Print Power 5

ISSUE 05 / SPRING 2013 / ADD PRINT ADD POWER

Get the picture?

How print can work with technology for a truly interactive experience

American idol

We speak to David Granger, Editor-in-chief of American Esquire

Loitering with intent

Discover slow journalism and its manifesto for magazine enjoyment

QUEEN OF THE AISLES Sainsbury’s top marketer Sarah Warby reveals why print is so important to the retail giant

AUSTRIA, BELGIUM, FINLAND, FRANCE, GERMANY, HUNGARY, ITALY NETHERLANDS, NORWAY, PORTUGAL, SPAIN, SWEDEN, UNITED KINGDOM pkt_0174_PP_05_COVER_V6_su_rw.indd 1

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contents Ready, aim...

We’re bringing out the big guns this issue, with marketers from two of the largest retail brands in Europe – Sainsbury’s and Marks & Spencer. Whether it’s DM, magazine and newspaper ads, catalogues or customer magazines, both are big users of print and seeing fantastic results from the various publications they distribute to their customers.

But while it’s clear that such huge brands remain firm believers in print, the medium itself is changing. The most exciting development is the way it’s now working with technology to create an interactive experience for the reader, moving them from print to online, getting them closer to the brand and the point of purchase.

Turn to page 24 for a tantalising glimpse into the future.

Elsewhere, we take a peek at the work of top direct agency OgilvyOne, print creative that’s won praise from awards judges and clients alike, before we kick back with the editor of Delayed Gratification, the acclaimed magazine dedicated to the art of slow journalism.

So sit back, relax and take it easy.

We’ve done all the hard work for you.

Martyn Eustace Country Manager, Print Power UK

04-10

30-31

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

The Editor-In-Chief of American Esquire explains why the iconic title pushes the boundaries of print.

Engage

David Granger

12-13

32-35

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

Award-winning agency OgilvyOne guide us through their finest work.

Take 5

Direct action

14-15

36-40

Robin Bonn, Business Development Director of Seven, and Nick Craig Waller, Marketing Director for Informa Print & Media Group, on print’s place.

An exclusive interview with Marketing Director of Sainsbury’s, Sarah Warby.

Thought Leaders

16-19

Kitchen confidential

42-45

Pause for effect

Discover Delayed Gratification and the art of slow journalism.

High Street Hero

Julia Douglas, Head of Brand Publications for M&S, explains why the retail brand produces over 20 million print publications a year.

20-22

The White Stuff

Author and writing professor Ian Sansom muses on the enduring attraction of print.

46-49

Doing it for the kids

How big-name brands are using print to target the tricky under-25s market.

51-57

Knowledge

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

24-29

58

The six most exciting innovations that can bridge the gap between print and digital.

Dave Trott, Executive Creative Director of CSTTG, on the “no-brainer wallies” who say print is dead.

The future starts now

Final word

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

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

published by print power www.printpoweruk.co.uk produced by soul content www.soulcontent.co.uk EDITOR Sam Upton ART DIRECTOR Richard Wise coordinators Martyn Eustace, Sarah Collins PRINT Pensord DATA MANAGEMENT DST PRINT POWER Stonecroft, Hellidon, Northants, UK NN11 6GB • info@printpoweruk.co.uk • +44 (0)1327 262 920 © 2013 Print Power

Contributors

Sponsored by Robin Bonn The Business Development Director of acclaimed content marketing agency Seven, Robin has 14 years of experience building and refining new business teams across digital, traditional and technology agencies.

Nick Craig Waller As Marketing Director for Informa Print & Media Group, Nick is responsible for the success of global print events such as Cross Media and Ipex. Cross Media is one of the world’s leading events for multi-platform marketers.

Noelle McElhatton Former editor of Marketing, Noelle has extensive experience in the marketing, digital direct and insight sectors. She has run fully integrated content operations that span face-to-face, print, online and brand extensions.

Ian Sansom Ian is a novelist, journalist and broadcaster. His most recent book is Paper: An Elegy (4th Estate, 2012), which explores the medium of paper and its vulnerability and durability. He also teaches at the University of Warwick.

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www. p r i n t p ower u k. c o. u k _Print Power_

ENGAGE

The latest news from the world of print

Consumers trust print advertising more than any other media

63%

New research from Print Power Europe has revealed that, despite huge changes in media consumption, consumers continue to place the most amount of trust in print-media advertising. That’s more than TV, the internet and social media, and backs up what those in the print industry have been saying for years: print works because people trust it.

The research, carried out by Finnish research institute VTT, was drawn from interviews with over 700 consumers from 13 European countries. Each consumer was presented with a series of different situations and asked to comment on how well these stories described their own media use. The study covered nine media types: magazines, newspapers, TV, radio, internet, addressed direct mail, unaddressed direct mail, catalogues and social media, assessing their attitudes towards advertising in different channels.

The results were fascinating.

7/ 10

25%

41% • When asked how much trust they attach to advertising in the various media, consumers gave magazines and newspapers a score of 63%, TV 41% and the internet 25%

90%

• When asked about the role of advertising in purchase decision making, 7 out of 10 said advertising in magazines and newspapers is the most important

catalogue

• 90% of consumers value addressed and non-addressed mail above social media

9/ 10

• 9 out of 10 consumers have more trust in advertising in catalogues than on the internet

As well as these encouraging results, vital for both the print and marketing industries, the study also identified four main consumer segments, all of which regard print as the most trustworthy medium.

1. Slow bons vivants People who consider themselves print users and have a clear distinction between using print or digital media for certain purposes. This group has no need for interactivity in print.

2. Busy mix and matchers People who enjoy and appreciate print media but who very naturally shift between print and digital.

Interactivity in print is considered as a positive feature.

3. Tolerant surfers People who use digital media more than print but have a positive attitude towards print. They appreciate being able to choose from a variety of media. Use of social media is frequent and valued.

4. Youthful digilovers People who consider themselves digital users. This group sees no benefits in the use of print media.

Across the whole spectrum of respondents, people could be categorised into one of these four segments, with similar results found in all countries in the survey. It’s clear that print pays a vital role in the lives of the majority of consumers across Europe and is still a valuable and relevant medium for brand marketing.

“This study provided very interesting information on the most important factors influencing the choice of media and attitudes towards advertising,” says Anu Seisto, who led the research at VTT. “The results show that lifestyle and family situation explain the choices better than demographic factors alone.”

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

Apply here: Tattoo shop gets clever with QR Codes If you still need convincing of the potential of QR Codes when it comes to marketing campaigns, take a look at this advert for an Istanbul tattoo shop. The shop, Berrge Tattoo, needed to recruit experienced tattoo artists using a print ad, so devised this ingenious way of sifting out the amateurs.

The ad simply shows a section of skin with an area of fine boxes that needs filling in. Once completed, the QR Code is revealed and the applicant is able to scan the code and be directed to the application site.

Fancy a new job? Get your pen out and start tattooing…

60

%

Quote unquote

purchase as a result of receiving a catalogue A new study from Royal Mail’s MarketReach has found that the benefits of posting catalogues can be instant, with 60% of people making a purchase as a result of of receiving one.

The study, conducted by ComScore, looked into the role of printed catalogues in the digital age, analysing how catalogues can help drive website engagement.

Its findings are hugely encouraging for the catalogue industry, with 50% of people saying that catalogues are a convenient way to review products and more than a third (36%) saying that browsing print catalogues allows them to compare products before a purchase. It also found that more than half spend over £40 on their first purchase.

Furthermore, when they go online, consumers with catalogues look at more than double the number of pages viewed by the average person per visit (121%). They also spend 109% more time on retail websites than the average site visitor.

“Don’t try to make the catalogue into new media. have new media come to the catalogue” Mark Fallows, EVP Creative Technology of McCann New York, on augmented reality

96

To find out more about MarketReach, go to www.marketreach.co.uk

%

The percentage of

tablet owners who have read a printed magazine in the last year. This compares to the national average of 80%.

(PPA, 2012)

You can’t lick a stamp.

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

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

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

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www. p r i n t p ower u k. c o. u k _Print Power_

ENGAGE ENGAGE The latest news from the world of print

Proving the worth of magazine advertising A new report has shown that magazines show a higher average ROI than any other media channels, including television, internet and newspapers.

Titled Magonomics, the study was carried out by Mindshare UK and the PPA, and found that magazine budgets had to be at least doubled before magazine ROI dropped to the same level as television.

The study used econometric data from 77 campaigns with advertising spend of up to £6m to reveal ROI figures that quantify magazine advertising’s contribution to driving sales. As well as conclusively proving the worth of magazine advertising, the study also showed that, on average, correctly distributing magazine audiences over time leads to an uplift of 19% in magazine ROI, compared with the traditional assumption that all magazine exposures occur during the week the issue comes on sale.

James Papworth, the PPA’s Marketing Director, says: “This new insight highlights the multiple influences magazine brands have on the customer journey, from creating a differential perception to encouraging actual purchases.

At each stage, magazines deliver real value to advertisers.”

49

%

The amount of

adults that have donated to charity in the previous 12 months as a result of direct mail

Transform your home using print Britain’s best-selling homes magazine Livingetc has launched a 3D app which displays products in real size and from any angle, also allowing readers to view furniture in different colours and materials.

Marking the 15th anniversary of the title, the ‘Livingetc Reveal’ app uses augmented reality technology to bring to life design classics such as the Fritz Hansen Egg Chair, Fritz Hansen Series 7 Chair or the Eero Saarinen Tulip dining table.

Users simply detach a tracking marker found in each Livingetc April 2013 issue, then place the marker on the floor and aim their smartphone or tablet at it to reveal the design classics. The user can then take photos of the pieces and share via Facebook, Twitter and email.

“We are very excited to be able to share this amazing technology with our readers first,” says Suzanne Imre, editor of Livingetc. “It’s a great way to see how these design classics will look in your home before perhaps purchasing, or just to play around with the products in your own space.”

Go to www.livingetc.co.uk for more information

(TGI, 2011)

Quote unquote “Forbes magazine, and particularly the covers, are the front door to the brand” Mike Perlis CEO, Forbes Media

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

Investment banker.

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

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

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

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

CC

More growth for content marketing magazines

Print passes the taste test Fanta added another dimension to print earlier this year with a tastable ad. The idea is simple: instead of glancing at a magazine advert then flicking over, you tear off a piece of the page, pop it in your mouth and taste the product – in this case, an orange drink.

Created by OgilvyOne in Dubai, the ad was produced to promote the new ‘more orangey’ taste of the drink, and was printed on paper largely made from potato starch, flour and sweeteners.

But this isn’t the first time a print ad has been tastable. The same agency created an ad for Volkswagen two years ago, which invited the reader to ‘Eat the road’. The ad appeared in Auto Trader magazine and encouraged readers to tear the page out and eat it.

To watch the Fanta video, go to www.youtube.com and search for ‘tastable ad’

Quote unquote “Catalogues drive online sales by creating product awareness, recruiting new customers and building brand loyalty” Jonathan Harman MD for MarketReach

76

%

The amount of

print buyers and marketers who think print is as effective or more effective than the internet for marketing PrintWeek’s Power of

B B

AA

The latest ABC figures for customer magazines have shown an impressive 13% rise in combined circulation over the past 12 months, with the past six months showing a huge 35% rise.

Half of the ABC Top 10 Magazines by Circulation are now customer magazines, with titles produced for brands occupying the top four places. These include Asda Magazine, Tesco Magazine, The National Trust Magazine and Morrisons Magazine. Indeed, Morrisons Magazine realised the second-highest period-on-period circulation increase (+10.8%) behind Time Out. Customer titles featuring in the Top 100 now reach 12 million people, equating to five million hours of consumer engagement for these brands and their third-party advertisers.

“With consumer trust of the media at an all time low, it’s unsurprising that branded media is winning out with the British public,” says Clare Hill, MD of the Content Marketing Association. “Content marketing is a non-intrusive discipline that adds value to the customer’s life and marketing directors are increasingly recognising its power, which is why we’re seeing ABC debuts such as Specsavers Magazine and new customer magazine launches every period.”

For more information about ABC and magazine circulation, go to www.abc.org.uk

QUICK HITS •• A Japanese newspaper has developed an augmented reality app that changes articles for adults into features for children. The childfriendly version features simplified language and cartoon animation on all articles, from politics to social problems.

•• Kit Kat have launched Wi-Fi-free zones in Amsterdam to help people “have a break” from updates, emails and other digital noise. The zones block internet access within a five-metre radius and encourage people to enjoy a good magazine or book instead.

•• The Belgium postal service, bpost, have released a series of five postage stamps smelling and tasting of chocolate. The limitededition stamps were issued to honour the different forms of the world-famous Belgian chocolate.

•• Canadian Paper producer Domtar have created a campaign promoting the value of paper in everyday situations. Titled ‘Paper Because’, the campaign features four comical videos, each one showcasing the effectiveness and sustainability of paper. The videos will run on the websites of The New York Times and National Geographic, but to see them now, go to www.paperbecause.com •• A study has found that at least 95% of the public don’t trust online ads, with just 2.8% saying they trusted adverts received on their smartphones. The research, carried out by Adblock Plus, a browser add-on that blocks online ads, also found that nearly 50% of people in the UK either already use ad-blocking software or would like to find out how.

Print Survey 2012

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www. p r i n t p ower u k. c o. u k _Print Power_

EXPANDING THE PARAMETERS OF PRINT

HEADLINE SPONSOR

If you’re looking for new ways to bring print to life through personalisation, targeted direct mail, social media, augmented reality or a host of other cutting edge marketing communication channels, then Cross Media 2013 is the event for you.

CONTENT SPONSOR

PAPER PARTNER

AN EVENT FOR INNOVATIVE MARKETING, PUBLISHING AND PRINT PROFESSIONALS Register to attend for FREE

crossmedialive.com/regpp

DIGITAL MEDIA PARTNER

PRINT PARTNER

ASSOCIATION PARTNERS

EVENT PARTNER

ENGAGE

The latest news from the world of print

It’s clear to anyone involved in the print and marketing industries that all media, whether for brand campaigns or the newsstand, is now multi-platform. It’s simply not enough to publish content through a single channel anymore. You have to think about online as well as offline, social as well as mobile.

Such a need for multi-channel thinking has given rise to Cross Media 2013, an event dedicated to the effective integration of print and digital. After the success of the inaugural event last year, the exhibition returns with a wider range of exhibitors and a broader programme of presentations, seminars and workshops.

The event is aimed at marketers, brand owners, publishers, printers and print buyers, all communities that are having to adapt to the rapidly developing world of digital and the innovations that come with it. Fall behind in your knowledge

and you risk irreparable damage to your brand.

So a key part of Cross Media 2013 is the Cross Media College, a series of over 50 free seminars spanning five theatres, which will feature keynote speakers delivering thought-provoking insights into their campaigns and initiatives. Taken with the hundreds of international exhibitors showcasing their innovations and knowledge, this expert advice and inspiration will give you the experience and support you need to tackle the most complex of multi-platform challenges.

Cross Media 2013 will take place at the Business Design Centre in London on October 23 & 24, 2013. For more information, go to www.crossmedialive.com

EVENT DIARY MAY 8 / 2013

JUNE 25-29 / 2013

This annual focal point for the publishing industry will explore the key trends shaping all aspects of the industry, with a particular focus on innovation and emerging technologies. Opening the conference with a keynote address will be Ed Vaizey MP, Minister for Culture, Communications & Creative Industries.

As the largest event for the wide-format print industry, Fespa 2013 features the very latest equipment and consumables in digital printing, screen printing, industrial and garment decoration. With more than 650 exhibitors and ten show features, the event allows print professionals, brands and designers to engage with the print industry’s leading manufacturers and suppliers.

PPA CONFERENCE 2013: PUBLISHING+

•• London Hilton Metropole www.ppa.co.uk/conference2013

MAY 14-15 / 2013

WORLDWIDE MEDIA MARKETPLACE WMM is the only event in the world designed for magazine publishers interested in international licensing, joint ventures and content syndication, and attracts over 300 global media decision-makers every year to network, debate and do business.

Fespa 2013

•• ExCeL, London www.fespa.com

SEPTEMBER 23-25 / 2013

FIPP WORLD MAGAZINE CONGRESS

EXPANDING THE PARAMETERS OF PRINT

•• Novotel London West, London www.wmm.net

MAY 21 / 2013

The FIPP World Magazine Congress is the largest and most high-profile magazine media event in the world, bringing together consumer and B2B magazine media publishers and other stakeholders from across the globe.

Now in its 39th year, the Congress promises top-class speakers and expert HEADLINE SPONSOR panels, as well as a large commercial exhibition.

•• Hilton Cavalieri, If you’re looking for new ways to bring print to life through personalisation, targetedRome www.fippcongress.com CONTENT SPONSOR direct mail, social media, augmented reality or a host of other cutting edge marketing 23-24 / 2013 The Engage communication Awards reward and celebrate theCross marketing channels, then Mediacampaigns 2013 is theand event forOCTOBER you.

Marketing Week Engage Awards 2013

strategies that have made a real impact over the past 12 months. The event also provides a fantastic opportunity for networking with the entire UK marketing industry.

Media 360

PARTNER PARTNER DIGITAL MEDIA PARTNER Following a successful launch lastPAPER year, Cross Media returns with aPRINT bigger and EVENT PARTNER brighter programme of presentations, seminars and exhibitions for the print, marketing and publishing industries. Alongside the main event, the Cross Media College will provide an essential series of workshops surgeries on ASSOCIATIONand PARTNERS building an effective integrated cross-media campaign.

AN EVENT FOR INNOVATIVE MARKETING, PUBLISHING AND PRINT PROFESSIONALS Register to attend for FREE

•• Grosvenor House Hotel, London www.marketingweekawards.co.uk

JUNE 6-7 / 2013

Cross Media 2013

•• Business Design Centre, London www.crossmedialive.com crossmedialive.com/regpp MARCH 24-29 / 2014

Now in its 10th year, Media 360 continues to attract marketers from the world’s biggest brands for two days of inspiration, discussion and debate. Speakers include Felix Dennis, owner of Dennis Publishing, Steve Booth, CEO of Arena Media, and Simon Wallis, Marketing Director of Domino’s Pizza UK & Ireland.

•• ICC, London www.media-360.co.uk

Ipex 2014

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

•• ExCeL, London www.ipex.org/2014

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ENGAGE ENGAGE The latest news from the world of print

top

COVERversion 10 The PPA has launched a search for the best magazine cover of the last century. Which one’s your favourite?

This year, the PPA is celebrating its centenary and has a huge programme of events and initiatives to commemorate the occasion. One of those initiatives is a search for the PPA Cover of the Century – the cover which, above all others, demonstrates the power of magazines to get a message across to its audience.

Woman’s Weekly Wartime Women 1916 IPC Media

During World War One, a woman’s role as homemaker and family caretaker was more important than ever, as shown by this mother watching over her sleeping child whilst sewing.

Vogue Royal Salute 2001 Condé Nast

For this special issue, Kate Moss was drafted in to create an iconic image that effortlessly combined fashion and the symbols of power to celebrate the following year’s Golden Jubilee.

Having asked its members to submit covers for consideration for the prestigious award, the PPA then assembled a panel of independent industry experts, who went through the submissions and drew up a shortlist of ten. These ten covers are now ready for your vote.

When Winston Churchill’s 100th birthday produced a flood of sycophancy, Time Out showed his other side by exploiting the other meaning of Churchill’s trademark V-sign.

New Scientist Chernobyl 1987 Reed Business Information

Harper’s Bazaar Fashion Blitz 1941 Hearst Magazines

This edition of the science bible carried several articles on Chernobyl, with artist Richard Parent choosing a looming menace to depict the accident’s radioactive plume.

Fashion, politics and war combine in this 1941 edition of Harper’s Bazaar, with Heinrich Fritz Kohn depicting St Paul’s as a symbol of courage and resilience throughout The Blitz.

This issue featured the fearsome Dennis in non-comic-strip style for the first time. This inspired innovation delivered a sale of 202,528 copies, the highest of the year.

Radio Times Vote Dalek!

2005 Immediate Media

MacUser Everything Evil 2012 Dennis Publishing Ltd

Empire Breathing Vader 2005 Bauer Media

Cosmopolitan Launch Issue 1972 Hearst Magazines

Time Out Churchill V-Sign 1974 Time Out

This classic Radio Times cover celebrated the Daleks’ return after two decades away, coinciding with the 2005 General Election. A memorable image topped off with a cheeky coverline.

MacUser has never been afraid to take risks, and this cover feature dealt with the human costs of manufacturing and marketing today’s leading technology products.

To vote, go to www.ppa.co.uk/ppa100 10_Print Power_ww w .p rin t p owe ru k .co .u k

This instantly recognisable cover star was made more disturbing with the addition of a ‘breathing’ sound. It was an instant success and remains Empire’s biggestselling issue to date.

The Beano Dennis The Menace 1999 DC Thomson & Co

This first-ever Cosmopolitan cover changed the face of publishing when all 350,000 magazines sold out. The Times described it as “a mighty orgasmic roar heard throughout the land.”

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

Putting our customers first, has put us first!

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

Thank You BPIF. We think that says it all!

www.pensord.co.uk

sales@pensord.co.uk

01495 223 721

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

5

take 5ive This issue, we look to the skies for flying dragons, indulge in some iconic guitar worship and go cross-stitch crazy in South Africa

1

2

3

Readers of The New York Times were treated to one of the newspaper’s more subtle – and scary – adverts in February when HBO took out a two-page ad to promote the premiere of Season 3 of its epic fantasy series Game of Thrones. With the same type and design as the newspaper’s editorial pages, the ad looks like a normal spread, but with an ominous shadow that makes it look like there’s a dragon flying overhead.

The shadow looks so real that thousands of New Yorkers were glancing up at the skies while reading the paper. For the real Game of Thrones fans, each (fake) article was a reference to the series, with headlines such as ‘The Lion of the Desert’ and ‘Medea Resurrects at the Abuelitas’.

Creating a magazine for Fender guitars must be one of the most prized jobs for any music fan. The iconic guitar brand has been at the heart of some of the most treasured moments in rock, from Keith Richards playing a series of customised Telecasters throughout his career to Jimi Hendrix setting fire to one in 1967. So it’s no surprise to find that Fender’s bi-annual customer magazine is fantastic at telling stories. Rather than push product, the editorial team use the brand’s almost mythical status to engage its readers and give them access to its long and impressive history. As well as its audience, the magazine’s client is thrilled, with the title increasing traffic to the brand’s website by 24% and an uplift in sales of new product launches in line with publication dates of the print edition.

The UK charity set up to help servicemen and women wanted to recruit new supporters, especially in the younger age group, and so commissioned a door-drop campaign to increase their supporter base and raise money. Their direct agency, Tangible, created a campaign that would encourage interaction with the charity and raise both awareness and funds. A pack was sent out to homes in specific postcodes which contained a card poppy, which the recipient was encouraged to write a message of support on, then return to be planted in a Field of Remembrance at Royal Wootton Bassett, creating a giant display that simply said ‘11-1111-11’. Over 80,000 card poppies were returned and, as well as raising almost £2.5m, more than 28,000 new supporters were recruited.

Game of Thrones

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Fender Magazine

The Royal British Legion

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

1.

2.

4

5

The UK property portal wanted to increase sales of its advertising products to the country’s estate agents, convincing them of their value. This notoriously tough set of customers were won over by a piece of direct mail from direct agency Balloon Dog that demonstrated Rightmove’s strength in each agent’s local area and compelling them to find out more. Since estate agents pride themselves on their knowledge of their area, the DM pack went for a personal approach, using a map of that agent’s city and asking them ‘How much of the [for example] Luton property market are you missing out on?’ The map had a large cut-out representing the potential business the agent could be missing, while inside, local, regional and national stats, all personalised to the agent’s area, emphasised the brand’s knowledge. This personal approach paid off: the activity gained 502 new customers and a sign-up rate of over 15% (worth over £2.5m per year).

South African design and architecture magazine VISI declared its love of home crafts in its February ‘Bright Ideas’ issue by printing a cover that doubled as a hole-punched crossstitch pattern. The issue, which also came with a sample of red Mohair yarn, invited the reader to take part in the country’s decor revival craze by stitching their own version of the ‘I LOVE DIY’ cover and entering it into a competition to be judged by the editorial team for visual impact. The issue also contained features showing South Africans how they can make something stylish out of nothing.

“Our team has put together an issue that we hope will take the suburban stigma out of DIY and inspire readers to rethink, recycle and revamp,” said Deputy Editor Annemarie Meintjies.

Rightmove

VISI

3.

4.

5.

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Thought Leaders

Robin Bonn, Business Development Director of content marketing agency Seven, explains why print is ‘the last bastion of attention retention’, while Nick Craig Waller, Marketing Director of Informa PRINT AND MEDIA GROUP, flies the flag for cross-media campaigns

T

he race for brands to win our custom and loyalty is being run at hyper-speed. So it’s no wonder our attention spans can now be compared to those of a toddler. As is now well-documented, thanks to the deluge of adverts and flashing imagery, we generally only read an article for a worryingly short space of time before becoming distracted, with most internet users spending less than one minute on the average website.

It’s the same story with how quickly we get bored with new gadgets and toys, as we constantly update for the latest shiny object. Then there’s how we ruthlessly shift our loyalty from one service provider to the next, from Wordpress to Tumblr, Hipstamatic to Instagram, Google Search to Facebook Graph.

As long as they’re faster, slicker and cooler, we’ll migrate.

However, the last bastion of attention retention is print.

When people do finally switch off from their always-on worlds and curl up on the couch with the printed word, they make a deeper connection to the content and are more likely to remember it.

This should be a key point for brands to remember when deciding whether to include print in their multi-channel content plans. What digital can do these days is marvellous, but advances in one discipline don’t always signal the death of another. The fact is that there are some things you can do in print that you just can’t replicate on a website.

Recent advances such as augmented reality also mean that the distance between online and offline is no longer

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so great. Digital can complement print perfectly – tools from the likes of Blippar and Layar allow us to view related videos through our mobiles and tablets just by scanning a logo or tagged image.

For most people, however, the beauty of print is that it’s often a fundamental feature of reading in peace. We can appreciate the pages as they were designed for us, unadulterated and undisturbed, and we make far deeper connections to the content and the brands that deliver it. So while we’re all reading about the rise of content marketing and the decline of print, let’s not assume that the former is the beneficiary from the latter’s woes.

Leaders in content marketing often have thriving printed materials playing key roles in their multi-channel plans. Each channel tells the brand’s story consistently but differently, mindful of its strengths and tailored to how people prefer to consume information in its unique context.

Seven’s very own Sainsbury’s Magazine is a case in point.

It’s celebrating its 20th anniversary in May so is clearly addressing a very real and long-standing customer need, evidenced not least by its readers paying for it. It’s part of a far larger content marketing story with print knowing its role and playing it beautifully.

So let’s all just pause for a moment, take a breath and relax. Celebrate and enjoy print – no pop-ups, no message alerts and no danger of disappearing any time soon. www.seven.co.uk

The beauty of print is that it’s a fundamental feature of reading in peace

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

C

onsumer preferences are changing. Today’s consumer is always connected, engaging in more online activity than ever before. As a result, marketing professionals increasingly need to operate across multiple channels.

Multi-channel is a frequently used buzzword in marketing circles, but the most successful campaigns take an approach that’s less about selling to customers and more about using cross media to engage them with relevant, targeted and customised content.

Research by InfoTrends has found that the use of multiple channels can improve response rates by as much as 34% in comparison with print-only campaigns. And with the same survey showing that more than 50% of marketing professionals are using between three and five marketing touches per campaign, no brand can afford to be left behind. Yet according to research by Econsultancy, while 90% of companies recognise the importance of providing a joined-up customer experience, only 4% say that they have actually achieved this.

Print forms an important part of the increasingly integrated multi-channel marketing landscape. In fact, online campaigns can be 62% more effective when run in conjunction with a printed direct mail campaign. The most successful marketing campaigns are those that integrate print and electronic mediums, reaching consumers offline and online via any number of print, out-of-home, web, social and mobile platforms. As knowledge of technologies such as QR codes, image recognition and augmented reality grows, so does the potential to join up the customer’s print and digital experiences.

Good printed content can create brand awareness or sell a lifestyle like no other medium. The fact that consumers will still choose to take the time to sit and flick through a high-quality printed customer magazine, for example, demonstrates how effective marketing collateral can be when it taps into print’s unique ability to engage both visual and tactile senses.

In fact, research by the Content Marketing Association and Panelbase.net in the UK found that 61% of consumers targeted in content marketing initiatives say that they feel more positive to the brand as a result.

Cross-media devices such as serial numbers, QR codes, personalised URLs (PURLs) and augmented reality also enable brand owners to link online activities directly to individual mailings. This makes it possible to gather data about the recipient for use in future activities, as well as developing a relationship with prospects. With some 9% of smartphone users already using their phones to scan printed codes to access more information, any marketer who doesn’t integrate their campaigns to help consumers access additional content could be missing opportunities.

Cross media gives print the potential to be an even more powerful medium, and with this in mind, it’s no surprise that in recent research, InfoTrends forecast that cross media print volumes will grow by almost 80% in the next two years.

“

www.crossmedialive.com

Research has found that the use of multiple channels can improve response rates by as much as 34%

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www. p r i n t p ower u k. c o. u k _Print Power_

This isn’t just any feature.

This is a Marks&Spencer feature

“

Your M&S is an opportunity for an ongoing conversation with our customers.

It’s inspirational, informative and helpful

16_Print Power_ww w .p rin t p owe ru k .co .u k

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

“ ” People want the opportunity to look at print for information or inspiration, then continue the journey via the internet, mobile or iPad

One of Britain’s top retail brands, M&S are firm believers in print, producing over 20 million publications every year. Julia Douglas, Head of Brand Publications for M&S, explains the allure of the printed page

By Sam Upton

T

here’s a fierce battle going on outside. You may not notice it, walking down your local high street, but every retail brand in the country is engaged in all-out war, throwing everything they have into retaining customers, increasing market share and pushing up sales.

This is retail warfare on an unprecedented scale.

Online competition and the ongoing recession have forced brands to use every possible device to get you through their doors and open your wallets.

Sales, discounts, promotions and special offers may tempt the casual shopper, but brands are also having to think deeper about CRM and come up with more sophisticated ways to build the relationship between brand and customer.

It’s tough out there, and no one knows this more than Julia Douglas.

Print first Julia Douglas is Head of Brand Publications at retail giant Marks & Spencer. She oversees a team that produces 23 different publications every year, with a combined print run of over 20 million.

These publications cover the entire spectrum of M&S products. From clothes to beauty, food to finance, each

area has its own catalogue or guide filled with inspiring editorial and top-class photography that not only moves their customers towards the checkout, but promotes vital trust and loyalty in the brand.

“Along with our agencies, we produce all of the M&S magazine issues, brochures, catalogues and digital content,” says Julia from her office in central London.

“Anywhere you see content such as buyers’ tips, new trends or top tens, that’s all produced by my team. In all, we create over 2,500 pages of content every year.”

That content comes in the form of catalogues such as the M&S Homebook, a 320-page guide printed twice a year that features the full range of M&S homeware. Then there’s the 1.8m-circulation M&S Christmas Gift Guide, the brand’s key festive selling tool, which combines newsstand editorial with top-class photography to provide a stylish and effective showcase of the brand’s top products.

Whatever the catalogue, all content is translated across the full range of platforms available to M&S, giving the brand a consistent presence on all media.

But while online, digital and mobile are essential parts of the brand’s marketing strategy, it’s print that provides the solid core of communication and a reliable campaign starting point. >>

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COLOUR POP Work bold accents of new-season colour into your wardrobe with a few sophisticated stand-out pieces in vibrant shades of red, emerald and cobalt PHOTOGRAPHY BRUNO JUMINER

1.

Off the shelf 1, 2, 5 & 6. Marks & Spencer’s customer magazine, Your M&S, is one of the most successful women’s titles in the UK, with a circulation of 1.9 million every issue. The

>>

2.

160-page title has an impressive ROI of 15:1, with around 40% of readers going on to purchase an M&S product after reading.

3. The annual M&S Back to School catalogue mixes high-quality photography

3. with expert writing and design to increase the brand’s market share in this highly competitive market.

4. The Gift Guide is M&S’s key selling tool at Christmas, with over 1.8 million printed and distributed over the

“Our print publications are integral to the customer journey,” explains Julia. “All catalogues are a part of the marketing mix, produced as part of an entire campaign or focus for any given period. We will often start with a creative concept based on what it will look like in print, then work from that to decide how it will translate online or via email or other channels.”

For M&S, as with many other top-name brands, print is taking on the role of catalyst, grabbing the attention of the customer and stimulating their interest, before that interest is taken further by discovering more via the digital route.

“Our research tells us, both internally and externally, that people want the opportunity to look at print for information or inspiration, then continue the journey via the internet, mobile or iPad. As a business, we need to make sure that the messages on each platform are consistent and integrated.”

The magazine moment One of the biggest success stories for Marks & Spencer is their customer magazine, Your M&S. Launched 27 years ago, it was the first customer magazine produced for a high-street retailer and is now read by over four million people every month, making it the third widest-read

18_Print Power_ww w .p rin t p owe ru k .co .u k

festive period. Response was excellent, with 93% taking some form of action as a result of using the guide, 59% visiting the M&S website and 57% visiting an M&S store.

7. Since M&S stores are

unable to display all home products, the Homebook catalogue is the main presentation of the full range. Published twice a year, the catalogue’s content is also repurposed for the iPad and smartphone.

magazine in the country. The 160-page title features content from all corners of the M&S experience, from fashion to food, beauty to technology, all designed to engage the reader with expert advice, entertainment, tips and new products.

“Your M&S is an opportunity for an ongoing, in-depth conversation with our customers,” explains Julia. “It’s inspirational, informative and helpful. We talk about fashion in an accessible way for our customers, not dumbing down but being aspirational. We use gorgeous models but they’re realistic, not too young or too thin.”

Getting the content focus right is a key part of the magazine’s success, using the editorial team’s knowledge of their audience to provide just the right balance of information and inspiration.

“We know that our customers aren’t obsessed with the latest trends,” says Julia. “They want practical advice, such as how to make the best of their figures and how to get the most out of their existing wardrobes, with new key pieces that make it more seasonal and up to date.”

This combination of reader insight and editorial skill is clearly paying off. Research has shown that the title drives not only footfall (60% of readers are more interested in visiting the store after reading

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“It’s an opportunity to have an in-depth communication as opposed to a quick fix.” Michelle Pamment, Editor in chief of Your M&S, explains the broad appeal of the magazine for both reader and brand

the magazine) but also sales, with 40% of readers purchasing a product after reading. It also has an impressive ROI of 15:1. So for each magazine produced, M&S reaps the cost 15 times over.

Having their cake and eating it For M&S, print is a valuable way of reaching and inspiring their customers – and looks like remaining that way for some time to come. While the brand has a raft of digital and social media initiatives designed to keep the conversation flowing with their customers, it’s print that provides the solid foundation for that conversation, as well as the ready-reference for the brand’s latest products.

Rather than scaling back the number of publications, right now M&S are keen to expand them, with the testing of a magazine dedicated to food. Just two issues in, reader feedback has been good.

“We’re not looking to introduce any more volume of print,” explains Julia, “but we are looking to be much more clever about how we use that content. While we want to do more digital stuff, we need to make sure we have a print mechanism that supports it. It’s the same cake but we’re cutting it differently.”

Sounds delicious. Tuck in. PP

Who does the magazine target?

It’s targeted directly at the M&S shopper. The reader is already in the store so the magazine is about making them understand that M&S has lots of different things for them and plenty of ideas and inspiration. It’s essentially about encouraging repeat purchase.

What does the magazine offer the M&S brand?

M&S offers so many things to so many different types of customers, that having the magazine enables them to have longer conversations.

Fundamentally it’s a brand loyalty scheme, but it’s also about showcasing product and giving the brand a voice that perhaps might be more limited in their other marketing communications.

How does it integrate with the brand’s digital content?

It’s all connected up. We include online drivers with most of the features and stories in the magazine, and there’s always extra content to be found on the website. That content encourages readers to go online and continue the relationship between brand and customer.

What are the marketing benefits for M&S of having a print communication?

It’s the benefit of an extended conversation. It can be a challenge to get people to stick with the content you’ve got online, whereas the magazine gives M&S a good half an hour with their customers.

It’s an opportunity to have an in-depth communication as opposed to a quick fix. We talk a lot in the digital space about how can we create content that’s lean-back, but I think the perfect vehicle to do that is the magazine. It’s a solitary, lean-back experience.

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www. p r i n t p ower u k. c o. u k _Print Power_

“ White” Stuff

Paper is and always has been more than just a medium for communication. It performs roles that tablets, e-readers and smartphones can’t even begin to emulate or adopt

The

Paper, argues acclaimed critic, broadcaster, author and writing professor Ian Sansom, is mankind’s most important means of communication, performing tasks and roles its digital cousins could never hope to emulate. Sit back and discover why we still love print

20_Print Power_ww w .p rin t p owe ru k .co .u k

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

The word processing ‘document’ I’m currently typing into and onto has all the appearance of a sheet of fresh white paper.

I might almost have peeled off a page from a ream and fed it into the platen of a big fat Remington, turned the platen knob, adjusted the paper guide and shunted on the carriage return lever with its satisfying ring.

In the corner of my screen sits an image of a waste-paper basket, brimming with paper, and if what I’m writing doesn’t work out, I’m just going to toss the ‘page’ with a satisfying scrunch right into that basket. I am typing ‘page’ 1, using paragraphs and margins, and when I’m finished I will save and ‘file’ the ‘document’ in a ‘folder’.

I will then click on an image of a paperclip and send the document as an ‘attachment’ to the editor.

At no point in the course of writing this article will I have touched a piece of paper and yet every aspect of my writing is haunted by its image and memory. Today, in the 21st century, two thousand years after it was first invented, paper remains the ghost in our machines, the shadow behind every act of hi-tech digital communication.

Even our most cherished new technologies still resemble the page: the iPad is like a jotter; the Kindle like a book; the mobile phone a pocket-diary.

Why? What’s the continuing appeal of the white stuff? Why are we haunted by what is merely macerated vegetable pulp dried into thin flexible sheets?

The pleasure of paper There are a thousand different reasons why – practical, philosophical, obvious and profound.

Paper was, is and is likely to remain the most ubiquitous, the most useful and the most easily recyclable of man-made communication devices because it’s cheap to make and easy to inscribe, durable, readable, portable and disposable.

But that’s not all: paper is and always has been more than just a medium for communication.

It’s more than just the archetypal data-storage system. It performs numerous other obvious and important roles in our lives, roles that our tablets, e-readers and smartphones can’t even begin to emulate or adopt.

Paper still reaches parts that other products

cannot reach. It plumbs untold depths and scales great heights. It’s art: it’s litter. Money: trash. The bearer of good news: a transmitter of despair.

Steel, timber and concrete may usefully serve as the foundations of a house, but paper has served for two thousand years as the foundation of entire cultures. Paper still means business.

Paper can wrap, contain, protect and preserve all sorts of goods and products, from peanuts to pineapples, from paint pots to packets of pins.

It allows us to transport goods, to handle them safely, to store them, and to draw up ever more complex stock and inventory control systems. I should know – I used to work in Foyle’s Bookshop, on the Charing Cross Road in London, where the antiquated system of collecting a chit for one’s books at one counter, then paying for them at >>

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

<< another before returning with a carbon copy and a receipt to collect them from the first counter, was guaranteed to enrage and baffle customers.

Paper also allows us to decorate and advertise goods and products, to make them seem prettier and more desirable to sell them for more money – an example of paper making paper.

The past, present and future of print Modern consumer capitalism was born and raised and fattened on a rich diet of paper.

According to the paper historian Dard Hunter, between 1805 and 1835, the annual production of machine-made paper in England rose from 550 tons to almost 25,000 tons: the mills were spewing paper into the atmosphere and out onto the streets as the factories were bellowing out smoke. The effect was both suffocating and intoxicating.

Paper smothered London. In Sketches by ‘Boz’ Illustrative of Every-day Life and Every-day People (1836) Dickens describes London ‘as a circus of poster and trade bill, a receptacle for the writings of Pears and Warren’s until we can barely see ourselves underneath. Read this! Read that!’ In a popular engraving from 1862, ‘The Bill Poster’s Dream’, the bill poster himself sits slumped like a drunk against a lamppost, exhausted, glue-pot by his side, examples of his handiwork illuminating the night sky.

But these are only a few of the more obvious, outer manifestations of our deep-rooted paper culture, the paper-crust, the everyday world of artifacts and objects. What’s truly astonishing

is the vast hidden sub-strata of paper that has informed and determined our lives and our identities and our imaginations, so much so that we might rightly be described as paper people, creatures spawned on rags and sheets, announced in newsprint and filed away in endless paper archives.

Think about it: everything that matters to us – still – happens on paper. We are born and issued with a birth certificate. We collect more certificates at school and another when we marry. And yet another when we buy a house, get a divorce and die. We are encased and inscribed with deeds and contracts, engrafted into paper, which becomes our artificial skin – which also outlives us. Byron in canto 3 of Don Juan meditates upon ‘what straits old Time reduces / Frail man, when paper, even a rag like this / Survives himself, his tomb, and all that’s his’.

There is no denying that we are now entering a world beyond paper – or certain forms of paper.

But we need to remember that books existed before paper and that they’ll exist long after, and it’s far too early to dismiss or ignore paper in all of its other uses. As the French philosopher Jacques Derrida once remarked, ‘To say farewell to paper today would be rather like deciding one fine day to stop speaking because you had learned to write.’ PP • Ian Sansom is the author of Paper: An Elergy, a meditation on paper exploring its vulnerability and durability. Go to www.iansansom.net for more information

Power to the printers!

Throughout history, print has played a pivotal role in the lives of people in every country in the world – and will continue to do so for many years to come. Consider these paper-related facts • I n Switzerland, elaborate paper cuts were used to ratify legal documents. In India, cut paper called ‘sanjih’ is placed on the floor to produce ‘rangoli’, the beautiful decorative shapes and patterns that welcome the Hindu deities. In China, at a Taoist funeral, papers are burned to ease the passage of the dead to the other world.

• I n Japan there is special paper used to wrap a kimono and a paper to wrap medicines, as well as ‘hiki-awase’, a paper that was once used as the inner lining of a warrior’s breastplate, and ‘hosokawa-shi’, used for government land records.

• T he average office employee in the West uses over 10,000 sheets of paper per year. If you live in America you consume around 750 lbs of paper per year – about the weight of seven bags of cement or 150 bags of sugar.

• I n their book The Myth of the Paperless Office (2001) Abigail J Sellen and Richard HR Harper argue that technological development has increased rather than decreased office paper consumption. According to the authors, digital technology has not replaced paper use but has shifted the point of use: we distribute then print, rather than print and distribute.

22_Print Power_ww w .p rin t p owe ru k .co .u k

“ ”

What’s truly astonishing is the vast hidden sub-strata of paper that has informed and determined our lives, our identities and our imaginations

Solve the puzzle with

24_Print Power_ww w .p rin t p owe ru k .co .u k

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

Download the free Layar App

Scan page 24

Discover multimedia content

From augmented reality to video-in-print, a host of innovations are about to propel print into the 21st Century. Simon Creasey peers into his crystal ball to reveal the future of print technology What would Johannes Gutenberg think? When the German blacksmith created the printing press in 1450, he had no idea what impact his invention would have on the world. Scan Nor this could predicted what Scan page ## Download the free pagehe haveDiscover App multimedia content would happen to hisLayar invention over the course of the past decade.

Since the turn of the millennium, the global printing industry has been transformed beyond all recognition thanks to the rise of the internet and other digital channels.

According to data from Nielsen BookScan, the number of physical books bought in the UK in 2012 fell by 4.6%, whereas sales of digital books rose by 5%. The situation is similar in the newspaper and magazine publishing world. Where once people across the globe turned to their tabloid or broadsheet newspaper every morning to get their daily fix of news, now they switch on their smartphone, tablet or computer and access news bulletins via internet sites and social media channels.

But while the most die-hard print fanatic would struggle to argue with the fact that the medium is in decline, over the last few years print has launched a fightback and has found an interesting ally in the form of technology. Rather than try to swim against the digital tide, the print industry has embraced the opportunities that technology offers to bring the printed page to life.

So we give you the top technologies that are going to transform the way people use newspapers, magazines, DM, catalogues and all other physical publications forever. Welcome to the future of print.

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www. p r i n t p ower u k. c o. u k _Print Power_

Augmented reality

Printed electronics

You use clever pre-installed apps on smartphones, laptops or an iPad to bring static images or printed pages to life. It’s the merging of online and offline worlds to give a more interactive media experience.

By using conventional printing processes and special inks, you can lay down electrical devices on various different substrates.

Sounds sci-fi – what is it?

Are there different types of augmented reality?

There are two basic AR experiences (most industry experts refer to augmented reality as AR). There’s vision-based AR and geolocationbased AR, which uses a smartphone’s or tablet’s built-in GPS.

Has it been around for long?

The phrase ‘augmented reality’ was coined in 1990, but it’s only over the last few years that marketers have latched onto its potential. They understand that moving their customers seamlessly from print to digital allows them to track their activity and sales, producing a wealth of valuable data for future campaigns.

Where is it commonly used at the moment?

“Interactive print is really taking off in the magazine industry,” explains Quintin Schevernels, CEO of Layar, a Dutch company that began offering mobile AR in 2009. “Publishers are making their print products interactive by adding video, buy buttons, games and much more. There are also many examples all over the world in the newspaper, packaging, outdoor, book, travel and retail industries. We see a lot of consumers making their print products interactive, products that range from business cards to wedding cards.”

How effective is it?

“Interactive print is a new and exciting way for consumers to interact with print,” explains Schevernels. “The technology is emerging quickly and so the user experience of interactive print is also improving quickly.

With growing interest from customers, the amount of content is also growing fast. We see this reflected in the usage and the stats. One of the KPIs that’s very impressive is the click-through rate – this currently stands at over 90%.”

How will AR evolve in the future?

“The technology will continue to develop, offering many more opportunities,” says Schevernels. “This will make AR into a very natural experience, so it will become an integral part of people’s everyday life.

One of the big developments will be the role AR and interactive print play in m-commerce.”

For more information, go to www.layar.com. For your chance to win a masterclass in interactive print, see page 59.

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In layman’s terms, what is it?

What sort of electrical devices?

British company Novalia Printed Electronics, one of the world’s leading practitioners of printed electronics, has devised a number of different printed concepts. These range from a tissue box with a printed piano on the front you can play music on, to a birthday card you can blow the candles out on before it plays the happy birthday tune.

Can I produce this type of stuff on a standard printing press?

Yes, according to Chris Jones, Director at Novalia and printed electronics expert. “Without realising it, the printing industry has got a very efficient way of making something,” he says. “What we’re looking to do is arrive at a printing press with a prepared specification, then we’ll supply some inks that will run through existing and modified processes. The printer should then be able to produce the printed electronics devices that we’ve been developing.”

How expensive is it?

Ah, there’s the catch. Right now, although you can print the electronics on a standard printing press, Jones says that some of the printing inks the company uses are “obscenely expensive” compared to standard graphic arts inks.

So I shouldn’t expect to receive a printed electronic piece any day soon?

“Not necessarily,” says Jones. “For ephemeral items such as advertising, marketing and magazines, I’d be surprised if we didn’t see something in the mainstream within the next 12-18 months. Chances are that for non-ephemeral items, you probably already own something that contains printed electronics – you just don’t realise it”.

What’s next for printed electronics?

Novalia is currently spending a lot of time working on printed electronic concepts that allow print to fully interact with smartphones and tablet devices. The company has already developed a flexo-printed label called ‘Revolucion’. When you touch the Revolucion label, your tablet computer responds accordingly.

The ultimate aim is to allow users to send messages or tweets on their smartphone or tablet through integrating the device with a piece of print.

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

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

QR Codes

NFC tags

The reader scans a black and white printed code using the camera on their smartphone or tablet, and it takes you to a short URL.

NFC stands for Near-Field Communication. It’s a short-range wireless technology that works in a similar way to RFID.

How do they work?

So it’s like a barcode?

It looks like a barcode, but unlike the traditional black-and-white stripes, the information in a QR code is stored on the internet, not buried in the code.

Who invented them?

Sounds pretty whizzy – what is it?

Come again?

“NFC tags are a link to data,” explains Phil Coote, Chief Executive of RapidNFC. “You access the data by scanning a tag with a smartphone.

You can link to anything – a PDF file, a video on YouTube or a website.”

The Japanese. A Toyota subsidiary called Denso Wave started using QR codes for tracking car parts through factories. Then marketers got hold of them and today they’re ubiquitous throughout Japan where they’re even used on gravestones.

How long has the technology been around?

Where are they being used in the West?

“Most people approach NFC from two angles,” explains Coote. “The first angle is smart posters where you put the NFC tag behind or on top of a traditional poster and allow people to interact with the poster in a similar way as you would a QR code. The second angle is business cards.

Recently, we’ve started to see a rapid increase in the number of people coming to us and asking if we can integrate a tag into packaging so that people can scan the tag and get more information about the product inside.” These tags have also been used for magazine advertising and even in beer mats.

Pretty much everywhere. From magazines to business cards, film posters to television adverts. You name it, a QR code has been printed on it.

What’s so great about them?

“They make print fully interactive,” says John Reynolds, founder of QR code consultancy Scan and Go. The codes are also free and can be printed using any press and onto most substrates. The ROI is also pretty impressive.

“The first company we did this for, around four years ago, was a tourist attraction that prints 275,000 fliers a year,” he recalls. “So we added a QR code onto the back of the flier and invited people to download a QR code scanner so that they could scan the code and receive a money-off voucher. In the first months, it had 125 downloads, which absolutely amazed me as I didn’t think people would know what it was. Come August that year, they had over 8,000 vouchers downloaded and the redemption rate was 27%.”

Since 2006. Nokia was the first to manufacture an NFC-enabled device.

Now almost all leading smartphones are capable of reading NFC tags.

How does it work with print?

Are the tags similar to QR codes?

Yes, but Coote argues that in a head-to-head comparison, NFC tags would come out on top. “Firstly, the user experience of NFC is much nicer than QR codes. You don’t have to get your camera out and align your phone – you just have to wave it over the NFC tag. Unlike QR codes, NFC also works in the dark.”

Sounds great – are there any downsides?

I’m sold – where can I get some?

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

For more information, go to http://rapidnfc.com

“It’s a fantastic bit of technology, but many people don’t understand that you have to deliver something of value to the end user,” says Reynolds.

“It’s not a push medium, it’s a pull medium. If it was a push medium, it would be a commercial and would stand there and yell at the top of its voice, ‘Buy me. Buy me, Buy me’. With QR codes, there has to be a certain amount of user interaction. You have to download a QR scanner, you have to see a QR code and you have to scan it. The problem is that nine times out of ten, they’re being used for the wrong thing. If you get the whole thing right, it works. If you just use it as a link to your company website, it’s a waste of time.”

Not so quick. Although there are numerous advantages to using NFC tags, there are no hard and fast stats to substantiate what level of ROI you should expect if you use them. Also, unlike QR codes, NFC tags cost money. But these costs are slowly coming down as volumes increase, so for the right brand that wants to generate a bit of noise, Coote believes that it’s worth the outlay. “Most advertisers look at how much they’re paying to get a user to interact with them, so if you look at it from that perspective, NFC stacks up. The cost of the tags is unlikely to ever come down to pennies, but if volumes get high enough in the future, it’s possible.”

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video-in-print

Audio-in-print

You simply embed a video screen, with supporting electronics, battery and speakers, into a printed brochure or book.

You open the publication, which sets off a trigger causing the electronics to switch on and start playing the video content.

Exactly. Audio-in-print has been around for over a decade, with the first talking greetings cards launched around 2000. Early versions were pretty basic, emitting sounds such as doorbells, a laugh or even a fart. These days, the technology is more advanced (and sophisticated) and you can get cards featuring the voice of celebrities. You can even record your own personalised message.

Sounds fantastic – and expensive!

How does it work?

How can you have a video ‘in print’?

Then what happens?

The underlying electronic technology is based on mobile phone technology, with typical video screen sizes ranging from one- to 10-inch diameter. And you’re right, it doesn’t come cheap. For a run of 250 A5 landscape printed brochures fitted with a 4.3-inch screen, you’ll be looking at paying around £40 a pack.

Where is it being used at the moment?

What do you mean – talking birthday cards?

You record audio onto a chip, add a battery and speaker, then integrate it into a piece of print. To activate the audio, you can make the modules light sensitive or triggered by a push button. In greetings cards, a pulley system is used to trigger the sound.

Is this just about greetings cards?

“The print element is core to this and as a result it has to be really good,” explains Matt O’Neill, Managing Director at video-in-print experts The PitchPack. “Obviously the video gives it the novelty factor, but without print it’s just a bunch of electronics.”

Not at all. Over the last couple of years, marketers have really latched onto the opportunities that audio-in-print offers, using it for point of sale, direct mail and even packaging. David Hyams, Director at audio-in-print specialists Talking Print, explains: “For the children’s film Paranorman, we put a poster on a waste bin, placed a speaker in the bin and then fitted it out with a motion sensor. When people walked past the bin, it played ghoulish noises.”

The company also ran a Valentine’s Day campaign for video rental service LOVEFiLM last year, in which it fitted audio onto the DVD packaging which, when opened, played the song ‘Je T’aime’. Next up for Talking Print is a packaging project for a major global brand, with the packaging emitting an animal noise when opened.

When will the technology become mainstream?

Sounds like it’s very flexible.

Mainly by marketers for highly targeted external communications, although the UK women’s lifestyle title Marie Claire ran the UK’s first video-in-print magazine advertisement in October last year, for high fashion brand Dolce & Gabbana.

Why bother with the print element? Why not just give people video screens?

Soon, according to O’Neill. “At the moment, video-in-print is where personalised USB sticks were in 2005,” he says. “When people received a personalised USB stick eight years ago, a lot of people didn’t have one and hadn’t seen one before. So when it was given as a gift, it was a novelty and also quite useful. Now, everybody in business has got a branded USB stick kicking around in a drawer somewhere.

“The only thing that’s going to stop this is price,” he continues. “But we’ve already reached the stage where the cost of the technology that underpins video-in-print has come down so much because of the growth of mobile devices. You’ll start seeing more people using video-in-print over the next couple of years and the technology will become mainstream in five years.”

For more information, go to www.thepitchpack.com

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In theory, as long as you have the idea and the budget, you can have any sound you like – from speech to music to an entire ad. “It can go into pretty much anything,” says Hyams. “We can even put them into business cards to make them talk, which is really cool.”

It also sounds costly.

Unfortunately, it is. Hyams says that it costs about £2.50 per module, but he argues that the ROI justifies the cost. “Sure, each unit costs extra money,” he says, “but there’s a real wow factor to this which gives it what I call ‘unbinablity’ – people just don’t want to get rid of the piece because it has a real value. It’s not really suited for mass direct mail, but if you want to do higher value, better targeted stuff, then it really works.” PP For more information, go to www.talkingprint.com

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

Is nano the future of print?

In 1993, prolific inventor Benny Landa exhibited a new machine called the Indigo E-Print 1000 at the Ipex print trade show. The unveiling of the world’s first digital colour press caused a major stir, inspiring rival printing press manufacturers to launch their own devices and earning Landa the moniker of ‘The father of digital printing’. Almost 20 years later, Landa unveiled his next trick at the 2012 Drupa trade show in Germany when he launched a new category of digital printing that he christened ‘Nanography’.

Landa’s range of nanographic printing presses can print up to eight colours at high speeds on virtually any substrate spanning B3, B2 and B1 web formats. Key to the new printing technique is Landa NanoInk, which comprises pigment particles only tens of nanometres in size (human hair is around 100,000 nanometres wide). The nano-pigments are powerful absorbers of light which enable “unprecedented image qualities” to be achieved, according to Landa.

With no plate changes or lengthy set up required, Landa argues that his nanographic digital machines are capable of penetrating mainstream commercial print markets, thanks to their ability to produce high quality print at offset speeds.

“For the first time, commercial printers don’t have to choose between the versatility and short-run economics of digital printing and the low cost-per-page and high productivity of offset printing,” claims Landa. “Now they can have both.”

To find out more information about Nanography and the Nanographic printing process, go to www.landanano.com

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“”

If what you produce is good, and especially if it is great, it will thrive

“Print is the greatest medium ever invented” From an electronic ink cover to shareable content, David Granger, editor-in-chief of American Esquire, has overseen some of the print industry’s most inspiring innovations. When he talks, people listen

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

I

n the 1960s, American Esquire magazine was seen as one of the most innovative magazines in the world, thanks to its promotion of a revolutionary new form of journalism christened ‘New Journalism’. This new writing movement, spearheaded by the likes of Tom Wolfe, turned convention on its head then chucked it out the window. But the problem was finding eye-catching images and cover designs that reflected the creative revolution that was going on within the magazine’s pages.

That was until Esquire’s then editor Harold Hayes hit upon an inspirational idea.

He employed George Lois, one of the original ‘Mad Men’ advertising titans from Madison Avenue, to conjure up eye-catching front covers for the magazine, the likes of which had never been seen before in publishing circles.

Hayes’s approach was a phenomenal success, with memorable covers including a black Santa Claus and an image of Muhammad Ali with arrows piercing his side in homage to Castagno’s famous painting of Saint Sebastian. Lois’s work was held in such high esteem that a retrospective of his Esquire covers was held at the New York Museum of Modern Art a few years ago. Since the 1960s, the magazine has carried on this great tradition of pushing the boundaries and embracing emerging ideas and technologies to bring its pages to life.

To commemorate the magazine’s 75th anniversary in October 2008, Esquire published a limited-edition electronic ink cover featuring moving words and flashing images. A year later, the magazine ran an augmented reality (AR) issue featuring interactive content throughout the publication that was triggered when readers who downloaded a special piece of software held ‘markers’ – essentially QR codes – up to the camera on their smartphone or computer.

More recently, Esquire was the first magazine to use the digital application Netpage, which enables readers to ‘clip’ every article, photo and advertisement on every page, then share it instantly through social media.

We caught up with current editor-in-chief of American Esquire David Granger to find out how the magazine has successfully managed to merge ink on paper with new digital technology and his thoughts on the future of the printed page.

The magazine has a history of innovation, from the George Lois covers through to the recent Netpage tie-up. Do you feel constant pressure to continue to push the boundaries of what’s possible in print and online, and build on this legacy?

Pressure isn’t the right word. We have the opportunity to express our creative impulses in new ways. It’s exciting and it expands our creative abilities to exercise them in unfamiliar ways.

How important do you think it is for print magazines to embrace digital channels and applications such as Netpage? Can magazines really afford to be solely about putting ink on paper anymore?

Some magazines can. For most magazines, the vast majority of its revenues and profits come from print. Digital can often be a drain on resources for a long time before it has any impact. Netpage is a huge

opportunity – if the magazine industry as a whole adopts it. My editors and I, and our manufacturing division, spent two years working on it and the only investment Netpage requires of magazines is a little effort. If that happens, we could see return without much upfront cost.

What are the major benefits of Netpage and what’s reader feedback been like?

The feedback has been limited but great.

It’s just getting started. We did it to make print every bit as versatile as digital. Print is the greatest medium ever invented.

I want it to remain that way.

You’ve done some really innovative covers over the last few years such as the E-ink edition. Where did the idea for that cover come from and how did it go down with your readers?

The E-ink version of our 75th anniversary cover sold out. It was a sensation. The idea came from our constant trolling for the

work being done by people whose goal it is to change the world for the better.

We had learned about E-ink seven years before we were able to partner with them.

The time had to be right and the project had to be right.

In another industry first, you published an AR issue of Esquire in 2009. Where did the idea for the augmented reality issue stem from and do you see a future for QR codes in magazine publishing or will they be usurped by other AR options?

Our AR experiment was tons of fun, with around 70,000 people downloading the software. AR is an interesting tool to use in conjunction with other things, such as the store we created in the December 2012 issue. If you used Netpage to view any item in the store, an augmented reality layer overlaid the image of the product on your phone and told you more about it.

Netpage does everything a QR code does and does it better. More importantly, it enables social sharing of any print asset, which puts print on a level playing field with digital media.

You pushed the boundaries again in early 2012 when you created an online ‘movie trailer’ for a dramatic story you ran about animals escaping from a zoo in Zanesville, Ohio. Where did that idea come from?

We love to play with people’s expectations.

People are used to movie trailers and Chris Jones’s Zanesville story was cinematic, so we made a trailer. Now we do a ‘movie trailer’ for every issue of the magazine.

Do you think there’s a future for printed magazines?

Again, print is the greatest medium ever invented. We’re using digital to encourage more and more people to read Esquire and all our spin-off properties. And we also give people the opportunity to have an Esquire experience in entirely different ways. It’s one of the great fallacies that life is an either/or proposition. If what you produce is good – and especially if it is great – it will thrive. www.esquire.com

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“ ” favourite There’s so much you can do with print. From printing on leaves to china plates, all sorts of things. It’s fascinating stuff Ross Keenleyside Creative Partner, OgilvyOne

The world’s

direct agency Global direct agency OgilvyOne know a thing or two about direct mail – they’ve won enough awards to prove it. So let Donna Brown, Joint Head of Production, and Creative Partner Ross Keenleyside guide you through some of their best work

By Sam Upton

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

A

s you walk around the London offices of OgilvyOne, the world’s largest direct marketing agency, there are two things that immediately strike you. The first is the colour of the walls: bright, pillar-box red throughout. If you’re not quite awake before you step into the lift up to the 10th-floor office, you sure are when you step out.

The second is that it’s astoundingly busy. People are striding purposefully in all directions, while the in-office café and meeting rooms buzz with catch-ups, commissions, discussions and ideas.

If creativity had a physical form, this would be it.

But given that OgilvyOne is the most awarded direct agency in the UK (over 50 in the past 12 months) and is currently Marketing’s Direct Agency of the Year and Campaign’s Direct Agency of the Year for a third year running, such an atmosphere of drive and innovation is to be expected.

“We are amazingly busy,” says Donna Brown, Joint Head of Production, as she leads the way around the maze of pods, hives and break-out areas. “We do a lot of print work here. In fact, most of our clients are heavy users of print and really understand its value.”

Such clients are a roll call of some of the top brands in the world. These include American Express, British Airways, British Gas, BT, BUPA, Department of Health, IBM, Nestle, News International, Philips, Unilever, UPS and Zurich, most of whom invest heavily in print and see fantastic results from their mailings.

“Our clients appreciate that if they want to reach their highvalue customers, print is still the best medium to use,” explains Ross Keenleyside, Creative Partner at OgilvyOne. “The attention to detail, the tangibility, the way print can surprise, you just can’t replicate that in any other form.”

Like many large agencies, OgilvyOne take a cross-media approach to all their campaigns. Print production teams work alongside their digital counterparts, while the creatives are tasked to come up with a 360-degree approach rather than a single angle of attack. But to help raise awareness internally of the benefits of print, the agency recently held a day of talks, demonstrations and seminars about print to remind some of the digital natives of its power and value.

“My team were getting frustrated that a lot of the creatives were positioning themselves as digital creators and thought that print hadn’t evolved,” says Donna, who organised the event. “So we held a day called Print 2.0 and invited speakers and exhibitors to carry out workshops and explain that print has changed a lot over the past decade. Finishing effects, personalisation, print technology – it really opened people’s eyes.”

The event was hugely successful and now everyone at OgilvyOne works together to create some of the best campaigns in the world. Here are just five.

Mosaic British Airways When British Airways wanted to re-launch their loyalty programme, they realised that their main objective was acquisition. Many of their customers weren’t frequent flyers and so thought that it wouldn’t be worth joining a loyalty scheme. To combat these assumptions, OgilvyOne devised the Mosaic campaign, in which composite images were created using the photographs of 50,000 Executive Club Members from all over the world.

The campaign highlighted the benefits of being an Executive Club Member while employing the behavioural economics theory of ‘social proofing’. Social proofing is all about following the herd, making decisions on the basis of what those around us are doing, so building images made from the faces of thousands of Executive Club Members reassured the prospect that the club is ‘for them’.

“This campaign went across outdoor, leaflets, airport posters, digital display, on-board media and email,” explains Donna. “It cut across all different mediums.”

All this activity drove prospects towards a landing page on ba.com. This showed a mosaic map of the world, which they could roll over and expand the photos of the Executive Club Members and their reason for joining. But while the online experience was vital in getting them to sign up, the initial print trigger was crucial for customer awareness.

“This is a great example of how a campaign will blossom from a single print idea,” says Ross. “When creating a campaign, nine times out of ten you’ll be thinking of a creative concept in the form of a simple press ad or poster. That’s the simplest form of describing an idea and it blossoms from there.”

After six months, the campaign increased acquisition against the same period the previous year, recruiting an impressive amount of Executive Club Members. The average spend of a new member in their first year is significant, meaning these additional Executive Club Members have the potential to generate a large amount of incremental revenue. >>

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Story plates Dishoom << Inspired by the old Irani cafés of Bombay, Dishoom is a restaurant in East London that wanted an unusual and memorable campaign to attract the local community. With a restaurant already established in Covent Garden, Dishoom needed to convey its authenticity and allow more of its quirkiness and eccentricity to show through in the highly competitive Shoreditch area. OgilvyOne’s answer was to use print – but on plates.

In the old Bombay cafés, food and stories were shared around the table – a tradition that was brought back to life using tales harvested from people old enough to remember the original cafés, either through direct interviews or via the internet. These stories were then edited, designed and baked onto plates to be used in the restaurant.

To keep the tradition of storytelling alive, customers were then invited to submit their own stories and memories to a website. The best were baked onto plates, ready for other Dishoom customers to read and share, keeping the tradition of storytelling alive long after the Irani cafés have all but disappeared.

“We wanted to capture the spoken history of the old Bombay cafés and share them with a new generation at Dishoom,” explains Ross. “Rather than using Twitter or Facebook, it seemed more fitting to use real plates, as the sharing of food is an inherent part of the culture of these cafés.”

“The plates have been a huge success,” says Donna. “We’re really proud of them and the reaction they get. This particular story also has an amazing ending as we have been asked by a customer if we would produce a plate for him to propose to his girlfriend at the restaurant. We said yes and produced the plate, but we don’t know what her reaction was yet.”

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Details British Airways One of the most competitive markets in international air travel is ‘premium airline traffic’ and British Airways wanted to launch its new first-class cabin and suite to a targeted audience of high net-worth individuals.

British Airways spent five years developing this new cabin, with a dedicated team of experts painstakingly working on every last detail, from the shape of the leather seat to the design of the stitching.

It’s this attention to detail that was replicated in the personalised book that was sent out to a limited number of BA customers.

At first glance, the book appears to have no copy at all, just a series of photographs. But when viewed with the enclosed magnifying glass, tiny lines of copy are revealed in the images, telling the story of the cabin’s features. This device not only allows the reader to interact with the pages, but discover the high level of quality and craftsmanship that’s gone into the BA first-class experience.

“The creative idea was all about the detail,” explains Ross, “so we devised a way of demonstrating the use of detail with a magnifying glass and incredibly fine print. It’s a lovely way of using print creatively.”

“It’s the whole tangible experience that makes this so successful,” adds Donna. “I can’t begin to think how you would get that special feeling digitally. You could dress it in offers, but it wouldn’t make the prospect feel anywhere near as special.”

The books were hand-delivered to the target audience while they were at Heathrow Terminal 5, ensuring they got past the various gatekeepers such as PAs and secretaries. While the objective of this campaign was awareness and not sales, during the following four months, an increased amount of bookings in First were made by these customers.

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

Sushi Cupcakes iShares

Wimbledon IBM

iShares, the global asset manager, wanted to launch a new financial product that tracks the top Japanese companies. So they commissioned a direct mail pack to send to their existing clients and contacts that would raise awareness of the product and stand out from the mountain of DM their targets receive.

The brief included the instruction for the pack to include food items that could be shared out amongst a team, to play on the Japanese nature of the fund.

With this in mind, OgilvyOne came up with the idea of the sushi box. But rather than containing delicate combinations of raw fish and rice, the box held intricately iced cakes that were made to look like sushi.

“It was basically saying, ‘Take another look at the Japanese market’,” says Donna. “Actual sushi was one of the natural choices, but since it doesn’t have much of a shelf life, we ran the risk of poisoning people! But with any food there’s a creative challenge in ensuring it retains its shape and doesn’t spoil.”

As well as the cardboard box containing the cakes, the pack featured a single sheet of print explaining the new product and giving the recipient details of how to get more information and invest in the scheme. The pack was a huge success, gaining praise from both the client and the judging panels of various industry awards. It was placed third in the Best Direct Marketing Award at this year’s Money Marketing Awards.

“When you get a client who understands that they need to spend some money to get that stand-out, it’s like the creatives can be let off the leash,” says Ross. “There’s so much you can do with print. From printing on leaves to china plates, all sorts of things.

It’s fascinating stuff.”

For just over two decades, IBM has run the IT behind the Wimbledon Championships and wanted to get in touch with key prospects to convey the message that they understand that businesses, like Wimbledon, have surges in demand and they are more than able to cope with that.

So for last year’s Championship, OgilvyOne were given the task of creating a DM pack that showcased IBM’s innovation as well as their understanding of business and its use of IT. Their answer was a print pack that, when opened, shows a small video screen. The recipient is then invited to press the ‘Play’ button, whereupon a short video about the IT demands of the Wimbledon Championship starts up.

The video and sound quality are both top class, with the video being able to be played over and over again, demonstrating not only the ability of print to constantly surprise and break convention, but its potential to integrate with a wide variety of mediums.

Unsurprisingly, this combination of print and video was a great success. It gained a response rate of 27%, which led to 23 sales meetings and an ROI of 6:1.

“This is a prime example of the power of putting something in someone’s hands,” says Ross. “If you simply sent someone a link to the same video, you could very easily ignore it. Whereas if you received something like this, a physical piece of print with embedded video, you would definitely make a point of opening and watching it.”

“I don’t think our use of print will ever reduce,” says Donna. “I really don’t. I just think that physically you’ll have to get cleverer with it, make sure you have the stand-out factor that makes it as desirable as it’s always been.” PP

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Photography: Tom Campbell Š 2013

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

Kitchen confidential As Sainsbury’s marketing director, Sarah Warby has one of the toughest jobs in the industry. But with her formidable track record, infectious enthusiasm and love of print, this year could be one of the best for her and her brand

By Noelle McElhatton

S

arah Warby loves nothing better than a challenge. When she’s not playing the proverbial woman in a man’s world – witness her success in senior marketing roles at ‘blokey’ brands Fosters and Heineken, together with her profound love of rugby – Warby is juggling recent motherhood with taking the marketing helm at grocery giant Sainsbury’s.

Gaining one of the top jobs in retail marketing involved interviewing for the job at Sainsbury’s glass-fronted Chancery Lane headquarters close to giving birth to her second child, now 18 months old. “There was no hiding my pregnancy as I waddled through the door,” she laughs, “and nobody batted an eyelid.” The task she took on included rebuilding Sainsbury’s marketing firepower after a string of highprofile departures.

Becoming marketing director at Sainsbury’s also meant crossing the marketing Rubicon, from manufacturing into the cut-throat world

“”

Print delivers reach fast for a topical message and can do emotion beautifully

of grocery retailing. “I’ve been in FMCG pretty much all my marketing life and I look at marketing through an FMCG lens,” she says.

But if Warby had any worries that grocery equals a reduction in brand building – bear in

mind she began her career as a graduate at that pantheon of brand marketing, Unilever – she was happily proved wrong.

“What I love about this job is its structure of long-term brand building,” Warby says, her customary enthusiasm at full pelt. “I’m now having conversations about the five-year-plus horizon at the same time as the immediate drum beat of this week’s sales. That’s a shift for me to get used to.”

But Warby is used to handling change.

Take the fact that her first paid job was as a marketing graduate at Van Den Bergh Foods (now Unilever), despite the ‘left brain’ leanings evident during her school years. Being good at maths and physics, Warby studied engineering at university but her enthusiasm for consumer brands led her to marketing.

Then came the time she swapped the clientside for adland, flipping hemispheres to become a planner at Leo Burnett’s Sydney office, keen to know how agencies worked. Having done Down >>

37

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<< Under, Warby’s homing instincts led her back to marketing in Edinburgh and a job as marketing manager at Foster’s, after which she rose to marketing director at Scottish & Newcastle (which became Heineken UK in 2008).

Hired by Sainsbury’s in late 2011, Warby loves the fact that she’s “still tripping over new things I didn’t know about this brand,” such as the insights she gathered from visiting The Sainsbury Archive at the Museum of London, documenting the retailer’s history from its foundation in Drury Lane in 1869.

“It should be a tourist attraction!” she exclaims. “All that incredible advertising from years ago and the way this brand talked about itself for nearly 150 years is so compelling.”

Print first, success later

Balancing the Sainsbury’s legacy with a need to keep the narrative fresh and reach a mass audience effectively are perhaps the ultimate tasks required of Warby, which is why print remains a key weapon in Sainsbury’s marketing arsenal. “Print can do the inspiration job and, uniquely, it can reach a massive audience to give consumers tools, hints and tips – that’s what’s special for us about print.”

The reach factor enables print to stand out in Sainsbury’s ‘owned, earned and paid media’ equation. Being a firm believer that brands must act more like traditional publishers, Warby acknowledges that she is “very lucky” in that Sainsbury’s possesses ‘owned’ print media. She is referring to Sainsbury’s instantly recognisable in-store recipe cards – “they’re so fantastically helpful!” – as well as the award-winning monthly food and lifestyle title, Sainsbury’s Magazine.

Print’s wide radius twinned with its descriptive power in bringing straplines to life, is a winning

Sainsbury’s magzine (Above) Sainsbury’s Magazine is a key tool in the brand’s print marketing, helping to drive sales and increase loyalty, while (left) its Recipe Cards are available in-store to give customers inspiration and encouragement to try something new. (Right) As well as recipes, the magazine includes lifestyle content such as travel and fashion, while (opposite bottom and top), expertly photographed food features whet the appetite and push up sales of the individual ingredients.

38_Print Power_ww w .p rin t p owe ru k .co .u k

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

combination. “When we unveiled ‘Live Well for Less’ in 2011, it was almost our manifesto, so we launched it first in print,” Warby explains.

“We needed to explain to our customers that we don’t believe they should trade quality and authenticity for price, as we believe you can have both. We wanted to tell that story fully and print was the medium to do that – to establish the message.”

Late last year, Warby’s team planned to extend the ‘Live Well for Less’ brand positioning in 2013, reaching the conclusion that thrift would be foremost in consumers’ minds. ‘Make Your Roast Go Further’ was the campaign idea that emerged, with TV used initially to “set up the idea of buying a joint for Sunday and getting Monday and Tuesday nights’ dinner out of that”.

Print then played its part in-store with recipe cards everywhere – a series of recipes in Sainsbury’s Magazine together with print advertising, where “we did really nice buys to get three consecutive right-hand ad pages to announce: here’s Sunday night’s dinner, here’s

Top tip cooling the cheesecake in a turnedoff oven helps to minimise cracking. Don’t worry if yours does crack, though – it all adds to the character!

Baked vanilla cheesecake Serves 10-12

Use this as the starting point for our five cheesecake variations, overleaf, adapting the base (if necessary), mixture and topping, according to the recipe.

Prep 20 mins Total time 1 hr 10 mins, plus cooling and chilling overnight Get ahead Make the day before; chill

500g full-fat cream cheese 150ml soured cream 125g caster sugar 1 rounded tbsp cornflour 2 large eggs, plus 2 egg yolks juice and zest of 1 large lemon 2 tsp vanilla extract For the base 150g digestive biscuits 75g unsalted butter, melted 1 scant tsp ground cinnamon

For the topping 150ml soured cream 1 tsp caster sugar ½ tsp ground cinnamon

1 Preheat the oven to 180°C, fan 160°C, gas 4. Line the base and sides of a 22-23cm springform cake tin with nonstick baking paper, so the paper comes 2.5cm above the tin edge.

2 For the base, crush the biscuits and mix with the butter and cinnamon. Tip into the tin and press down gently; bake for 10 minutes. Remove from the oven, then lower the temperature to 160°C, fan 140°C, gas 3.

3 Beat together the cream cheese and soured cream, then beat in the sugar and cornflour. Separately, beat the

“”

When there’s something to say, print is the medium people reach for. There are other ways, but print has a very valuable role to play

eggs, yolks, lemon juice and vanilla.

Gradually combine the two mixtures; beat until smooth. Add the lemon zest.

4 Tip the mixture on to the base and

bake for 40 minutes. Meanwhile, beat the soured cream for the topping until smooth. Remove the cheesecake from the oven (turn it off) and spread over the soured cream. Mix the sugar and cinnamon and sprinkle over. Return to the oven and leave to cool. Chill overnight. To serve, remove from the tin and peel off the baking paper.

■ 413cals; 35g fat (21g sat fat); 5g protein; 1g fibre; 21g carbs; 13g total sugars; 0.6g salt

Turn over for our five tasty variations Sainsbury’s magazine

69

Monday night’s and here’s Tuesday night’s”.

Sainsbury’s has also ventured heavily into using video to engage consumers. So will print be nudged out of Warby’s marketing mix by

>>

Cheesecake

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www. p r i n t p ower u k. c o. u k _Print Power_

Sarah Warby’s path to power

1990-1994 Student, studying engineering

<< such digital channels? “New media emerge and find their place,” Warby says. “I might live to regret saying this, but I haven’t seen a medium disappear yet.”

Sainsbury’s media agency, PHD, measures the return on all channels, but Warby is at pains to stress the importance of the customer metric.

“For me, good measurement starts with what customers think, not some ROI dashboard stuff. ROI is one of a suite of measures – it’s an important one but it is only one. The day we make decisions solely based on ROI is the day marketing starts to lose the art as well as the science.”

Warby firmly believes in print’s brand-building qualities, describing ads in print media as “a mix of the emotional, brand-building foodheroing stuff, all the way through to offers on Easter Eggs. Print delivers reach fast for a topical message and it can also do emotion beautifully, too.”

She must then understand why, in February, Sainsbury’s arch-rival Tesco eschewed other channels in favour of full-page print adverts

1994-2000 Marketing graduate trainee promoted to brand manager, Van Den Bergh Foods/ Unilever 2000-2002 Planner, Leo Burnett, Sydney 2004-2008 Marketing manager, Foster’s, rising to marketing director, Scottish & Newcastle 2008-2011 Marketing director, Heineken UK 2012-present Marketing director, Sainsbury’s

Eat, read and be merry (Top left) The Live Well For Less campaign offered Sainsbury’s customers recipes, ideas and advice on cooking on a budget. (Below right) Sainsbury’s Magazine was one of the first retail customer magazines when it was launched 19 years ago.

It mixes quality journalism with inspirational food and lifestyle content.

in UK newspapers to apologise for selling beef burgers that were found to contain horsemeat.

“I can’t comment on that!” she exclaims, in mock horror. A pause and then she adds: “But you’re right; when there’s something to say, print is one of the media people reach for. There are other ways, but print has a very valuable role to play.”

Supermarket sweep

A year on, does Warby feel her impact is showing in Sainsbury’s more recent campaigns? She sweeps away any personal credit for what The Daily Telegraph described as Sainsbury’s “galloping” performance in 2012. “I’m secretly cringing as you ask me that, as my team does all the work.” That team now includes Warby’s own appointments, including former Heineken colleague Mark Given, whom she lured from his role as head of sponsorship at O2.

If there’s a change between now and when she started, Warby highlights “a more joined-up, consistent customer journey around the brand.

Whether it’s Tu clothing or ‘Make Your Roast Go Further’, what you get across through all our own, earned and paid media, digitally, abovethe-line and in-store, is a more rewarding and rounded customer experience. That’s what we’re working towards.”

She does admit to playing the role of “glue for everything”, and that includes media.

With such a plethora of media choices at her disposal, Warby could be forgiven for feeling a tad overwhelmed by the decisions to be made.

But on past form, she’s proved she’ll take it all in her stride. PP ke seca Chee

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Now in its 20th year, Sainsbury’s Magazine continues to hold its own as a paid-for magazine, with a circulation of 238,115 in the last half of 2012 (NRS).

Produced by content agency Seven, the title pioneered mixing food and lifestyle content, from recipe inspiration to ideas for readers’ homes, health and holidays.

From the outset, it adopted the values of a glossy newsstand monthly, hiring the best writers it could find, including Nigel Slater, Shane Watson and Matthew Fort.

In September last year, the magazine took another leap forward when it announced that it would feature interactive print ad campaigns from brands such as John West. It remains the only magazine to win the coveted PPA Customer Magazine Award three times (last time in 2009).

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ppa_gillette_affair_left.indd 1

25/03/2013 14:15

Pause for

01

effect

With the tagline ‘Last to breaking news’, Delayed Gratification is the acclaimed quarterly that takes a long, slow look at news stories of yesterday. Editor Rob Orchard takes his time to explain the title’s unique appeal and why print is the perfect medium for the magazine

E

very magazine needs a motto and few slogans are more original, memorable and apposite as that found on the spine of the print-only quarterly Delayed Gratification.

“Last to breaking news” declares this matt-covered, perfect-bound publication that claims to be at the vanguard of an intriguing new movement – slow journalism.

And while that message flicks a cheeky two fingers at the ever-accelerating churn of information that bombards everyone in the 21st century, this is no media in-joke.

Delayed Gratification’s innovative marriage of long-form journalism, intoxicating design and infographic treatments of ongoing current events is attracting more and more subscribers with every issue, many of those new converts then delving back into the magazine’s back issues to enjoy what editor Rob Orchard

42_Print Power_ww w .p rin t p owe ru k .co .u k

By Johnny Sharp calls “an ongoing history of the world”.

Arranging our meeting, Orchard politely insists on convening in a coffee shop off London’s Tottenham Court Road rather than their nearby office, which is “a bombsite at the moment”.

Given the trendy status of his publication, we’re expecting its editor to be a bearded, dressed-down, Dalston-dwelling hipster. Instead, we meet an unfashionably clean-shaven, bespectacled, suited-andbooted gent who wouldn’t look out of place in front of a BBC news camera.

Thinking about it, his demeanour fits neatly with the notion of a return to traditional journalistic values. Yet, as should already be clear from a readthrough of Delayed Gratification, he and his approach to magazines are neither fogeyish nor faddy. And they might just be the future of print publications.

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

“ ”

To compete, you need to play to the strengths of print, make something that looks, feels and smells amazing

Slow road to success

Orchard, 32, first met his business partner Marcus Webb over a shared love of magazines in the early 2000s, when both were working as editors of Time Out’s international editions.

“We’d had pub talk for over a decade about what we loved and hated about magazines,” he says, “and how we’d do it better if we had our own company. Then finally we hit upon this guiding principle of slow journalism.”

Admitting a conscious allegiance to movements such as ‘slow food’ and ‘slow travel’, the key idea was to take a step back from our culture’s ever-intensifying race to communicate.

“In 2010, it seemed like everything was getting a lot faster,” he explains.

“Smartphones had become widespread, everyone was tweeting and news was

02

speeding up. We saw a lot of magazines reacting to the internet and what they saw as the threat of digital by becoming more and more like websites – bigger pictures, smaller text, lower production values. We thought, that’s not the way to do it. To compete, you need to play to the strengths of print, make something that looks, feels, and smells amazing. Something that’s tactile and makes people think: ‘Yes, this is why I love magazines.’”

Orchard’s former employers (for whom Webb still holds down a day job as International Content Director) rented them office space at mates’ rates, and in January 2011, Delayed Gratification and the Slow Journalism company were born.

Not that it’s all been plain sailing.

Apologising for not being able to invite us into his HQ, Orchard sheepishly admits that they have had problems with some >>

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03

04

<< flooding toilets at their “lovely but old and falling to bits” building they call home.

However, the subscription-driven model has helped them keep the ship afloat financially without too much outside investment or, amazingly, a single page of advertising. They have also enjoyed good PR from sympathetic media outlets such as Radio 4’s Today programme, who noted that “maybe we could all get used to this delayed idea”.

Orchard talks passionately about how slow journalism is needed more than ever in the current print magazine market.

“There’s so much noise around you every day that you could spend every waking hour reading good serious pieces from all around the world,” he says. “Add to that live blogs, Twitter feeds and instant news reaction, and you still wouldn’t feel you were up to date with everything.

44_Print Power_ww w .p rin t p owe ru k .co .u k

“So we decided we’d draw a line in the sand every three months and cover the world with the benefit of being able to wait to see how the full stories panned out. We pitch ourselves as being halfway between a really slow magazine and a really fast history book. It builds into an ongoing history of the world.”

This is no mere news digest – their original content sets them apart, as does their unique blend of storytelling formats.

Long-form features on anything from current affairs to entertainment and social history rub shoulders with funny, revealing and eye-catching infographics such as the ‘Downton Abbey Disapprovagraphic’ or the cartoon tale of ‘How poor hygiene in 19th-century Baltimore led to multicoloured honey in 21st-century Alsace’.

“Infographics, when done well, are a really good way of taking huge amounts

of data and allowing stories to emerge from them,” says Orchard.

Despite the instinctive association of such a pseudo-scientific approach to data with the short-form tendencies of online and digital publishing, he insists it works best in print.

“You might imagine they’re somehow a digital thing, because they look geometrical, but they actually look much better in print. You also don’t have that online urge to skim over the information and get onto the next thing – you take the time to absorb it.”

The future is slow So is this approach the future? Or at least one of several viable avenues for print magazines to explore?

“When we started, a lot of people were saying print is dead,” remembers

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

05

DG’s greatest hits

Rob Orchard takes us through his favourite features from the back catalogue of Delayed Gratification

01 the shepard fairey cover We’ve been lucky to have the work of some fantastic artists feature on the cover – a different artist for each issue. But for sentiment as much as aesthetics, nothing’s topped our very first cover by Shepard Fairey, who created the iconic Obama Hope poster. The fact that an artist of his stature would create a cover for free, purely because he liked the idea of Slow Journalism and what we were hoping to achieve, was a major boost.

02 the butterfly effect One of the benefits of being dedicated to looking backwards is that we can take a story back as far as we like. One of our favourite methods for doing this is called ‘The Butterfly Effect’, an illustrated look at how a story ripples through history. This includes how poor hygiene in 19th-century Baltimore led to multi-coloured honey in 21st-century Alsace and how Deng Xiaoping’s ‘Four Modernisations’ in 1978 led to the delay of the 7.38 train from Cheddington more than three decades later.

03 downton crabby

This infographic was a huge amount of fun to put together. We pored over the Downton Abbey scripts, watched the episodes on fast forward, stopping every time Carson the butler or Lady Violet the dowager countess had a scene, and noting down everything that riled them over the course of three series and a Christmas special. The results, when sorted alphabetically, were a gloriously surreal mix of pet peeves. Our favourite is ‘Maids touching aristocrats’ biscuit jars’. NB This is not a euphemism.

06 Orchard, “but that idea is losing currency now. We’re showing that people are prepared to spend money on magazines. You spend more on a magazine and it costs more to buy, but that only adds to its perception as a luxury item worth spending money on, as something of a treat even, and that’s the feel we like to give readers.

“There’s also that thing where you go to a mate’s house and you flick through a couple of magazines they have lying around and you talk about them. That social thing doesn’t work with tablet magazines. Even if you read it in someone’s toilet or at the dentist, it’s a nice way of consuming.”

That much is true. Whether slow journalism can gather momentum as a movement in the coming years is one of those unfolding stories that Delayed Gratification specialises in waiting before casting judgement on. But they’ve made a great start. PP For more information on Delayed Gratification, go to www.dgquarterly.com

04 Investigating the EDL

We’ve always sought to run as much investigative journalism as possible and our very first issue carried one of our most in-depth reports. The journalist spent a protracted period with the Jewish division of the English Defence League, attending rallies, protests and counter-protests. The amount of time he dedicated to the piece meant he could really get under the skin of the organisation and write a nuanced, fascinating report.

05 Moment That Mattered: The Tucson Shootings

In every issue we ask people affected by key events to look back with the benefit of hindsight. We’ve had some big names, including Noam Chomsky, Philip Pullman, PJ O’Rourke and, erm, Whigfield, but one of the most moving was from Mark Evans, editor of The Tucson Citizen. His take on the shooting of Gabrielle Giffords and 18 others in 2011 touched on gun control, the death of the local press, what it’s like to live through a media storm and how a town can come together as a community.

06 Evil Stick Man Avoids Tax

Sometimes we are so far behind that we end up ahead of the news cycle.

That was the case with one of our long-running ‘How To...’ series, in which our Evil Stick Man character profits from everything from patent trolling to starting currency wars. In Issue Two he illustrated a handy guide to avoiding corporation tax. A year later, a series of major companies were revealed to have been using the same tactics.

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www. p r i n t p ower u k. c o. u k _Print Power_

DOING IT FOR THE KIDS From a crowd-sourced tourist map to a cheeky augmented reality poster, print is an essential part of many integrated campaigns that target the under-25s. Surprised? You wouldn’t be if you knew how much young people love a good ‘doormat drama’

By Noelle McElhatton

46_Print Power_ww w .p rin t p owe ru k .co .u k

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

“ ” The younger consumer expects to get involved with their favourite magazine brands Jane Exon, Head of Advertising, Debenhams

M

arketing is full of legends and myths. Like the one about the best way to set next year’s marketing budget: take last year’s figure and adjust for inflation. Or the maxim, often disproved, that it’s better to focus marketing effort at prospects rather than existing customers.

Then there’s the convention that traditional marketing channels are wasted on the elusive digital-first generation. That particular adage was put to the test for Mini and IKEA last year when their agency, Lida, the direct arm of M&C Saatchi, researched which below-the-line channels deliver cut-through with different age groups. The results surprised Lida’s clients and the agency’s planners alike.

“Our research showed that the older age groups tend to prefer email, whereas younger age groups like direct mail as they get less in the post these days,” says Alex Horner, a Digital Planner at Lida.

Horner is 28 years old and describes his age group’s reaction to getting physical mail as akin to ‘doormat drama’.

That novelty of direct mail, or any targeted print marketing for young people, is an opportunity that brands such as O2, Nissan and Bacardi are exploring. Key to print’s effectiveness for this audience, however, is to enhance the experience for the recipient by integrating technology, whether this is image recognition, augmented reality, Near Field Technology (NFC) or a QR code.

Kevin Bratley, Creative Director at agency AIS, whose launch of One Direction for Sony BMG won three golds at internet association BIMA’s awards last November, succinctly sums up why. “You’re talking to people who have grown up expecting marketing to have an interactive quality,” he says. “There is an expectation now that if I point my mobile phone at a print ad, something will happen.”

Interactive intelligence Publicis Blueprint’s Digital Director, Neal Anderson, describes AR as >>

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01

02

Local hero KLM Airlines targeted young travellers with its ‘Must See Map’ campaign, which fused social media with print to gather email data

Special delivery Nissan used direct mail to engage an audience of 28-35 year olds to help drive online registration for test drives of their Juke model

<< “the great bridge between print and digital” for younger audiences and points to award-winning issues of magazines ShortList and Stylist, whose features were AR-enabled.

Retailer Debenhams says it’s having success with print advertising and AR, including a campaign with a ‘Join in’ message via Aurasma, an AR platform for mobiles. “The younger consumer expects to get involved with their favourite [magazine] brands,” says Jane Exon, Debenhams’ Head of Advertising.

But in the age of mobile gaming and Google Glasses, can print be considered a ‘cool’ medium in the eyes of digital natives? It seems a big ask, but the consensus is ‘Yes it can’, depending on the social shareability of its creative idea or consumer offer.

“Merely grafting on a QR code won’t work. You have to make your chosen technology a creative focus of the print piece,” advises Bratley, pointing to O2’s pioneering use of image-recognition technology and embedded tickets in a print piece to its Priority customers in 2010.

“Reaction to that went bananas on Twitter and Facebook,” he says.

Indeed, the degree of chatter on social media about a print piece is now an additional measure of response for brands, where once the number of calls to an 0800 number was the key benchmark.

When Bacardi recently wanted to increase purchase amongst a new generation of drinkers, its social-driven photo competition generated printed magnets for participants who then returned to social media to brag about receiving them.

Youth may be wasted on the young, as Irish playwright George Bernard Shaw once wryly suggested, but there’s a dawning realisation that print marketing is not squandered on this audience.

“People tend to forget what fantastic multi-taskers young people

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are,” says Kris Hallenga, Chief Executive of youth cancer charity CoppaFeel!, whose 2011 outdoor print campaign paid homage to Wonderbra’s iconic 1994 poster. “In my experience, this makes them more receptive to a range of different media. A strong message on a printed piece is much more effective than a mediocre message broadcast only on social media channels.”

Here are four campaigns that prove the worth of print in any activity that targets the youth market. As a youthful George Michael once said, ‘Young guns. Go for it!’.

01 KLM

Must See Map KLM Royal Dutch Airlines demonstrated the usefulness of print to a social media-savvy audience when it launched its KLM ‘Must See Map’ global campaign in February. As young travellers like to research holiday destinations via social media prior to their journey, KLM and its agency Code d’Azur tapped into this behaviour to create a permanent record of that research.

The initiative, aimed at boosting KLM’s customer email database, incentivised travellers to sign up to receive a high-quality printed map of their destination featuring their friends’ travel tips. Users type in their destination on the KLM website, inviting friends to recommend places to go, stay and eat, directly within the map via Facebook, Twitter or email. The application collates these tips and the resulting map is then mailed free to participants.

The task was a complex one, involving close cooperation between Google and the printing company, which faced the added challenge

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

03

04

Happy hour Bacardi targeted young men with their #CheersToTheYear campaign, which used social media and print to inspire new fans of the spirit

of localising the map for a large number of countries. However, KLM says the result is a win-win.

“Participants get a free personalised city map delivered at home and we receive their email addresses in return,” explains KLM’s Director of Digital Marketing, Viktor van der Wijk.

02 Nissan

Built to Thrill Typical Nissan Juke buyers are urban adventurers who know a trend the moment it appears on their smartphone. To engage this audience of 28-35 year olds, Nissan’s agency TMW wanted to bring the design story of the Juke to life .

For Nissan, direct mail is an essential start of the customer journey to purchase, so TMW created a striking mailer for the Juke’s ‘thrillseeker’ audience. Copy and imagery focused on highoctane sports and included a brown bag for use ‘in the event of hyperventilation’, tempting the recipient to register online for a dedicated ‘Built to Thrill’ hub.

03 Bacardi

#CheersToTheYear As part of Bacardi’s strategy to target young men, its agency Rapp created a campaign that started with social media and ended with a print element to inspire a new generation of the spirit’s drinkers after sales had plateaued in the UK. #CheersToTheYear was designed to match the Bacardi target

Breast in show An augmented reality poster campaign for breast cancer charity CoppaFeel! resulted in 20,000 interactions and huge success

market’s social behaviour of sharing pictures of their nights out with the brand’s ability to ‘make famous’ these occasions. The innovative campaign used Instagram, Twitter and Facebook, along with a simple hashtag to attach to drinkers’ pictures of their nights out, which Bacardi then reposted via its own social networks. Fans could win a ‘Stickygram’ magnet of the most popular pictures, sent in a specially created mail pack.

“Print won a space in the campaign as a permanent reminder for Bacardi fans of their achievement,” says Gavin Hilton, Planning Director at Rapp.

04 CoppaFeel!

Hello Boobs

CoppaFeel! is the irreverent name of a serious charity with the tricky task of raising awareness of breast cancer amongst young women and men. One channel certain to reach audiences is outdoor media and the charity’s recent ‘Hello Boobs’ campaign by agency AIS combined a printed billboard poster of a picture of ‘boobs’ with augmented reality.

Passers-by were encouraged to point their phone at the poster, which changed the picture to 3D and then went to augmented reality.

This brought the breasts ‘to life’ and let viewers share them on social media. It was one of the charity’s most successful campaigns yet, with more than 20,000 people ‘naming’ their boobs.

“The campaign proved that print work has a life beyond just being print, and that’s got to be part of the channel’s future,” says Kevin Bratley, Creative Director at the charity’s agency AIS. PP

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newspapers magazine advertising / magazines / direct / direct mail mail / door / door toto door door / customer / customer magazines magazines / catalogues / catalogues

KNOWLEDGE Over the next five pages, we’ll be giving you the latest research, information and insight into the

five key mediums covered

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

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

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

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

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

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

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

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Direct MAIL / 7 reasons 1.

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The mail moment Direct mail enters an individual’s home and is consumed on a one-to-one basis.

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

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

48

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

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

%

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

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

84

%

The percentage of adults who have visited a department store in the last 12 months and have done something as a result of the direct mail they received (TGI, 2011)

The percentage of people who tend to open all of their post (BMRB, 2011)

Citroën 100 Club

The French car manufacturer wanted to appeal to style-conscious individuals for the launch their DS3 model, and so turned to direct mail to reach their target audience. The mailer was built around the concept of exclusivity, integrating with a wider marketing campaign called the Citroën 100 Club, comprising the first 100 people who ordered the DS3 online. To encourage membership of the club (and sales of the car), marketing agency CMW mailed a DM piece that offered the recipient the chance to personalise the car’s roof. The mailer opened up to reveal a die-cut DS3 ‘viewfinder’, which could be peeled off and placed over any image that inspired the recipient. Following the mailing of 10,150 packs, the first 100 DS3s were sold within days and the lucky members began a unique comms journey taking them to the launch date.

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4.

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

“

In a digital world, print does still matter. Luxury brands still relish the environment Alistair MacCallum Managing Director, M2M

newspapers / magazines / direct mail / door to door / customer magazines / catalogues

DOOR DROP MAIL / 7 reasons

“” 41

Chinese New Year

Food retailer the Co-op run an ongoing door-to-door campaign targeting homes within a three-mile radius of their 3,000 stores. Every week, around nine million leaflets featuring the latest offers are delivered as part of an integrated marketing campaign that also features TV spots, online marketing, press ads and point-ofsale materials. This door drop created interest in the Chinese New Year, celebrating the holiday with a range of offers and discounts for Chinese food.

In January, the Co-op mailer was voted the nation’s favourite door-to-door campaign, and it scooped a People’s Pick award from a Nielsen panel of 10,000 members of the public.

profiling and targeting has enhanced door drop’s ability to reach key audience segments Colin Lloyd Former President, DMA

.5 m

The amount of UK adults who are open to receiving door drop leaflets (Royal Mail, 2011)

52

%

The percentage of shoppers that find door drops an important source of pre-purchase information (Experian, 2012)

1.

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

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

Mass-market medium With a satisfying 100% reach, door drop is the only truly national mass media available to marketers.

The medium is still the only way of delivering a document into the hallways of millions of households.

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

Right environment The fact that the consumer receives your material in their own home is crucial. They can take in and respond to the messages in their own time, never forced, coerced or pressurised into making a quick decision.

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 future campaigns can become more and more sophisticated.

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

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CUSTOMER MAGAZINES / 7 reasons 1.

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7.

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

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

Engagement Magazines are the most effective medium when it comes to engaging your customers, entertaining and informing them while communicating your brand messages on a regular basis.

Entertainment A great magazine builds your customer’s faith in your brand by offering great content at little or no cost to them. Entertain them and you’ll have their attention all to yourself.

13

%

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

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

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

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

25

%

The rise in combined circulation of customer magazines over the past 12 months (ABC, 2012)

HSBC

The amount of all content consumed in the UK which is produced by brands (CMA, 2012)

Liquid Sent to HSBC’s affluent, investment-savvy banking and Premier customers three times a year, Liquid has the direct aim of attracting a greater share of wallet and brand consideration for investments and savings.

This is achieved through finance, business and lifestyle content that showcases HSBC’s expertise and insight in the investment world. In a demanding financial climate, Liquid works fantastically well, bringing in over £2m of incremental revenue and delivering an ROI of 8:1.

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4.

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, making each reader feel a valued part of a community.

“

“Content is about strong journalism and editorial skills and understanding how best to engage audiences Amber Chamble PR and Brand Manager, Aviva

MAGAZINE ADVERTISING / 7 reasons 1.

2.

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

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

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

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

4.

Focused activity Reading a magazine requires high levels of concentration, the same levels of concentration that will be devoted to a publication’s advertising as well as its editorial.

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

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

125 63 %

The increase in trust people have in magazine advertising as opposed to radio advertising (IPC, 2012)

Hobbs

%

The percentage of readers driven to action after exposure to magazine advertising (PPA, 2012)

InStyle/Woman & Home Hobbs wanted to successfully launch a new, premium-priced collection and create stand-out in a crowded market during a recession, so the IPC’s InStyle and Woman & Home teams developed a print and online campaign to help the fashion brand reach new audiences. The campaign included display advertising alongside editorial content, online videos and newsletters. Effectiveness research revealed that 54% of readers thought the advertorials were excellent, while 44% said they were more likely to shop at Hobbs following the campaign.

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“

Magazines contain considered content and space, calm curated ideas which have been meticulously researched and put together Nicholas Coleridge President, Condé Nast International

newspapers / magazines / direct mail / door to door / customer magazines / catalogues

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CATALOGUES / 7 reasons B&Q

print confers greater authenticity on a product offering than the internet is able to Paul Cunningham Managing Director, Aspace

%

The percentage of consumers that keep catalogues in their homes for over a month (MarketReach, 2013)

76

%

The increase in online purchase by a catalogue recipient against a non-recipient (Royal Mail, 2010)

1.

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5.

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

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

packed with Information 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.

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

Garden Living As part of B&Q’s rebranding to become ‘The Helpful Home Improvement Company’, its Garden Living catalogue not only aimed to increase sales, but also establish the brand as the place to go for friendly, impartial advice. The catalogue clearly showcases the great range of products in store and online, while using editorial devices such as ‘How to...’ guides to help the customer get started. Results were impressive: 72% agreed the book gave them ideas and inspiration, while more than one in four went on to make a purchase.

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

4.

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

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

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Qa &

newspapers / magazines / direct mail / door to door / customer magazines / catalogues

Final Word Dave Trott, Executive Creative Director of ad agency CSTTG, has been in advertising for over 30 years, founding several agencies and creating such iconic campaigns as ‘Hello Tosh Gotta Toshiba’, ‘Ariston and on and on’ and the Cadbury Flake ads. Winner of the prestigious D&AD President’s Award in 2004, he’s one of the industry’s most outspoken practitioners What are your thoughts about print’s place in marketing? In my

business, you use what’s right. All of that trend-following stuff, that’s all just silly stuff to stop thinking. Five minutes ago they said that TV was dying and Pepsi moved all its marketing budget in America off TV into social media.

A year later, the results are in and Pepsi lost £350million in sales. Now they’ve quickly put all their money back into TV. That’s what always happens: everybody, all the no-brainer wallies, jump in and say something’s dead, which is just a gimmick used by people to sell whatever it is they’re currently punting. Nothing’s dead if it’s a good way of getting to the people you want to. So you don’t

agree with those that say print is dead? No. It’s a stupid thing to say. Cave painting

is dead – maybe you can say that. But you walk into any newsagent or pass any street corner, they’re giving magazines and newspapers away free every morning.

This morning, half of the people on every train are reading Metro. Now, if print’s dead, how come they’re all reading Metro? Print’s just changing shape, that’s all. Are you

a fan of print that transfers people to digital? It doesn’t seem to make a big

difference. The thing with any piece of technology is that once you’ve got it, everybody’s got it. So you’ve still got to use your brain to out-think your competition. QR codes are great if your audience has a smartphone, but before you base a campaign on it, you need to look at smartphone penetration. And outside of the trendy Soho media set, maybe smartphone penetration isn’t so huge, in the North of England, say. The problem with media people is they tend to assume that everybody is exactly like them and of course they aren’t. They are a minority. So I’m very suspicious of anything that you people do. What

magazines do you read regularly?

Each week I’ll get The Spectator and The New Yorker. Then

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“If print’s dead, THEN how come everyone’s reading Metro? Print’s just changing shape, that’s all” I’ll get The Sunday Times for the Culture and News Review sections. Then I’ll get the Evening Standard on Thursday just because Charles Saatchi writes in it. I don’t tend to follow brands so much as journalists. So I’ll Follow Hugo Rifkind, wherever he writes, or Melissa Kite, Tanya Gold, Marina Hyde, those kind of people. And you find them anywhere from The Times to The Spectator to their blogs online. So you’ll read them anywhere?

It’s like TV. Most people aren’t loyal to a channel, they’re loyal to a programme, and they’ll switch channels according to their programme. That’s what Murdoch understands. Remember when he was having that massive row with Virgin over who was going to win the satellite thing? Virgin had the better technology but Murdoch had the better programmes. So he pulled The Simpsons off Virgin, and immediately me and loads of other people switched from Virgin to Sky, even though the technology wasn’t so good. It’s because you want the programme not the channel. And it’s the same with any kind of print. You don’t want the masthead, you want the journalist. Are

brands getting better at producing their own content? It’s not rocket science.

If the thing’s good quality and it’s right for your market, people will get it, no matter who’s produced it. But there’s a great feeling that we’re hypnotising people to sleepwalk into doing what we want them to do. And I don’t think that’s true.

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