common with food” Lotta Jorgensen, editor of Swedish gastronomy magazine Fool

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“ The internet is not that convenient when it comes to cooking – people don’t want to put an iPad in the kitchen or have to look at a movie to know how to do it.

It’s a messy place! So print is much better for that” Malcolm Burg, MD of Dutch recipe box service Mathijs Maaltijdbox

ingredients into meals.

“It’s really important to have printed recipes,” says Malcolm Burg, MD and founder of leading Dutch recipe box service Mathijs Maaltijdbox. “People really miss it if they are not there. The internet is not that convenient when it comes to cooking – people don’t want to put an iPad in the kitchen or have to look at a movie to know how to do it. It’s a messy place! So print is much better for that.”

The two leading brands in Europe have also witnessed the power of marketing through offline channels. Marley Spoon’s co-founder Fabian Siegel told TechCrunch last year how they had invested heavily in inserts with Amazon packages, and found that not only was it successful, but that offline customers proved to be valuable ones.

“It makes the customer acquisition process tedious and slow,” he admitted, “so you need good financing. But people who use the product stick with it.”

The all-conquering HelloFresh found the same to be true. Last year, as their business expanded from their original European base to the US and Australia, their website said: “Direct sales has gone on to make up to 50% of HelloFresh’s sales. It also drives the highest quality of customer for the business, as they understand the concept and the product and are committed to HelloFresh as a long-term customer.”

Now the two brands have built up a solid customer base, they can open a new revenue

stream by offering commercial partners the same ‘piggyback’ service they used to grow their own business. For instance, in each HelloFresh box you’ll find a ‘Hello Perks’ envelope containing vouchers and offers from other brands.

Number crunching Elsewhere, technological advances are allowing more traditional grocery businesses to take advantage of digital-age data to combine the advantages of print with data-driven customer targeting.

Belgian supermarket chain Colruyt found their direct mail operation wasn’t as efficient as it could be, so they tasked their marketing agency Symeta to find a way of more effectively reaching out to different customer groups. “[Colruyt] used to send the same brochures to every customer, with 32 pages of coupons and 400 promotions,” recalls Symeta’s head of Sales and Marketing Jo van de Weghe. “The customers didn’t want to read it any more.

So we started to analyse the data, and through their customer loyalty cards we would register their purchases and target what products they prefer, and find out whether they’re a family, they have a garden, pets, and so on.

“We made a brochure with just 32 promotions on it instead of 400, on four pages instead of 32, but targeted them to different kinds of customer. The turnover

rose between six and eight per cent. We kept analysing the data and now it’s almost a predictive document – we can predict which customers will buy which kind of promotions and we can even predict when a customer is going to run away to competitors by their buying behaviours.”

The result is that two million Colruyt customers now receive regular ‘Selection For You’ brochures, offering personally tailored discount vouchers for carefully targeted products. The client themselves saw an immediate difference. “The sections [of our customers] that weren’t using coupons at all began using coupons,” says Bart van Roost, Head of Strategic Marketing for the Colruyt Group. “Because they said, ‘now it’s becoming interesting for me.’”

This points towards a fascinating future for food marketing in print, where improved analysis of customer habits and tastes can be used to target them with personalised magazines and direct mail that cuts through the media noise to grab the customer’s attention more effectively.

Meanwhile, as recipe kits continue to grow in popularity and culinary magazines and cookbooks maintain their position at the heart of 21st century food-lovers’ lives, food marketing will continue to capitalise on food’s enduring relationship with print.

As Lotta Jorgenson puts it: “They’re both tactile, sensual experiences. You want your images to look good enough to eat, and in print you can do that.”

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“ You have about three seconds to get your message across in an advert and there’s no better medium to do that than print” Shelley Smoler, Creative Director at BBH UK and Cannes Lions jury member

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From the McWhopper to Paradise Hill, the 2016 winners in the Print & Publishing category at Cannes all demonstrate the ability of print to surprise, excite and achieve some fantastic results. Three Cannes jury members discuss their five favourite examples —

By Sam Upton

w

ith the number of entries for this year’s

Cannes Lions Festival topping 43,100, this has been a record-breaking year for the legendary advertising festival and an indication of the thriving creativity within the industry. And while digital and social were heavily represented, print also made its presence felt, reaffirming its value and reminding many of the jury members of the effectiveness and excitement of a wellcrafted print campaign.

This year marked a change to the long-standing ‘Press’ category, which is now called ‘Print & Publishing’, reflecting the creative ways agencies and brands are now using print. This meant that entries weren’t confined to the usual 2D newspaper and magazine ads, but included a fantastic range of creative ideas, from pairs of cardboard glasses that could test the vision of Mexican children to plantable books that can grow into trees.

Clearly, the category contained some inspiring work, so we gathered three of the jury members to discuss their favourite print entries and explain why they were chosen to receive a coveted Lion. Jamie Standen is the Creative Director at Rosapark France and has worked on accounts ranging from adidas and Tag Heuer to EDF and Pepsi, while Ralf Zilligen, Executive Creative Director of McCann Germany, is responsible for accounts including L’Oreal Paris, Miele and Nespresso.

Finally there’s Shelley Smoler, Creative Director at BBH UK, who has worked on accounts for Google, Heineken and Audi, picking up a Cannes Grand Prix in the process.

Between them they have over four decades of advertising experience so it’s fair to say they know great campaigns when they see them.

I am…

Passop VML GOLD LION This visually stunning campaign was one of many entries by refugee charities, but while a lot relied on academic copy and detailed messages, this one stood out thanks to its immediate and challenging image.

Created for People Against Suffering Oppression and Poverty (PASSOP), a non-profit that advocates for equality, justice, and human rights for all people, the ads were designed to confront people’s prejudices and remind the world that being a Muslim doesn’t make someone a terrorist. Running in five countries, the ads immediately drew the attention of the judges.

“The images were so powerful and simple and provocative that you immediately got the message,” says Shelley Smoler. “It was a really smart way of bringing a current issue to light.”

Meanwhile, Ralf Zilligen says, “In terms of impact, idea, creativity and attitude, it was the most impressive piece of work of its kind.”

Jamie Standen was equally impressed. “There were a lot of ads in this area where you could say it was an interesting idea in an academic sense, but you wondered what it’s actually going to make the viewer do,” he says. “Is it going to challenge their beliefs, make them donate money, make them help people? And in most of the cases the answer was no.” www.printpower.eu | PRINT POWER _37

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Paradise Hill It’s Not OK FCB New Zealand GOLD LION This campaign, created to highlight domestic abuse in New Zealand, came very close to taking the Grand Prix because of the amount of thought, innovation and craft that went into its creation, as well as the huge levels of awareness it generated.

The need for the campaign came from a study that showed that a quarter of women from all high-income homes in New Zealand were domestically abused – much higher than most Kiwis realised – and that 65% of those surveyed believed family violence was more likely to occur in low socio-economic homes rather than high.

So to combat this lack of awareness, FCB New Zealand partnered with upmarket interiors magazine HOME to create an eight-page feature in one of its issues that showcased a perfect new home with the seemingly regular family that lived there.

The feature ran as normal but with a few disturbing signs that violence was occurring – a smashed vase, a small blood smear, an upturned chair. Only on the final page was the truth revealed, that violence can happen in any home, even homes like this.

“This looked at first glance like a stylish homes feature,” says Jamie Standen. “But when you looked closely, you’d see little details that made you question what was going on.”

“I thought this was brilliant,” says Shelley Smoler, pictured left, “a really smart way of using the medium of the magazine.

Organisations and charities ordinarily just put a print ad in a magazine, but here the medium was used in a clever way. They really thought about it, using the magazine to its full advantage.”

The response in New Zealand was phenomenal. The campaign very quickly went social, receiving over 280,000 Facebook engagements, and was covered by both of New Zealand’s TV news channels. The campaign eventually reached over a quarter of the New Zealand population – over 10 times the magazine’s readership – with 12% of readers either seeking help or offering it as a direct result.

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IKEA – Saudi Arabia Memac Ogilvy GOLD LION One of IKEA’s biggest selling points is its affordability, so Memac Ogilvy created a campaign that reminds people that beautiful Scandinavian design is as affordable as the least expensive things in their daily lives.

Here, simplicity is the key to the success of all ads in the series, with IKEA product images laid onto everyday items equal to the value of the furniture.

So coffee, toothpaste, fizzy drink cans, stamps, pizza boxes and postcards were used as a visually striking new currency, subtly changing the way people perceive the value of the furniture. And it showed in the results: sales soared 21% compared to the same period the previous year, making it the most successful campaign since the brand’s arrival in Saudi Arabia.

“It’s a traditional print ad but traditional in a very good way,” says Ralf Zilligen. “I love it.”

Meanwhile, Shelley Smoler enjoyed the ads’ immediacy. “They are so simple and so instant,” she says. “You have about three seconds to get your message across in an advert and there’s no better medium to do that than print.”

Epic Sleep Dutch Mill Co. Monday GOLD LION Dutch Mill Co. is a beverage brand active in Thailand, and they tasked Thai agency Monday with delivering the message that their Arabus 3-in-1 coffee will make the customer feel fresh. The solution took the online photoshop battle as its inspiration, perfectly blending print and social media to create an original, funny and impactful campaign. The series of multi-image ads each took an image of someone sleeping and used Photoshop to place it in bizarre situations, from riding a bull in a rodeo to lying inside a croissant, with the final tagline reading, ‘In social era, sleep became epic.’ Shelley Smoler was particularly impressed.

“The ad took the trends of online and social media and implemented them in print,” she says. “It shows how print has evolved – you can take the same behaviour that’s used online and bring it into print.”

Ralf Zilligen, left, echoes Shelley’s enthusiasm.

“I thought it was really fresh because it was a print ad responding to social media and I found that really funny,” he says. www.printpower.eu | PRINT POWER _39

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McWhopper Burger King Y&R New Zealand GRAND PRIX As a high-profile example of how huge, multi-platform campaigns for global brands can be kickstarted by print, the McWhopper campaign was immensely successful. Inspired by a need to increase brand consideration for Burger King in the 18-34 yearold demographic, as well as raise awareness of International Peace Day on September 21, Y&R New Zealand created an audacious plan to ignite conversation and get a reaction out of their client’s biggest rival, McDonald’s.

The all-important first step in a complex campaign was to publish an open letter in The New York Times, inviting McDonald’s to mark International Peace Day by creating a burger together. Helped by frenzied media interest, the letter quickly went viral, becoming the number one trending topic on Facebook and Twitter. But when McDonald’s turned down the offer they drew fierce criticism and tens of thousands of people created and shared their own McWhoppers on social and mainstream media.

Results for the campaign were staggering: 8.9bn media impressions, an ROI of 1:88, and a 40% increase in Peace Day awareness – “the single highest contributor ever towards Peace Day awareness” according to McKinsey and Company.

“This campaign won in a lot of other categories at Cannes,” says Jamie Standen, below left, “but we wanted to state that print was its home category because it started in a newspaper. When you write an open letter, you really want to publish it on paper.

And the fact that it was in The New York Times gave the letter a legitimacy it may not have achieved had it been launched on Twitter or Facebook.”

“The whole campaign started as a print ad but grew into a global conversation,” says Shelley Smoler.

“Because it was a letter, it couldn’t have started in any other medium. Even though it’s a traditional medium, print is seen as a credible, newsworthy source, and if the letter was published on social media, it would have got lost very quickly.”

“My conclusion,” says Ralf Zilligen, “is that if you have to say something very important, say it in print.”

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MAGNETIC Everyone loves printed magazines. Even in a digital world they can be more compelling than any tablet or smartphone app.

We can’t help but pick them up and have a good old-fashioned browse.

As an enjoyable way to be informed and entertained we would love to help you harness the power of print to engage, enthuse and empower the people who matter most to your brand or business.

Here at Precision Colour Printing, we’re passionate advocates for the power of print.

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T: 01952 585585 WWW.PCPLTD.NET

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/ FREE PRESS

KOSTENLOS

FREE! GRATIS

ILMAISEKSI

Wherever you are, one of the most powerful words in marketing is ‘free’, and nowhere is this better demonstrated than in the thriving sector of free newspapers and magazines. But what’s the secret to their success and how can you and your brand make the most of this publishing sensation?

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By Ashley Norris

GRATUITO KOSTNADSFRI INGYENES

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18L_Ausgabe

17 August 2016 12:31 vorm.

1

DECADE AGO, the future of free newspapers looked uncertain. Spiralling print costs, the growth of digital media and social platforms, and an uneasy relationship with marketers – many of whom perceived them to be of little value in targeting premium consumers – meant that some pundits predicted that the freesheets were living on borrowed time.

Fast forward ten years and a remarkable transformation has taken place. Virtually every major European city has a thriving free newspaper, from 20 Minuten in Switzerland to Destak in Portugal, while several previously successful magazines have swapped their paid-for business model for a free one. Most have also become known in their territory not just for editorial excellence but for successful commercial experimentation.

And while the print publications continue to grow, it’s digital magazines that have struggled to generate income as they face the rise of ad blockers, the fall in ad revenue thanks to programmatic buying, and a reluctance of consumers to pay for online content.

A

Scale and engagement So why have free publications become so popular with European consumers and marketers? The most recent survey, from 2014, suggests that 28.5m people across the continent read a free newspaper on a daily basis. The Metro Group alone claims over seven million readers from the nine

countries it’s active in, while France’s major player, 20 Minutes, which also has newspapers in Spain and Switzerland, boasts 3.7m readers on a daily basis. Italy’s key title Leggo, which is distributed in many cities in the country, has a circulation of almost one million.

“Free magazines fit well into the lifestyles of the digital generation, alongside the digital media where they spend most of their time,” argues Tim Ewington, cofounder of Shortlist Media, which boasts several successful free magazines in the UK. “Free print can have scale and power, punching through the media clutter, and it’s a great way to build a new brand.”

Technology, or rather its limitations, may have helped too, since in some European cities free newspapers have thrived because consumers can’t access the web on their smartphones or tablets because of poor-quality signals. Yet consumers wouldn’t pick up the papers if they were poor quality. Ed Needham, editor of Coach, a free men’s lifestyle publication launched last year by Dennis Publishing in the UK, thinks that to succeed, freebies need “quality design, an engaging tone and genuine usefulness for people.”

Also, freesheets haven’t been slow to borrow a few tricks from digital media.

So clickbait headlines, listicles and punchy Q&A-style interviews proliferate.

Yet it isn’t just the urban young who are enthusing about free publications – there’s also been a fundamental shift in terms of attitudes towards free newspapers and magazines from marketers.

Freedom of information Europe’s leading free newspapers, such as 20 Minuten (top left), Destak (top middle) and Leggo (above) have a powerful reach

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/ FREE PRESS

“Free newspapers combine the engagement of print with the possibility of huge reach” Mark Jones, Account Director at Amplifi

Commuters’ friends The UK in particular has seen big freesheet growth, with daily newspapers such as Metro (top) and free magazines such as Coach (above) boasting huge circulations

“There was a stigma about free newspapers that they were low quality and attracted low-end readers. That has now gone,” explains Mark Jones, Account Director at Amplifi , which has delivered many branded campaigns for free publications.

“In fact, the freesheets are now one of the best places to reach young urban, affluent consumers. The free newspapers’ major advantage is their reach. They combine the engagement of print with the possibility of huge reach. It is very hard to get that quality and quantity of audience.”

A 2016 study from CMPA ONE Global study backs up Jones’ claims, citing 20 Minutes as one of the most powerful brands in France for reaching young audiences, with a reach of 4.7m 18-30 year olds regularly seeing the brand. Meanwhile Portugal’s Destak claims that 54% of its readers are under 35 years old, with 64% being middle, upper-middle and upper class.

There also appears to be a happy compromise between publishers and readers, with the latter understanding that the content is funded entirely by ads.

“This means that the whole concept of church and state in publishing is largely redundant,” says Jones. “And it seems that consumers are quite happy with brand activity that they wouldn’t necessarily stomach if they were paying for a print title.”

Front page news The gold standard for freesheet engagement is the cover takeover, where a brand substitutes the actual cover for a wraparound advertisement. Countless brands have taken advantage of this, from FMCG and travel companies through to consumer electronics giants.

One of the most imaginative was the Metro newspaper campaign run in France, Italy and Spain. Produced in collaboration with HP, the newspaper asked readers to create their own campaign based around the concept of ‘What Do You Have To Say About Your City?’. The competition attracted thousands of entries and won the M&M award for Best Contribution by a Media Owner. There were over 80,000 unique visitors to the bespoke microsite and almost 70,000 readers reacted to the campaign.

Customising the front page of free newspapers is a tactic that’s worked effectively for other brands too. In Spain, Korean Airlines recently created a front page with a die-cut hole that resembled the

window from a plane. The airline claimed that 95% of readers recalled seeing the activity and that 50% of respondents said they were going to fi nd out about Korean Air fares or check out their website.

Some brands have even gone beyond the cover by sponsoring a whole issue of a publication. Carat worked with British Airways and Time Out on a US-themed issue, which featured a glossy cover and full-page British Airways ads on all cover sites, accompanied by a dedicated six-page advertorial feature written by Time Out writers in cities across the US. Over 300,000 copies of the issue were distributed, with the publisher claiming a readership of over 1.1 million.

The rise and rise of branded content In many ways, the growth of branded content in free newspapers has mirrored the rise of native advertising in online publications. As traditional display advertising has declined as the major online revenue source – largely due to the growth of ad blockers and pre-eminence of advertising on social platforms such as Facebook – media brands have been more eager to work with companies on branded content.

It’s still early days for this, as Mark Jones explains. “There are still more opportunities,” he says. “I think the revenue is only about 20% from branded content, with the bulk still from traditional advertising.” Yet as brands see spectacular results from dedicated native advertising, so demand for branded content in free newspapers is sure to increase.

Overall, the future for free newspapers remains buoyant throughout Europe, with brands and agencies continuing to develop clever, intelligent and engaging campaigns to place in them.

But might their popularity ultimately lead to market saturation? Ed Needham of Coach doesn’t agree. “Yes, the market is limited by the number of days in the week and the amount of space available outside tube and rail stations, but these are distribution issues.”

Needham believes the key is that good editorial content will always connect readers to brands. “In terms of editorial opportunities,” he says, “they are as plentiful as ever. And with the demise of the paid-for men’s market, advertisers are eager to explore new ways to connect with large numbers of readers, as they aren’t exactly spoilt for choice.” www.printpower.eu | PRINT POWER _45

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print marketing can do

many things: inspire, engage, entertain, persuade, educate. But one of its key strengths for brands is keeping customers loyal. There’s something about a well targeted piece of direct mail or a customer magazine that’s impossible to put down, which builds a strong connection between brand and customer, a connection that can result in a customer choosing a single brand above all others for months and even years.

In a world where switching brands of anything from washing powder to broadband providers to banks is increasingly simple, keeping your existing customers loyal – or engaged – is getting ever higher on the ‘to do’ lists of marketers worldwide. In a survey by Accenture,

engaged customers were found to make purchases 90% more frequently and spend 60% more per transaction 1 .

Of course, customer service is a large part of keeping customers loyal, but print marketing also goes a long way to keeping your customers engaged and confident.

The power of receiving a beautifully crafted customer magazine as opposed to an impersonal email should not be underestimated, and in these days when receiving post is increasingly rare, a piece of direct mail resonates all the more strongly. Research has found that 57% of people feel more valued when receiving mail from a brand, whereas only 17% said this of email 2 .

The direct approach A clever piece of direct mail can be used to delight and reward loyal customers.

Cafe chain Costa Coffee mailed its most frequent customers a premium pack with samples of a new blend for them to trial at home. During the course of the campaign around 870,000 cups of the Old Paradise blend were sold, with some 68% of these coming from members of the brand’s coffee club loyalty scheme.

Pete Markey, brand communications and marketing director at the insurer Aviva, warns of the danger that marketers can forget how marketing basics such as direct mail can drive loyalty.

“Years ago I remember the day when people shouted from the rooftops about how brilliant email was when it arrived,” he says. “The view was that email would kill direct mail, but all that happened was that our inboxes filled with spam and email gradually became less effective.”

Markey believes direct mail can “create

A MARKETER’S BEST FRIEND

Next to actual sales, there’s nothing more important in brand marketing than loyalty. Keeping a customer happy, confident and engaged in your brand takes regular communication, a strong emotional bond and a lengthy presence in the home – which is where print comes in —

By Matthew Chapman

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/ LOYALTY

Research has found that 57% of people feel more valued when receiving mail from a brand

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Loyalty schemers Below (l-r): Chris Bates from John Lewis, Paul Snoxell from Andrews Aldridge, Aviva’s Pete Markey, Cath Kidston’s Sue Chidler Bottom of page (l-r): Cath Kidston continue to use print marketing extensively in their campaigns; a spread from BMW’s customer magazine

A FAITHFUL FRIEND FOUR INDUSTRIES THAT INSPIRE LOYALTY THROUGH PRINT Utilities A gas bill no longer needs to be a thing of dread and can instead inspire loyalty. Energy firms are using direct mail to explain where they are spending their customers’ money and encourage consumers to save money by moving to a cheaper tariff.

Charity Mail can have a particularly strong loyalty impact in the charity sector.

Almost three quarters (71%) of those who received a piece of valuable charity mail in the previous 12 months felt more loyal as a consequence.

Financial services Direct mail remains popular among banks. Financial services are complicated by their nature and therefore many customers prefer to have the finer details sent to them in paper format so that they can digest the information at their leisure.

Retail Catalogues and customer magazines have long been a stalwart of the retail industry, helping to create an emotional connection between a brand and its customers. UK-based retailer Argos recently attempted to phase out its much-loved catalogue, but then returned it to digitally led stores due to customer demand.

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/ LOYALTY “Print is not ephemeral. It hangs around for a long time” Paul Snoxell, Creative Director at integrated agency Partners Andrews Aldridge

special moments” that strike a chord with customers and he cites a pet insurance mailing from his time at insurer More Than as proof. It appealed to pet owners on the day of their dog’s birthday to take out pet insurance for their beloved dog, and was one of the firms’ most successful ever packs.

Treat your customers Direct mail is also an important part of the marketing mix for British department store group John Lewis, as it seeks to reinforce its standing in the UK and expand into new markets such as the Netherlands and Australia. The iconic retail chain uses direct mail to reach out to members of the retailer’s loyalty scheme by sending out regular rewards and invites to special events, while it also produces customer magazines such as its quarterly Edition magazine.

“Print has a real ability to cut through creatively, which is evidenced by often higher response rates for direct mail packs compared to equivalent emails,” says Chris Bates, Head of Customer Marketing at John Lewis. “A physical magazine also really appeals to customers, with many seeing it as a treat, which often appears as a coffee table staple.”

A customer magazine keeps a consumer’s attention for 25 minutes3 on average, and this longevity is a key advantage that print has over other marketing channels, including broadcast and digital.

“One of the things about print is that it’s not ephemeral,” says Paul Snoxell, who, as Creative Director at integrated agency Partners Andrews Aldridge, has worked on the BMW customer magazine. “It hangs around for a long time.”

The tactile element of print marketing is also an effective way for brands to establish an emotional link with their customers. “It is so important how things look and feel and behave in your hands,” says Snoxell. “The

physical experience is almost as important as the creative held within it.”

In order to forge a closer bond with its customers, BMW customised the content to the specific customer using data they held on their gender, life stage and interests.

At least four pages in each customer’s magazine would be tailored to feature more pictures featuring their gender or articles about their specific interests.

Through its loyalty programme, BMW has collected information on its customers’ sporting passions, food and drink preferences, or art and culture interests, which it uses to decide which news stories to insert or images to use. This activity, along with other supporting marketing channels, helped BMW achieve an 8% response rate to its ‘nurture’ campaign and generated an ROI of 32:1.

Meanwhile, a Smithers Pira white paper commissioned by Konica Minolta found personalisation within print materials can increase customer loyalty by over 40% 4 .

The catalogue connection The concept of using print marketing to nurture customers is one that’s been long adopted by Cath Kidston, the home and lifestyle brand with a strong international presence in markets such as Spain, France, the UK and Japan. Cath Kidston released a print catalogue when it only had a single store and now the brand sends out catalogues eight times a year, with mailings numbering in the millions.

To mark its upcoming Disney tie-in, Sue Chidler, the brand’s marketing director, reveals that 500,000 of the brand’s ‘best’ customers will receive Cath Kidston’s new catalogue, which, at 72 pages, will be 25% larger than its previous biggest catalogue.

“Getting something tangible in their hands is still something that really resonates with our customer,” says Chidler.

Chidler is such a strong advocate of catalogues because they allow customers

to “enjoy something at their leisure”. This lifestyle-friendly aspect allows a brand to build a more effective connection with a consumer to achieve a soft sell, and fits in with the growing ‘slow marketing’ trend, which is gaining increasing traction across the industry.

Swap shop In today’s cut-throat commercial world, where customers can switch between brands with increasing ease, direct mail plays a key role in reducing churn.

Markey believes direct mail can be “hugely beneficial” in driving home a marketing message more effectively when it is “targeted at the right part of the customer lifecycle”.

“It is all about having proper scheduling and thinking about who I am talking to, when, and with what message,” he says.

“The really important part is having an ‘air traffic control’ system across the top.”

While there can be no doubting the effectiveness of print in ensuring loyalty, Snoxell and company all agree that print is most effective when part of a more holistic solution. “Print can and does play a really important role in loyalty right now,” says Snoxell. “But you can’t do it on its own and it all has to be joined up.”

Marketers should ignore print marketing at their peril in their constant effort to keep pace with the latest digital fads. The loyalty of their customers and the survival of their brand may depend upon it.

Sources

1 2016, Accenture, Products, Services or Experiences: What Do Customers Value Most? http://bit.ly/2aDdGNi 2 2014, MarketReach, It’s All About Mail and Email http://bit.ly/2aeIV0D 3 2005, Association of Publishing Agencies http://bit.ly/2aC0RFy 4 2016, Smithers Pira, From Innovation to Implementation, http://bit.ly/2aC0uuZ

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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 five key mediums covered by Print Power. Each one has their individual strengths and advantages, but used in combination with each other, they offer a powerful solution to any marketing challenge

52_Newspaper advertising Newspapers are still the number one medium for shaping public opinion. Their credibility, knowledge and values remain a formidable force.

53_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.

54_Direct mail With an ROI of up to 40% and an industry value of £25bn in the UK, direct mail is still one of the most effective marketing channels.

55_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.

56_Door drop The door drop market is rising in both volume and revenue, and is ideal for getting a great level of response from the most amount of people.

57_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 factual accuracy 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.

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.

“ Newspapers are driving the agenda of Westminster. The strength of journalism is as great as it ever was and that generates a level of influence for advertising in newspapers” Sue Unerman, chief strategy officer at MediaCom

Secrets of the South Brand USA The marketing organisation for the United States, Brand USA, wanted to show readers of The Times and The Sunday Times that there’s much more to discover in America than they realise. So the editorial team at News UK’s creative agency, Method, set about creating a series of print travel supplements to be distributed with the newspapers.

Titled Secrets of the South, the supplements explored the Southern States of the USA, giving the reader a fantastic insight into the life, culture and festivals of a ‘hidden’ America. These guides were replicated online and on tablets, while online videos gave a glimpse of this diverse and exciting area.

Results of the campaign were impressive: over three quarters of readers wanted to find out more about travelling to the USA – a 31% increase from before the campaign – and over two thirds of readers plan to travel to the USA in the next two year, with an estimated spend of over £4m.

60% of all UK students read a print newspaper each month and 47% each week Newsworks, 2016

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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.

“ People will keep valuing the experience of holding a print magazine in their hands” Michael Brunt, chief marketing officer of The Economist

Speedo Fit Speedo The international swimwear brand wanted to redefine the perceptions of the brand and promote the efficiency of swimming as a fitness vehicle to swimmers and non-swimmers, so they turned to health titles, Men’s Health, Women’s Health and Runner’s World to engage their target audience.

Choosing four brand ambassadors to get ‘Speedo Fit’ – a professional rugby

275 The amount of advertising pages in the March 2016 print issue of Vogue UK, up by 27 pages on the March 2015 issue Vogue, 2016

player, two swimming novices and a competitive swimmer – the campaign assessed how their swimming journeys not only improved their fitness, muscle tone and fat content but contributed to other areas of their lives.

The three-month multichannel campaign included print advertorials, online articles, videos, newsletters and social media, with the audience following the challengers as they took on their individual Speedo challenges.

The campaign delivered against its key objectives, with analysis showing excellent recall levels, indicating the content was very memorable – particularly in print. Indeed, the campaign generated extremely high levels of call-to-action, with over 55% of print recalls.

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7 reasons_Direct mail

1_ The mail moment Direct mail enters an individual’s home and is consumed on a oneto-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.

Night Time Safari National Trust

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.

31% Personalised marketing delivers 31% greater profits compared to general marketing Smithers Pira, 2016

“ If you have a letterbox, mail can have purpose – it’s just a question of identifying the most relevant point in the journey for a personal, tactile experience” Nick Myers, Planning Director of Proximity

The UK charity National Trust works to preserve and protect historic places and spaces, and in 2015 wanted to get kids out of their bedrooms and into the countryside. So they devised a campaign called ‘50 Things to do before you’re 11¾’, which worked to reintroduce families to outdoor adventure. Part of that campaign was a piece of direct mail that ignited the imagination of all families it was sent to.

The Night Time Safari poster was sent to National Trust members who were parents of children between five and 11¾. When viewed in the light, the poster was a daytime countryside scene, with animals, birds and bugs. But when viewed in the dark, the poster really came alive, with a hidden night-time scene printed in phosphorescent ink, containing all the amazing animals that could be seen at midnight.

This exciting transformation was designed to get the kids talking to their parents about the countryside and having their own adventures outdoors. Designed to drive people to the full digital campaign, the poster was a roaring success. App downloads increased 11 times, while site traffic increased and dwell time shot up from two minutes to seven. More importantly, the 90,000 children who signed up to the integrated 50 Things campaign spent a combined total of 23 extra years playing outside.

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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.

“ On average, print is our most effective ROI channel” Tim Pearson, CEO of Manning Gottlieb OMD

Nikon Pro Nikon Produced in four languages and distributed to 30,000 professional and amateur photographers across Europe, Nikon Pro is the key communication vehicle for Nikon Europe. Packed with stunning photography

66% The percentage of marketers that expect their organisation’s content marketing budget to increase in the next 12 months Content Marketing Institute, 2016

and practical features, the tri-annual magazine gives its loyal readers an exclusive insight into the photography industry, including location reports, expert analysis of the latest techniques, and articles about the world’s leading photographers.

With armfuls of industry awards and consistent client satisfaction, the magazine also delivers an impressive commercial return, with almost half of Nikon photographers saying they have bought a Nikon product or service that was featured in the magazine’s pages.

Add to that an average reading time of 55 minutes, 85% of readers rating the title as ‘entertaining’, and a tablet edition that provides extra features and video content, and you have the complete package for the European photographer.

www.printpower.eu | PRINT POWER _ 55

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7 reasons_Door drop

1_ It delivers ROI Door drop drives rapid and measurable response. That shows an impressive ROI – and it’s growing.

An ELMA study shows the door drop industry has grown 4.8% in media spend and 3.8% in volume over a five-year period.

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 being 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.

Well Well Pharmacy

“ Door drops are building blocks for brands” Gavin Wheeler, CEO of WDMP

With 780 Co-operative pharmacies scheduled to rebrand to Well over seven months, the challenge was to convey the name change while ensuring minimum impact on customer attrition and loyalty. So, driven by brand research, a door drop campaign was created to

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.

38 days The average time door drops are kept in the house ELMA, 2015

drive brand awareness and recognition.

The local, highly targeted campaign was focused by area and the mailings localised by branch. Historic data showed that 90% customers lived within a mile of their branch, so mailing catchments were built individually. To track effectiveness, the door drop included three discount vouchers to drive visits and spend.

Well ran a rolling You Gov poll both regionally and nationally throughout the rebrand, which showed brand awareness increasing month-on-month. Some 3.6 million people living in close proximity to Well’s pharmacies were reached, driving 4% unprompted brand recognition nationally over just three months, with recognition rising as high as 12% in targeted regions. From this, 6% of all participants cited door drops as the reason they knew the brand.

56_ PRINT POWER | www.printpower.eu

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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 that 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.

Baselworld Brand Book

“ Print is delivering very strongly for our business” Nick Ashworth, media agency manager at DFS Furniture

The international watch and jewellery show takes place every year in Switzerland, bringing together the world’s leading jewellers and gemstone dealers. For such a high-end audience, the organisers of Baselworld need a print companion to the event that reflects

58% The percentage of online shoppers that browse printed catalogues for ideas Kurt Salmon, 2014

the luxurious nature of the industry, as well as its sponsors and exhibitors.

The Baselworld Brand Book is a feat of production that uses expertly crafted editorial and inventive printing techniques to lift the publication high above a standard listings catalogue.

The 578-page book features a range of paper stocks and inks, as well as foils and diecutting, to create a beautiful souvenir and reference source for the show’s visitors all year round.

The book was so popular that it sold out before the 2015 show finished, with more brands signing up for the publication than the previous year. The book was also distributed to more countries than ever before and became a key part of the show’s communication strategy.

www.printpower.eu | PRINT POWER _ 57

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FINAL WORD

\

Marcus Rich The CEO of Time Inc UK on the developing role for print and why the medium is perfect for native advertising

“Native advertising will drive 70% of all ad revenue by 2021 and print is ideal for that”

Does print have a key role to play in the internet age?

Absolutely. We need to demystify some of the stats because the print newsstand market in the UK is actually in growth. There are some changes in the construct of that – there’s some higher cover-price monthlies that are driving retail sales value, for instance – but what’s happening is that print products are fulfi lling different roles in people’s passions over time. We’re clearly seeing growth at the older and upper end of the market. If you take a magazine like Country Life, it’s consistently grown its newsstand sales figures over the last five years.

— What can print offer that digital can’t?

One major thing is the collectible element of print. It’s harder to collate and collect stuff which provides you not just with entertainment but information that you return to on a regular basis. A really good example of that is TV listings. The technology for fi nding out what’s on television has been around a long time, but nothing performs like print in enabling you to analyse, enjoy, mark up and return to in order to consider the information on a daily basis, as proven by the robustness of TV listings in newspapers.

Print is simply a platform that cannot be replicated in the new digital age for that content.

— Where do you see the other growth areas for print publishing?

I’ve just been looking at a report that says native advertising will drive 70% of all ad revenue by 2021, and print is ideal for that. You can place advertising on television but you can’t get the person who then comes on the screen in the television programme to talk about your product in the context that you want to see it. You can place advertising in radio and even have presenters talk about it, but you can’t immerse it in the same way that print has been doing for ages.

Advertisers want a deeper engagement now, which means a real empathy for the content and the commercial messages, and they want to be able to tell their story across all platforms. So I think that the shift from traditional display to native advertising is a real opportunity for print publishers.

— Last year you helped set up Magnetic, the marketing agency for magazines. Do you see that offering better results for advertisers?

Yes. I think the phenomenon that’s really interesting is that you look at the left-hand side and say print is in decline, circulation figures are down. But if you look at the overall reach of the brands that emanate from print, it’s never been bigger. So what we’re saying is that it’s not about platform, it’s about content. The content we produce has never been more relevant and more important, and as an advertiser we can actively engage in delivering that content and delivering native content so you can achieve the journey right the way from social through to say, an experiential at the end, like the NME awards.

There’s a guarantee that you’re partnering with an organisation that can deliver exactly the same quality of content and therefore suit the same level of trust whatever platform the content is on.

58_ PRINT POWER | www.printpower.eu

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03/10/2016 11:19

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