Print Power 4

issue 04 / autumn 2012 / add print add power

UNVEILING THE WORLD OF PRINT Paper

Various artists (200Bc-present) Dating back over 2,200 years, paper is the world’s most versatile communication medium. the first known papermaker was Chinese court eunuch Cai Lun, who perfected the art of papermaking in 200BC, using tree bark, hemp, cloth and fishing nets. now, the paper industry is worth over £18billion a year in the uK alone and remains the world’s most popular way to produce or consume media.

Please touch

austria, Belgium, Finland, France, germany, Hungary, italy netHerlands, norway, portugal, spain, sweden, united Kingdom

I AM

THE ONLY THING YOU’RE

LOOKING

AT RIGHT

NOW I am the power of print. By adding print media to TV and online campaigns, you almost double your brand awareness. You also increase consumers’ purchasing intentions by over 50 percent. For more reasons to utilise print media, email info@printpoweruk.co.uk or visit www.printpoweruk.co.uk

Discover how Print can Add Power to your multimedia strategy. Click on the QR Code or go to www.printpoweruk.co.uk/register. Free QR code software is available at www.upcode.fi.

Add print, add power

007171

LOOKING_Uk_300x225_MarketingWeek.indd 1

1/02/11 09:15

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

CONTENTS Sense check By now, you should have noticed that the cover to this fourth issue of Print Power has a few stand-out features. Aside from the compelling design and coverlines, it showcases a number of print effects and finishes that give the page a real sense of depth and intrigue.

These effects aren’t just there for decoration – they provide an example of what can be done with print to engage the reader and draw them further into a publication’s world. Add in other effects such as thermochromic inks, scratch ‘n’ sniff panels and foil blocking, and there’s a world of finishes to be explored.

In this issue, we also chat to Haymarket Executive Chairman Rupert Heseltine and get the views of Northclifffe Media MD Steve Auckland – two men that are confirmed fans of print both from a business and personal perspective.

As ever, we’re always open for comments, so if you have anything to make Print Power even more relevant and useful – content suggestions, case studies etc. – please email me at martyn.eustace@printpoweruk.co.uk Until then, enjoy the issue.

Martyn Eustace Country Manager, Print Power UK

06-10

32-37

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

All your questions about paper answered in an exhaustive guide to the medium and its many variations.

Engage

Choices choices

12-13

38-41

Five fantastic examples of the creative potential of print from across the world.

How the humble paper leaflet is transforming the fortunes of some of Britain’s top tourist attractions.

Take 5

Rollercoaster ride

14-15

42-44

Gurdev Singh, MD of Communisis Leeds, and Andrew Harris of Canon Europe let loose their opinions.

Mike Berry, international marketing consultant, explains where print should stand in your strategy.

Thought Leaders

Print’s place

16-20

46-49

An exclusive interview with the Executive Chairman of Haymarket Media Group.

Influential neuroscience expert Dan Hill explains how to make the most of magazine advertising.

Rupert Heseltine

The science bit

22-27

51-57

Why print is the perfect medium to communicate the feeling of glamour and the best ways to achieve this.

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

The lap of luxury

28-31

The new print evangelists

Meet the new breed of media moguls who are flying the flag for print.

Knowledge

58

Final word

Steve Auckland, MD of Northcliffe Media, on the unique appeal of local newspapers and the future of print.

For more information 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 Printed on 100% recyclable paper from sustainably managed forests. All inks and finishes are also 100% recyclable and biodegradable. Printed using vegetable-based inks by an ISO 14001accredited 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, Celloglas DATA MANAGEMENT DST PRINT POWER Stonecroft, Hellidon, Northants, UK NN11 6GB • info@printpoweruk.co.uk • +44 (0)1327 262 920 © 2012 Print Power

Contributors

Steve Middleton Steve is the Sales Director for Celloglas, the UK’s leading decorative print finishers, who produced the finishes for our cover

Gurdev Singh As MD of marketing services specialists Communisis Leeds, Gurdev oversees a 400-strong team, with clients including Barclays and Tesco

Andrew Harris Andrew is Graphic Arts Customer Marketing of Canon Europe, and writes about the importance of measuring ROI

Matt Jolly The Production Director of John Brown has picked up a raft of awards and is No.34 in PrintWeek’s Power 100

Mike Berry Mike is one of the UK’s leading marketing trainers and consultants, as well as a Fellow of The Institute of Direct Marketing

Dan Hill Dan is the founder and president of Sensory Logic, a neuromarketing research firm based in Minneapolis, USA

Steve Auckland The Managing Director of Northcliffe Media is head of one of the UK’s largest publishers of local newspapers

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ENGAGE

THE LATEST NEWS FROM THE WORLD OF PRINT

AUTU SEMI MN 2012 NAR

TWO SIDES AND PRINT POWER AUTUMN SEMINAR 2012 Held on November 12 at The Stationers’ Hall in London, the annual Print Power and Two Sides Autumn Seminar 2012 gave a crowd of senior industry figures the opportunity to hear from some of the leading experts in sustainability, marketing and print innovation.

Joining Two Sides and Print Power UK Country Manager Martyn Eustace on the speaker’s podium were Emmanuelle Neyroumande, Pulp and Paper Strategy Manager of the WWF, Jeremy Dain, Strategic Consulting at PricewaterhouseCoopers, Frazer Chesterman, Director of FM Brooks, Marcus Timpson, Director of the EcoPrint Show, and Julian Ingram, Executive Vice-President of McCann Worldgroup. All speakers have vast amounts of

experience in the print and marketing industries.

Under the theme of ‘Promoting the sustainability and effectiveness of print media in a multimedia world’, among many of the topics under discussion were future challenges the print industry faces, how print can best promote itself in the eyes of marketers, and how print innovations can add real value to a campaign.

As well as the presentations and subsequent discussions, the seminar allowed plenty of time for networking, as well as providing a platform for the launch of this fourth issue of Print Power.

For more information on the Print Power and Two Sides Autumn Seminar, as well as full details of other events, please go to www.twosides.info

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

UNSTOPPABLE CAMPAIGN WINS PRINT POWER EURO EFFIE AWARD The Euro Effies 2012 award ceremony took place in Brussels last month, rewarding and recognising the best examples of European advertising in a glittering evening of celebration and innovation.

Organised by the European Association of Communications Agencies (EACA), the Euro Effies are celebrated in almost 40 countries, with Print Power proud to be a jury member and sponsor of the ‘Best demonstration of innovation in magazine or newspaper advertising’ award.

The award recognises the campaign that demonstrates effectiveness through exceptional use of innovation and creativity in print, and is particularly impressive since the winner must have already won one of the other Euro Effie awards on the night.

The winning campaign was ‘Ex-smokers are unstoppable’, which was produced for the European Commission by Saatchi Brussels. The campaign highlighted the

positive messages about life after smoking, using print, TV, online advertising and social media to reach the young target audience across Europe.

But while there were 19 winners on the night, one of the other stars of the evening was the Euro Effies case book, the publication that showcases the winners of all the awards, explaining each campaign and why the judges felt it was the most outstanding entry in its category.

This year, the case book really pushed the boundaries of what print can achieve, with the addition of augmented reality.

Each page of the book gives the reader an exciting opportunity to interact with the content, accessing exclusive video content using their smartphone or iPad. For more information on all the winners of the Euro Effies 2012, go to www.euro-effie.com

40

VOLUME DOWN, EFFICIENCY UP FOR DOOR DROPS

% Research finds of magazine buyers prefer print

New research from the Direct Marketing Association (DMA) reveals that UK door drop volumes fell by 11.8%, from 7.9 billion in 2011 to 6.9 billion in 2012.

The report cites improvements in efficiency as the primary cause of contraction of door-drop volumes, as marketers reduce their marketing costs and enhance their use of client data and targeting techniques to increase accuracy and minimise excess volumes. Expenditure on door drops remains steady, however, with a decrease between 2010 and 2011 of just 1.4%.

“The research demonstrates that the door-drop sector is continuing to benefit from improvements in targeting techniques,” explains Mark Young, Chief Executive of The Leaflet Company and chair of the DMA Door Drops Committee. “Even though volumes are declining, expenditure on the medium remains high, showing that marketers and consumers alike view door drops as a valuable method of communication.

“The future for the medium is bright as I expect to see a significant increase in marketers using door drops in conjunction with online channels to create highly innovative integrated campaigns.”

New research has found that 40% of UK magazine buyers prefer to read print editions over digital. The YouGov SixthSense research questioned participants on several aspects of their magazine-consumption habits, and found that women in particular have a “strong affinity for print”, with 45% of those surveyed preferring it over digital.

41% of women said they liked the look and feel of printed magazines, while 36% said they liked the “convenience” of print magazines. Meanwhile, 11% said they read content both online and in print, while just 9% said they were reading more online.

Around half of all those surveyed, however, said they were buying magazines less often – 27% of men and 34% of women said this was because of cost. Busy lifestyles were also an important factor, with 18% claiming to have less time to read them.

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

Go to http://sixthsense.yougov.com to find out more

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ENGAGE THE LATEST NEWS FROM THE WORLD OF PRINT ENGAGE

PO

IPC STUDY REVEALS THE EFFECTIVENESS OF MAGAZINE ADVERTISING

P FIPP LAUNCH PROOF OF PERFORMANCE TOOLKIT A brand new toolkit consisting of an infographic, presentations, webcast and other information is now available to help publishers, agencies and advertisers show how magazine media advertising works.

Proof of Performance: Making the Case for Magazine Media (POP) uses evidence-based research from 110 studies across the globe to show how magazine media, on print and digital platforms, continue to thrive in an era of unprecedented media change.

The POP toolkit offers elements – all freely accessible – that can be used in company-specific presentations and pitches, including an infographic highlighting the key sales tools available in the report.

POP is completely free to download.

Go to www.fipp.com/pop

88

%

The percentage of consumers that prefer to read their favourite magazines in print rather than through tablet or smartphone devices Deloitte’s State of the Media Democracy survey, 2012

A report into the effectiveness of magazine advertising has found that magazines drive consumers towards purchase, are highly engaging and trusted, and are the medium most likely to hold consumers’ sole attention.

The IPC Media study AdSense aimed to test the effectiveness of magazine advertising and understand its role in the overall media mix, using 13 brands including Persil, Clarks, Veet, Boots, Corsodyl, Ribena, E45 and Batiste.

AdSense evaluated two different adverts for each brand and analysed the impact the ads had on consumers. The study found that magazines are highly engaging, with 49% of respondents turning to magazines for ‘me-time’ and 45% to treat themselves.

AdSense also discovered that regardless of the age of the respondent, consumer magazines are trusted and that magazine adverts overall are 80% more likely to be trusted than newspaper adverts and 125% more trusted that radio adverts.

The study then went on to look at the action that consumers took after seeing a campaign

in a magazine. It found that 46% of women were more likely to purchase a product they had seen in a magazine, 14% purchased the brand advertised, 10% had recommended the brand and 18% had talked about it.

AdSense then analysed how respondents interacted with magazine advertising in relation to other media. Of those surveyed, 56% remembered the brand more after seeing both online and magazine adverts, and 61% were more likely to remember the brand after seeing magazine and TV advertising.

“As well as driving purchase, our study found that magazines prompt other actions, including encouraging footfall, driving traffic to brand websites, in-store trial and online search,” explained Amanda Wigginton, IPC Insight Director. “The results confirm that not only is magazine advertising effective on its own, but that it’s also an important element in cross-media campaigns.”

To find out more, go to www.ipcadvertising.com/adsense

HAYMARKET NETWORK’S OLYMPIAN FEAT OF PUBLISHING Haymarket Network, one of the UK’s leading producers of content for sports brands, managed to pull off one of the biggest challenges in publishing. As the official supplier of programmes, publications and digital content for the London 2012 Olympic and Paralympic Games, the editorial agency produced a grand total of 42 separate publications before, during and after the Games.

The publications included 16 daily programmes for the Olympic Games and 11 for the Paralympics, plus The Olympics and Paralympics Souvenir Programmes, The Opening and Closing Ceremony Programmes, The Cultural Olympiad programme, and the Official Guide to Team GB. In all, over 2.5 million publications were produced by the agency.

“The Olympics and Paralympics daily programmes were the most complex editorial projects I have ever been associated with,” says Simon Kanter, Editorial Director of Haymarket Network. “With three teams, two in Stratford and one in Teddington; with 16 days of pages created and waiting to be re-made, refined, honed and finessed; with a client challenge to exceed our personal best; with deadlines every hour and the world’s biggest event taking place all around us, the pressures were enormous, but we couldn’t have been more excited and privileged to be involved.”

See our exclusive interview with Haymarket Executive Chairman Rupert Heseltine on page 16

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

74

%

The percentage of customer magazine readers that are more likely to buy a product as a result of receiving direct mail (TGI, 2012)

TRAINING, EDUCATION & NETWORKING The YMP (Young Master Printers) have recently become PPM – Professionals in Print & Media. While the YMP had always been synonymous with personal development and advancement, PPM has an even more important part to play in bringing together people from the print media value chain.

The new PPM will enhance those original objectives by encouraging membership from the whole print media spectrum and is dedicated to bringing back the true value of learning, personal development, team building and networking.

The philosophy of growth will remain at the heart of PPM – encouraging advancement and learning through a positive atmosphere of mentoring, mutual commitment and motivation. Membership provides a fantastic opportunity to meet people looking to develop their careers and knowledge through sharing, interacting, training and comparing ideas and experiences with others.

“Over the next 12 months, PPM will be delivering structured training programmes, company visits, study tours, business meetings and networking events,” explains Ann Drayton, National Chairperson for PPM. “If you feel joining PPM would benefit either yourself or colleagues then get in touch and start enjoying the advantages of the changes happening within our industries.”

To find out more about the PPM, go to www.britishprint.com

QUICK HITS

•

VIDEO FIRST FOR UK MAGAZINE Marie Claire is the first UK magazine to feature video content, with a number of its October issue containing a video advert for luxury fashion label Dolce & Gabbana.

The 45-second ad appeared in a few thousand copies of the October issue, and featured a pair of models posing near a coastal scene. When the page is opened the advert begins to play.

The technology used for the ad was developed by the US firm Americhip, which has already used it in foreign titles including Russian Vogue. But this is believed to be the first time a UK glossy has used the video and audio technology.

“This is massive and it’s a huge change,” said Marie Claire’s publishing director Justine Southall. “It is expensive but the cost will come down in time and it will become a more accessible part of what we do.”

•

•

For more information and to watch the ad, go to www.printpoweruk.co.uk

•

Quote unquote “WHILE EVERYONE IS CHASING SHORT COPY AND BIG IDEAS, OUR SUCCESS IN THE CONTENT WORLD COMES FROM CREATING ENGAGING EDITORIAL CONTENT WHICH IS INDULGENT, DELICIOUS AND SATISFYING”

•

Wallpaper* magazine has launched a new fragrance with the scent of freshly printed books. Packaged in a real book designed by Karl Lagerfeld, the perfume is called Paper Passion and comes with a series of short essays on the subject of paper by German author and artist Günter Grass as well as Wallpaper* Editor-in-Chief Tony Chambers. The price? A cool £68.

A student in China has developed a concept device that captures the aroma of a meal on a postcard. Li Jingxuan, from the Fashion and Art Design Institute of Donghua University, invented the ‘food printer’ in honour of her love of good food and travel. The idea is that if you’re enjoying a trip away, you can try local food and use the machine to take pictures and collect its fragrance. You can then print both the picture and the smell onto a postcard to send to friends.

A print version of the Lancashire Evening Post has been created with a button to allow readers to play audio simply by pressing the newspaper. The ‘smart’ newspaper is the latest prototype from an 18-month research project led by the University of Central Lancashire, which aims to find ways of connecting a print newspaper to the internet.

The world’s first live Twitter feed in a magazine was launched in America last month with the October 5 edition of Entertainment Weekly. The unique issue featured an insert with a video screen displaying live tweets. The ad promoted the Fall line-up of CW Television Network and was developed with media agency OMD and Twitter.

A Nielsen study has found that 16-34 year-olds value individually addressed printed envelopes over email. The study took an in-depth look into the marketing effectiveness of postal direct mailings on the consumer-purchase-decision process in the digital age, and found that direct mailings with a printed envelope generated the highest openand-read rate with 84%, followed by email with 80%.

GERI RICHARDS, CEO Publicis Blueprint

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

Putting our customers first, has put us first!

BPIF Company of the Year 2012 The BPIF awards judges said: “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)

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ENGAGE

THE LATEST NEWS FROM THE WORLD OF PRINT

INTERNATIONAL CONTENT MARKETING SUMMIT 2012 This month (November) sees a host of events, awards and conferences filling up your diary pages, but the International Content Marketing Summit is the only one that deals with the area of branded content. As one of the fastest-growing areas of marketing, the content industry is currently worth over £1billion and is employed by some of the world’s biggest brands, including Coca Cola, Google and Tesco.

This year, the theme is ‘Telling brand stories’, a theme that gets to the heart of why content marketing is so successful.

Lead a customer on a compelling editorial journey and you’ll retain their attention, which is half of the battle to securing their loyalty.

Speakers at this year’s event include Claire Hilton, Head of Advertising, Media & Content at Barclays, Matthew Taylor,

CEO of the Royal Society of Arts, and Jon King, Managing Director of Story Worldwide.

“I’m really excited by our line-up of speakers this year,” says Julia Hutchison, COO of the Content Marketing Association. “Each one has been hand-picked for their knowledge and expertise in content marketing, and they all have fantastic stories to tell about how brands can get a deeper connection with their customers.”

The Summit will be followed by the International Content Marketing Awards in the evening.

The International Content Marketing Summit will take place at Old Billingsgate, London, on Wednesday 28 November, 2012. For more information, go to www.ilovecontent.co.uk

EVENT DIARY NOVEMBER 12 / 2012

NOVEMBER 28 / 2012

Print Power and Two Sides Autumn Seminar

CMA International Content Summit & Awards

This annual event brings together a number of print and sustainability experts to discuss and debate the latest developments in the paper industry and its impact on the environment. This year, the seminar includes Emmanuelle Neyroumande, Pulp and Paper Strategy Manager of the WWF, and Julian Ingram, Executive Vice-President, of McCann Worldgroup.

The Content Marketing Association’s annual conference gathers the world’s leading experts on content marketing to share their knowledge and experience to an audience of over 400 senior marketers, agency owners and media decision-makers. The CMA International Content Marketing Awards follow in the evening.

• Stationers’ Hall, London www.twosides.info

• Old Billingsgate, London www.ilovecontent.co.uk

NOVEMBER 21 / 2012

DECEMBER 4 / 2012

Customer Direct Awards 2012

Independent Publisher Conference & Awards

The flagship event of the PPA’s Customer Direct Marketing group, these awards are designed to celebrate and reward excellence in all aspects of subscriptions marketing. The Awards are preceded by Customer Direct 2012: Subscriptions & Beyond, a day-long conference looking at all aspects of direct marketing in a selection of interactive and informative sessions.

The Independent Publishers Network (IPN) is the PPA’s hub for publishers with a turnover under £7million, and this conference and awards ceremony is the annual focal point for the industry. Subjects under discussion are chosen for their relevance to the independent publishers, with speakers gathered from all areas of the industry.

• The Brewery, London www.ppa.co.uk/customerdirect2012

• Vinopolis, London www.ppa.co.uk/ipn

NOVEMBER 27-28 / 2012

MAY 14-15 / 2013

ECMOD Direct Commerce Show

Worldwide Media Marketplace

The ECMOD Direct Commerce Show serves the catalogue, home shopping and multi-channel retailing community, together with business-to-business distributors and pure-play online businesses. Now in its 22nd year, the event is also home to the CatEx Direct Commerce Association Village – a zone dedicated to associate members and sponsors of the trade group.

One for the 2013 diary. 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. Keep an eye out for when tickets are available as they are always snapped up quickly.

• Business Design Centre, London www.ecmod360.co.uk

• Novotel London West, London www.wmm.net

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ENGAGE THE LATEST NEWS FROM THE WORLD OF PRINT ENGAGE

COVER STORY

THIS ISSUE’S PRINT POWER COVER IS A COMBINATION OF FINISHES AND EFFECTS THAT DEMONSTRATE WHAT CAN BE DONE WITH A LITTLE BIT OF IMAGINATION AND THE LATEST PRINTING TECHNOLOGY By this point in the magazine, you should have noticed the cover (if not, please return to page one).

To tie in with our features on luxury paper (p22) and the secrets of the paper industry (p32), we’ve gone to town with a range of ink, finishes and treatments.

The cover was printed on top-grade 220gsm paper, with supplier, printer and finisher all working closely together. The final stage was applying the finishes and effects that give the cover its tactile,

memorable and inspirational feel – all supplied by decorative finishing experts Celloglas.

Here, Steve Middleton, Sales Director of Celloglas, talks us through each effect and explains what each one adds to the cover.

“Print still has a huge amount of potential to grab the attention and offer people something new,” he says. “There’s so much you can do with print to make it stand out. This is just the tip of the iceberg.”

MASTHEAD

SUSTAINABILITY “Every aspect of this cover is completely recyclable and biodegradable – including the foil blocking.

We work hard to ensure that our finishes are as sustainable as possible.”

issue 04

UNVEILING THE WORLD OF PRINT

EMBOSSING “The small embossed circles covering the majority of the cover give it a real tactile feel, something you want to run your finger over and sense the different texture the effect provides.”

Paper

Various artists (200Bc-present) Dating back over 2,200 years, paper is the world’s most versatile communication medium. the first known papermaker was Chinese court eunuch Cai Lun, who perfected the art of papermaking in 200BC, using tree bark, hemp, cloth and fishing nets. now, the paper industry is worth over £18billion a year in the uK alone and remains the world’s most popular way to produce or consume media.

Please touch

austria, Belgium, Finland, France, germany, Hungary, italy netHerlands, norway, portugal, spain, sweden, united Kingdom

“The masthead is treated with a silver foil block that gives a luxurious, shimmering effect that reflects the light fantastically well.

The silver foil is completely recyclable and biodegradable.”

DEBOSSING “The words in the central panel are debossed, pushed in from the rest of the cover to add depth to this section.

Both embossing and debossing are of course, completely recyclable and biodegradable.”

For more information on these and the many other effects Celloglas specialise in, go to www.celloglas.co.uk

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The decorative print finishes on the cover of Print Power Magazine were completed by Celloglas, www.celloglas.co.uk Cover finishes: Emboss, deboss and CF Silver foil

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

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

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

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

Call or go to www.celloglas.co.uk to order your sample pack of finishes Contact - Reading: 0118 930 3003 / Leicester: 0116 263 1010 / Leeds: 0113 271 1320 sales@celloglas.co.uk / www.celloglas.co.uk

Ask a

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ut A divis www ion of Cello .mirr i.co.u glas k Aw brand orld leadin of me g ta and b llic paper oard

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5

TAKE 5ive

THIS ISSUE, WE DISCOVER HOW TO TURN A MAGAZINE INTO AN IPHONE SPEAKER, WHAT THE SMELL OF LAVENDER CAN DO FOR THE APPEAL OF A COVER, AND HOW UV-SENSITIVE INK TRANSFORMED AN ANNUAL REPORT INTO A GLOBAL HIT

1

COCA COLA FM MAGAZINE AMPLIFIER Readers of Brazilian magazine Capricho were treated to the world’s first insert that doubles as an iPhone speaker. Developed by JWT, the device allows readers to turn the magazine into an amplifier simply by rolling the magazine and inserting an iPhone tuned into the Coca-Cola FM app. Once rolled, the magazine allows the sound waves to travel in two different directions at the same time, intensifying the stereo effect created by the device. “We are connected with young people and understand that this crowd increasingly seeks innovation to differentiate themselves among their friends,” says Ricardo John, CCO at JWT. “The idea brings together music and a magazine with strong appeal among youths.”

2

THE SOLAR ANNUAL REPORT

3

This year’s Cannes Lions Festival recognised a large number of print innovations, the best of which was the use of UV-sensitive ink in this annual report for Austria Solar, a solar energy provider. The objective was to create a publication that could only be read under sunlight, emphasising the core business of the company and portraying them as a consistently innovative organisation.

The publishing agency used just the right amount of environmentally friendly photochromatic colours so the reader could only see the content under UV light. The report was so well received that it was reprinted, with over 400 requests for copies received from around the world. The report’s printers, Mory & Meier, were also overwhelmed with orders.

Free men’s magazine Shortlist created a special-edition cover to mark the release of blockbuster The Amazing Spider-Man. The memorable and collectible cover featured a latticed, leather-effect, glossy cover wrap that allowed readers to ‘feel’ the superhero’s costume. Teams at Polestar Sheffield and Celloglas worked with the magazine’s production director Ken Moreton to create the unique effects, produced using a Celloscreen high-build spot-UV varnish. As well as exclusive content inside the issue, the cover linked in with an array of interactive activity and further content on the magazine’s website, including a stunning homepage takeover and re-skin based on the film’s iconic imagery.

SHORTLIST

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

1.

2.

4

GARDENERS’ WORLD

5

In a world-first for gardening magazines, the June issue of Gardeners’ World used a scented lavender cover to promote an aroma-themed issue, which proved to be a real hit with readers.

Produced by Celloglas, the cover was spot-varnished, with an area left for the scent to be applied.

To smell the lavender scent, the reader simply had to rub the middle of the cover. But where previous scratch‘n’sniff areas had a matt finish, this one was gloss, seamlessly blending in with the magazine’s cover. The issue also included an A5 bound-in insert card, produced

by Antidote, who supplied three other scents: tomato leaf, sweet violet and a mystery scent for the readers to guess.

Created by Belgian publisher Het Salon to showcase their capabilities to clients and new contacts, Bruce extends the format for each issue to produce a truly unique magazine.

Each issue is themed around the name Bruce, whether it’s an artist’s name, film title or historical figure.

Starting with the traditional magazine format three years ago, they soon branched out into a comic book, a seminar, crowd-sourced content, a map, and even a ‘Cup-a-Soup’ issue, each with the aim to encourage readers and potential clients to think deeper about their communications.

Since the launch of Bruce, many of their clients have asked to replicate elements for their own publications, while five new companies have been added to Het Salon’s client list.

BRUCE

3.

4.

5.

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Thought Leaders

GURDEV SINGH, MANAGING DIRECTOR OF COMMUNISIS LEEDS CONSIDERS THE OPPORTUNITY HIGH-SPEED DIGITAL PRINTING OFFERS, WHILE ANDREW HARRIS, GRAPHIC ARTS CUSTOMER MARKETING OF CANON EUROPE, HIGHLIGHTS THE IMPORTANCE OF MEASURING THE ROI OF PRINT

I

t’s clear that the current buzzword in marketing is multi-channel, but the print industry shouldn’t lose confidence in the fact that print is a key part of this new digital world.

We know that print resonates with customers and always will, but they want choice and to be able to respond to different media in different ways at specific cycles. To safeguard its future, the print industry needs to get into the mindset of a multi-channel marketer, where print is trusted, effective and relevant.

To prove the relevance of print, go upstream, collaborate with clients and their agencies, realise the importance of ROI and understand the campaign objectives fully. Embrace the newer channels and show how print complements them.

A strategic view needs to be taken on capital expenditure.

Tactical moves such as increasing print speeds is all very well but generally just drives down the price of products for the whole industry. Look instead to develop new products and services that can add value to your current offering and give the customer something different.

The most exciting recent development in the print industry is the availability of high-speed digital presses. They are absolutely key for the industry to embrace the world of data – the single most important aspect of any marketing

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campaign. High-speed digital print can leverage the value of information to create effective campaigns that will tick all the boxes – creative and commercial. Ultimately it boils down to ‘show me the money’.

It’s all about relevance: each piece should be customised to a single customer. It can be channel-complementary – PURLs, QR codes, augmented reality and individually targeted call-to-action boxes can be included.

The individualisation that high-speed digital printing offers is the only real way forward for the print industry. We know that paper drives people online, so imagine the increase in that drive when the piece of paper is tailored specifically to every single customer in the database, delivered precisely at the right moment.

Not only does this white-paper solution deliver increased ROI, but also offers marketers tactical flexibility. No preprinted stock, no plates, no waste, the ability to change a campaign at the drop of a hat, unlimited variability. It’s the same as your website but in the form of a tried, tested and trusted product that you know your customer will see when it drops onto their doormat.

We all know that the proof is in the pudding and highspeed digital printing is delivering the sweetest rewards.

“

TO PROVE THE RELEVANCE OF PRINT, COLLABORATE WITH CLIENTS AND UNDERSTAND THEIR CAMPAIGN OBJECTIVES Gurdev Singh, Managing Director of Communisis Leeds

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

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anon Europe has published its fourth Insight Report – The Bigger Picture. Aimed at helping Print Service Providers (PSPs) deliver improved services, the report identifies their customers’ (media buyers) view of the value of print. The report is based on in-depth research into the attitudes and preferences of European business professionals with responsibility for procuring print.

Initially, 420 telephone interviews were conducted with senior decision-makers in corporate organisations and marketing/creative agencies across 15 European countries.

Following this, 30 in-depth interviews explored in greater depth some of the challenges and opportunities coming out of the initial research.

The research reveals a number of key points, one of which is that media buyers have a clear requirement to demonstrate a return on investment (ROI) of their print campaigns. The Insight Report highlighted that despite 87% of organisations stating that professional-standard printed communication plays an important role in their communications strategy, fewer than 1 in 10 have a formal process for evaluating the effectiveness of the printing services they buy.

Meanwhile, more than a quarter don’t measure the

effectiveness or ROI of print at all. This represents an opportunity for media buyers and PSPs to work together to measure the ROI of print.

Asked why little or no effort is put into measuring the ROI of print, many organisations said they don’t know how to measure it effectively. Those that try, do so through anecdotal or rudimentary measurements, many of which are particularly easy to quantify. Common measures include tracking of spikes in sales data, measuring the volume of enquiries and calls, mapping market research survey results to the launch of print campaigns, monitoring changes in social media use and website hit statistics.

The research further highlighted that the print provider is not currently expected to measure the ROI of print and equally customers fail to ask the print service provider whether they can do this either.

By working together, the PSP and the print buyer can demonstrate the clear value of print and the success of specific print campaigns. By helping the print buyer demonstrate real value and return on investment, the overall spend on print will be further increased.

“” MEDIA BUYERS HAVE A CLEAR REQUIREMENT TO DEMONSTRATE THE ROI OF THEIR PRINT CAMPAIGNS Andrew Harris, Graphic Arts Customer Marketing of Canon Europe

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“” the mAgAzine is the physicAl mAnifestAtion of the brAnd And A Key brAnd vAlUe shoUld be trUst

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

view from the top As the head of one of the UK’s largest independent media companies, the executive chairman of haymarket media group Rupert Heseltine has a bird’s eye view of the publishing industry. His verdict? Magazines have to work harder to engage with their readers on as many levels as possible

By Sam Upton

“T

hat’s the power of print, right there.” We’re sitting in the spacious office of Rupert Heseltine, Executive Chairman of Haymarket Media Group. On his desk sits a pristine copy of the Official Programme of the London 2012 Olympics, the 190-page guide to the Games and the athletes that made it one of the best in recent memory.

Produced by Haymarket Network, the company’s customer publishing division, the programme features exclusive interviews, striking photography and a specially commissioned piece of art from Sir Peter Blake, all printed on high-grade, high-gloss paper that gives the publication a tangible sense of quality and a high souvenir value that’s seeing issues already going for three figures on eBay. It’s fair to say Rupert is pleased.

“Everything about this is fantastic,” he says, now thumbing through its pages. “The editorial is expertly researched and written, and the photography is absolutely stunning. This is

what print does really well. When everything is in place, there’s nothing to beat it.”

A global media empire Fifty-five years ago, Haymarket produced its first publication. A young Michael Heseltine, just a couple of years out of university, was asked by an ambitious friend if he wanted to help him publish a small annual called Directory of Opportunities for Graduates (or DOG). He agreed and the first seeds of what’s now a global media group were sown.

During the next half-century, Haymarket acquired and launched some of the world’s most famous titles, including Management Today, Campaign, Autosport, What Car?, FourFourTwo, PrintWeek, Brand Republic and Stuff, each one now with a host of digital platforms and events.

Add in the overseas titles, international licensed editions, exhibition division and Haymarket Network, and you have a fastmoving international company managing 75

brands in 27 offices in eight countries.

The heart of Haymarket’s success lies in their ability to produce high-quality, well-informed and knowledgeable magazines. Whether it’s F1 Racing assessing the latest Formula1 team news or PrintWeek investigating vital industry trends, the titles all have experience and expertise at their core.

“There are over four thousand magazine titles out there in the marketplace, so to be successful as a publisher you’ve got to be really good at the basics,” says Rupert. “I think that Haymarket’s journalists, designers and photographers are fantastic at the basics. Their magazine craft is fundamental to our success.”

How successful Haymarket continues to be in the future is down to their adaptability in a rapidly changing marketplace, something they have proven with their investment in digital media and editorial innovation.

“The structural change in the media industry has been dramatic,” explains Rupert, “so the pressure is on publishers like ourselves to >>

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<< innovate. We’ve got to find out what it is that our readers want and give it to them. That may be a website, a Facebook page, a Twitter feed, an event, or a combination of any or all of them.”

Haymarket currently runs 140 websites across the world, collectively amassing over 135 million pageviews per month. They invest heavily in their digital teams and continually explore new ways of using digital media, both in their editorial content and their advertisers’. Crucially, over 50% of Haymarket Consumer Media’s UK ad revenue now comes from online activities.

“The old business model was that the magazines were the delivery channel of the advertising and it was the advertising that supported the magazine,” says Rupert. “Now, the majority of that classified advertising has gone online. I don’t believe that’s going to change, so we now need to repackage the magazine and get people to engage with the brand. But the magazine will still be an important part of

“”

We have to shout, loudly. We have to innovate and believe in ourselves

that package and we’ve got to work hard to sell the importance of magazines.”

The trust factor Given his heritage, it should come as no surprise to discover that Rupert Heseltine is a big fan of magazines. Aside from the many Haymarket titles he reads on a daily basis, he subscribes to the film title Empire and a handful of photography magazines – during the photoshoot, he grills the Print Power lensman on which cameras he uses.

Haymarket is chiefly known for its niche titles – business and consumer magazines that inform very distinct interest groups, whether that interest is in areas of business or leisure. So their Hammersmith office will publish magazines including Planning and Windpower Monthly while the Teddington office will produce titles such as Practical Caravan, What Hi Fi? Sound and Vision and Classic & Sports Car. “We cater primarily for men, and if men are

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

into a particular niche or subject matter, they want to know everything,” explains Rupert. “So our teams bring the qualities of expertise and knowledge to our titles. We think you can’t get that level of quality anywhere else, which goes back to our heritage. And it’s our heritage that gives us trust.”

According to Rupert, trust is one of the most important qualities of print magazines. While the online versions of top media brands are trusted as much as their TV or newspaper versions, the majority of the internet is still approached with a degree of caution when looking for information. Magazines however, have retained their credibility.

“It’s the perception that a magazine is real,” he says. “The knowledge that there are human beings behind the brand. I therefore trust this brand. They’ve been around for 30 or 40 years.

They’ve not just popped up. The magazine is the physical manifestation of the brand and the key brand value should always be trust.”

From magazine to brand With all Haymarket titles, the magazine sits at the centre of a publishing model that also includes every relevant medium to push platformappropriate content out to the title’s readers.

So a title such as Stuff, the world’s best-selling gadget magazine, not only has a monthly print publication, but also a website, mobile app, Twitter feed, Facebook page, online TV channel, Awards event and an annual exhibition. Taken with the 27 international editions reaching over three million readers, Stuff is no longer just a magazine; it’s an entire brand.

This, for Rupert, is a prime example of how magazines can safeguard their future. Instead of looking inwards and trying to protect the print title by limiting the digital content around it, publishers should be embracing every available platform, piece of technology and innovation to expand the title’s reach by getting the magazine’s content seen by as many people as possible.

“We have to shout, loudly,” he says. “We have to innovate and believe in ourselves. We’ve got to believe that we are good at what we do and we’ve got to tell everybody about it. It’s not just about the magazines. It’s about the advertisers as well. I think the advertisers and the magazines are now working far closer than they’ve ever worked before to create amazing adverts, creating campaigns and editorial that, when combined with the online is very powerful.”

But away from the shouting, the brandbuilding and the online integration, there’s one thing that print does uniquely well: provide a vital sense of escapism that only comes when you settle down with your favourite title.

“The price of a magazine is a small price to pay to absolutely immerse yourself in your favourite subject matter, to give you that freedom from the world.”

With that, Rupert sits back, picks up the Olympic programme and continues where he left off. PP

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

HOW TO BUILD AN EMPIRE tHe HistorY oF HaYmarKet over seven decades 1950s 1957 • Twentysomething entrepreneurs michael Heseltine and clive labovitch form cornmarket Press and produce their first publication: Directory of Opportunities for Graduates.

1959 • Cornmarket acquire the quarterly magazine Man About Town and relaunch it as Town.

1960s 1964 • Town’s printer Hazell, Watson & viney, invest in cornmarket to create Haymarket, a combination of the two names.

1966

• Haymarket buy the rights to publish Manager magazine. it later becomes Management Today.

1967 • BPC merges its magazines into Haymarket. newcomers include Autosport, Lithoprinter (to become PrintWeek) and Chronicle Gardeners Chronicle.

1968 • Campaign is launched, heralding a new era in trade journals.

1985 • Medical title MPR is launched in new York.

1988 • PRWeek is acquired and is quickly relaunched.

1990s 1990 • Haymarket Exhibitions is launched.

1993 • Trade title Planning Week is launched.

1994 • Groundbreaking football magazine FourFourTwo is launched.

1996 • F1 Racing is launched, along with Motoring News (later relaunched as Motorsport News).

• LAT photographic agency is acquired.

1997 • Planning is acquired and merged with Planning Week.

• Michael Heseltine returns to Haymarket after election defeat.

1998 • Racing Line is launched for mclaren, which marks the start of Haymarket’s customer publishing activities.

2003 • FinanceAsia magazine is acquired.

2004 • Haymarket acquire Thalaker Medien in germany, which expands its portfolio of gardening and horticulture titles.

2005 • Haymarket’s consumer media and customer publishing divisions move to teddington studios.

• Rupert Heseltine is appointed deputy chairman.

2006 • The websites FourFourTwo.com and stuff.tv are launched.

• Printing World and Packaging magazine are acquired, later combined to form Packaging News.

2007 • Caravan Sitefinder, pressXchange and PistonHeads are acquired.

• £1.3million is invested into Haymarket’s digital media.

2008 • Stuff India and PrintWeek India are launched.

• Nursery World organises its first awards.

• MediaWeek.co.uk launches.

2010s

1970s

• Websites Campaign Live, What car? and autosport all launch.

1973 • What Car? is launched and soon becomes a leading auto magazine.

1999 • Gramophone, the world’s oldest classical music magazine, is acquired.

1976 • Popular Hi-Fi is relaunched as What Hi-Fi? and becomes market leader.

• The UK edition of Stuff magazine is acquired.

• Autosport publishes its 60thanniversary issue before launching its iPhone and android apps.

2000s

2011 • Haymarket Network produces the official royal Wedding programme.

1980s 1982 • Haymarket acquire Old Motor, which is soon transformed into Classic & Sports Car. 1984 • Autocar is acquired, while Campaign hosts the first awards ceremony for a Haymarket title.

2000 • Revolution magazine launches in the us, while Racer is acquired in california.

• Stuff licenses its first issue abroad, in France.

2001 • Brand Republic is launched.

• The multi-award-winning Army magazine is launched by Haymarket network.

• Stuff and Autocar make their debut in china.

2010 • Rupert Heseltine becomes Chairman of Haymarket media group.

• Autocar publishes its 5,000th road test edition.

• Haymarket Network produces the official programme for the royal Wedding of Prince William and Kate middleton.

2012 • Classic & Sports Car publishes its 30th-anniversary issue.

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POST

DIRECT

ON DEMAND

FULFILMENT

ASSURED TRANSACTIONAL FINANCIAL

Delivering Simply More Engaging Communication www.dstoutput.co.uk DST Assured A4 advert.indd 1

26/10/2012 12:55

SEE

FEEL

TOUCH

EXPERI THE WORLD OF LUXURY PAPER HAS ACHIEVED A REMARKABLE GROWTH OVER THE PAST FEW YEARS, WITH HIGH-END BRANDS KEEN TO CONNECT WITH THEIR DEMANDING CUSTOMERS. TIM OLDHAM INVESTIGATES THE GLITZ AND GLAMOUR OF A TANGIBLE REVOLUTION

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

“” RIENCE A TEXTURED PAPER, CREATES ANOTHER DIMENSION AND THE FEEL OF A PRODUCT HAS AS MUCH IMPACT AS THE THINGS YOU SAY ON IT James Littlewood, Director of branding consultancy Design Project

L

uxury products are expected to look and feel elegant and stylish. That goes for the brand’s packaging, brochures and direct mail, too.

And despite the attraction of digital marketing, brand owners are increasingly turning to premium papers to deliver the quality, innovation and sustainability that will meet their philosophy and appeal to customers.

“Brand owners look to source materials and techniques which will give their products prime appeal to the consumer,” explains Paul Scharf, Specifications Sales Manager at GF Smith, a highly regarded UK paper supplier. “Research in the whisky market shows that despite the large investment that goes into producing the best whisky, many buyers are attracted to the brand because its

packaging is appealing.”

Despite the growth of digital media, beautifully designed DM, catalogues and brochures are still a marketing essential for luxury brands. The tactile nature and design quality of catalogues from brands such as Cartier and Alfred Dunhill showcase products and create a desirable experience to win the hearts and minds of customers.

High-end paper and board also provide innovative and highly creative packaging options for luxury brands, in particular whisky, perfume and chocolates.

The packaging for Taittinger’s Rose Lens, for example, created a huge impact with retailers, buyers and industry awards judges by pioneering a 3D effect to make bubbles appear to be floating out of the packaging. >>

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1

<< Feel the quality The luxury market is a vital sector for premium paper suppliers such as Fedrigoni. As the world’s largest speciality paper maker, Fedrigoni has a wide range of customers who use its papers and boards when looking to make a fantastic impression – from high-end fashion to luxury car brands.

“We’ve seen a move to premium papers to create impact,” says Fred Haines, Country Manager of Fedrigoni UK. “Over the past four years, we’ve grown at between 10 and 15 per cent per annum in the UK. In the first six months of 2012, we are over 30 per cent up year on year, so the trend is very positive.”

One of the advantages of specialist papers is that they are tactile, boasting a range of special surfaces and finishes.

Fedrigoni still makes cotton-containing papers and this tactile quality is an important aspect of the papers being chosen for prestigious jobs.

Recently, Italian design studio Happy Centro was invited to design the invitation card for a new Louis Vuitton store in Osaka, Japan. A product for one

2

Nice package 1. The Taittinger’s Rose Lens packaging featured a pioneering 3D effect that added to the product’s feeling of quality and class.

2. The packaging for Tommy Hilfiger men’s and women’s summer fragrances was an award-winner for Tullis Russell.

3-6. Designed by Leeds branding consultancy Design Project, Fedrigoni’s Paper Specification Guide contains the company’s full range of luxury papers, offering a huge variety of tactile experiences

of the world’s leading luxury brands needed to be executed in an innovative and stylish way to reflect the brand. The result was a delightful paper invitation featuring complex origami folds and a variety of printing techniques on Fedrigoni’s Arcoprint Milk 85g. The invite has since been nominated for an award that celebrates the best print work from around the world.

Fedrigoni also teamed up with influential style and design magazine Wallpaper* for its custom covers project, featuring unique artworks created by designers including Quentin Jones, Tom Hingston and Rob Ryan.

The custom covers were each printed on Stucco Old Mill 280g/m, a subtle feltmarked paper with a lightly treated surface. The unique Stucco surface treatment lifted the rich colour of each image on the issue. Arcoprint Milk, Fedrigoni’s ‘hot’ paper of the moment was used for the sketchbook, a special magazine insert featuring initial sketches by leading designers.

“A product that has a premium quality in terms of print production adds value and definitely affects how

people perceive a business, service or product,” says James Littlewood, director of branding consultancy Design Project in Leeds. “The materials used are an integral part of that process. A textured paper, for example, creates another dimension and the feel of a product has as much impact as the things you say on it. Luxury brands have a great understanding of this. For them the look, feel and presence is a big part of the ceremony of buying or consuming that brand.”

It’s unsurprising that James is so wellversed in premium paper. His agency created Fedrigoni’s Paper Specification Guide – a four-part set that provides swatches for Coloured, Unique, Pearlescent and Textured papers.

Of course, paper manufacturers are just as sensitive to changing attitudes, and one of Fedrigoni’s new paper grades, Xper, reflects the trend for uncoated papers, particularly in fashion.

“They like the tactile look, but there’s been a move away from glossy coated papers,” says Fred Haines of Fedrigoni.

“With Xper, we produced a very white paper which looks and feels uncoated

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

“

BY USING PREMIUM PAPERS WITH TECHNIQUES SUCH AS LETTERPRESS, DIE STAMPING, FOILING AND EMBOSSING, YOU CAN CREATE THE MOST BEAUTIFUL, CRAFTED PRODUCTS THAT HAVE THE PERSUASIVENESS OF QUALITY PAUL SCHARF Specifications Sales Manager GF Smith

but has a coating to help the print result.

This has proved a big success and typical of what we try to do as a company.”

The right environment

With a real expertise in the production of premium quality paper and board, and a growing portfolio of environmentally friendly FSC® and recycled products, Tullis Russell is a popular choice among users looking for high-quality boards with sound environmental credentials.

Tullis Russell’s products are used for a wide variety of brands including premium packaging for the cosmetics, whisky, high-end chocolate and audiovisual sectors.

“We’ve seen a huge growth in interest for our recycled content grades as brands understand that with products such as trucard, they can achieve the premium look and guarantee printers a board which will perform without compromise in production,” says Malcolm Sinclair, Sales Director at Tullis Russell. “In premium packaging, boards carry the message and are very often part of the message. Clients such as L’Oreal look for the board to add value to their brand.”

”

As well as top-quality packaging, the aesthetic and environmental aspects must also match their aspirations. In 2010, Tullis Russell’s trucard board won the prestigious Procarton/ECMA ‘Carton of the Year’ award for the Tommy Hilfiger men’s and women’s summer fragrance cartons. Its three-dimensional, nautical design has complex contours and required delicate cutting, making high demands on production and material.

The entire background of the packaging resembles a canvas sail, produced using tactile linen emboss.

Thanks to its impressive environmental credentials, trucard was also chosen for the boxes for Thierry Mugler’s worldwide launch of its new fragrance Womanity.

The box, which incorporates a variety of demanding print finishing processes, unfolds to reveal instructions and details printed inside to avoid inserts and waste.

Recently, the card was also selected for luxury glassmaker Swarovski’s debut perfume range Aura.

“We’re finding that designers and packaging producers are wanting to do more interesting things with board to create impact,” explains Sinclair. “They

like the fact that it’s renewable and sustainably resourced. And designers also like to work with board – not just in terms of graphics but in the various ways you can fold, emboss and crease.”

It seems that premium paper and board are well-positioned to meet the evolving requirements of the luxury brand sector, with high-quality products that add interest and innovation.

“By using premium papers with techniques such as letterpress, die stamping, foiling and embossing, you can create the most beautiful, crafted products that have the persuasiveness of quality,’ says Paul Scharf at GF Smith.

“And as the printing industry changes and run sizes become smaller and more targeted, the opportunity for marketers to use the very best and most beautiful papers increases.” PP

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1

“INVESTMENT IN A LUXURY PRINT PROGRAMME SHOULD BE A PRE-REQUISITE FOR ANY ASPIRATIONAL BRAND” MATT JOLLY, PRODUCTION DIRECTOR FOR GLOBAL CONTENT AGENCY JOHN BROWN, TALKS US THROUGH HIS SELECTION OF THE MOST LUXURIOUS PUBLICATIONS PRODUCED FOR SOME OF THE WORLD’S BIGGEST BRANDS

P

aper is the physical embodiment of every printed product. The way it looks and feels will have a significant impact on the way a publication is perceived on emotional, subliminal and subconscious levels. The paper used will tell a consumer a great deal about a brand’s positioning, its aspirations and the message it’s trying to convey.

However, achieving an impression of luxury cannot be done with paper alone. The paper must be in harmony with fi rst-class production values in photography, design, repro, print and fi nishing. If any of these elements aren’t the highest quality, the effect can be lost and the brand damaged, perhaps forever.

There are three questions any marketer should ask themselves when specifying a paper type: what am I trying to say, who am I saying it to, and how does this translate into the physical properties of my printed product?

Consumers have been conditioned over the years to view different paper grades as representing different values – dull, lightweight papers

are seen as cheap and disposable, while high-white, bulky or highgloss papers add quality and value.

It’s been interesting to see these perceptions challenged recently with designers using uncoated, matt and even off-white or lightweight papers in a luxury context, aided by strong repro, design and fi nishing techniques to reinforce the message.

Print has a distinct advantage over digital media when attempting to position a brand into the luxury sector, as it engages far more of the senses – especially touch – and it produces an emotional response.

The tactile nature of paper and the various fi nishes that can be applied offers a far more involving brand experience than anything accessed on a screen.

Research by M-Real has shown that the higher the perceived value of the printed product, the longer the reader will engage and the longer they will keep the piece. Investment in a luxury print programme should be a pre-requisite for any aspirational brand.

Here are a small selection of the luxury publications I’ve had the pleasure to work on.

John Lewis Edition

This quarterly title is published on a 80gsm Furioso Matt text and 200gsm Furioso Matt cover manufactured by Sappi. The brief was to find a grade that had synergy with the understated elegance of the John Lewis brand, which would position it firmly in the right sector to attract luxury brand advertising, but with a point of difference to the glossy bling of its consumer magazine rivals.

The appeal of the Furioso grade is that it feels very bulky and toothy, almost like an uncoated paper, but with the superior ink lift and image reproduction of a coated grade. This makes for a calming, soft-selling and easy-reading experience that resonates with the core John Lewis customer and complements their shopping experience.

With a print run in excess of half a million copies, this has to be luxury on a budget – the cover is just light enough to enjoy the cost effi ciencies of web-offset production and is fi nished with a simple machine seal.

Range Rover Icons 40

John Brown were commissioned by Jaguar/Land Rover to create a book to mark the Range Rover brand’s

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

2

3

4

5

2

40th anniversary, and the relatively short print run of 21,000 copies allowed for some extravagance with the substrates used. These had to be very much in keeping with the luxury ethos of the brand.

The cover is printed on a pearlescent effect 300gsm Curious Metallic Ice Gold from Robert Horne, complemented with a mirror silver foil block. The text is on 175gsm Colorplan uncoated from GF Smith, which has a luxurious, watercolour paper feel.

The overall effect is quality with just a little touch of opulence – a beautiful, memorable book that has a long-lasting value in ownership that means it will be anything but disposable to the reader.

Carlos

Carlos, the in-flight magazine for Virgin Upper Class, was a groundbreaking creative proposition for a magazine, with a small, oversize A5 format and unusual paper stocks.

Designed and conceived by John Brown to connect with the wealthy and discerning Upper Class traveller, the text was printed on a creamy uncoated 100gsm Munken Pure,

eschewing four-colour imagery for single colour illustrations.

Meanwhile, the cover was printed on a 270gsm Natural Craft board, more typically regarded as a packaging material. In this context, with the added touch of gold-foil block typography and great use of illustration, it carries off luxury appeal with ease and class.

Feel the quality 1 & 4. John Lewis Edition reflects the luxury values of its client brand while achieving stand-out from its newsstand rivals, something advertisers are keen to take advantage of. 2. The Range Rover 40th anniversary book used uncoated paper and foil block effects to create a truly memorable brand experience. 3. The highly innovative Carlos magazine experimented with unusual paper stocks and finishes to communicate the feeling of exclusivity and glamour of first-class air travel. 4. The sales brochure for the latest McLaren supercar had to have the same values of stylish authority and engineering perfection as the car itself.

McLaren MP4-12C sales brochure

McLaren are a company renowned for their pursuit of engineering perfection, and the brochure for their new MP4-12C model had to refl ect this philosophy in every way.

The publication consists of a casebound brochure printed on 170gsm Heaven 42, plus a compartment that contains three booklets for technical specs, colour/trim and options.

The covers and the laser-cut slipcase are all produced on a metallic black 285gsm Stardream Onyx, with a matt black foil for the typography. Heaven 42 is a very white, very smooth, matt stock with a very tactile feel that exudes authority and sophistication. The subtle sparkle of the slipcase then offers a great contrast and adds a

vital sense of engineered luxury to the pack as a whole.

The brochure represents a triumph of production values and these are now highly sought-after collector’s pieces fetching several hundred pounds on online auction sites.

Both paper stocks were supplied

by Robert Horne.

• All four titles are published by John Brown, one of the world’s leading customer content agencies, who produce exciting, engaging and accessible content for magazines, catalogues, digital work, brand communications and kids’ content. www.johnbrownmedia.com

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new The

PRINT

evangelists IN MANY AREAS OF MEDIA AND MARKETING, PRINT IS GAINING A WHOLE NEW SET OF FANS, WITH ITS ABILITIES TO CONNECT AND PROVIDE THE READER WITH SPACE AND TIME NOW SEEN AS VITAL QUALITIES THAT LIFTS IT ABOVE ITS DIGITAL COUSINS. NOT CONVINCED? THESE PEOPLE ARE

Out there, in the offices of companies and organisations large and small, a quiet revolution is brewing. Rather than being pushed out under the weight of digital content and technology, print is reasserting its place at marketing and media’s top table thanks to qualities it’s possessed since the very first sheet of paper was printed and passed around.

Whether it’s the publisher who delights in creating beautifully produced magazines or the media strategist placing print at the heart of his clients’ marketing plans, there’s a renewed sense of optimism around the medium and its future. Over to the experts…

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

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THE PRINT INDUSTRY HAS TO RE-INVENT ITSELF, GO BACK TO WHAT THE FUNDAMENTALS OF THE INDUSTRY ARE: TELLING FANTASTIC STORIES AND ENTERTAINING PEOPLE Matthew Guest Deloitte Strategy Consulting

“

THE AGENCY HEAD Danny Miller, Managing Director & Founder, The Church of London A lifelong fan of print, Danny Miller launched the acclaimed film magazine Little White Lies in 2005. Since then, his publishing company, The Church Of London, has grown to become a key independent publishing and content agency, with clients including Google, Volkswagen, PlayStation and Stella Artois.

“Any brand that wants a piece of print marketing simply makes sense to me because I know what a wonderful way of engaging with people it is. At our agency, we’re big believers in the fact that if people make good magazines then they will make money, they will sell, they will build brands, build companies, and other people will come and ask them to make magazines for them. I don’t think that’s ever going to stop.

I think that in all magazines – consumer or customer – people just have to up their game. People have to make really good magazines for people to engage with them and to stand out. I’ve seen a lot of wheat getting sorted from the chaff over the past few years. It’s not a decline; just an indication that a higher standard is required to stand out and survive.

What we’re trying to do with Little White Lies is to be useful to our readers, to be useful in their lives, to go beyond giving them something that they read and turn it into something that they use and rely upon. We use all the platforms at our disposal to connect to our readers in every way we can, such as the website, the app, the social media and the events. But at the heart of it all is the print magazine.” www.thechurchoflondon.com

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THE MEDIA STRATEGIST

THE FUTUROLOGIST

Matthew Guest, Senior Manager Deloitte Strategy Consulting

Melanie Howard, Executive Chair Future Foundation

Matthew Guest specialises in media strategies for a wide range of global media and technology organisations, pushing those organisations forward using every platform available. In addition to his advisory work, Matthew has written a large number of publications on the technology and media market, including Deloitte’s annual State of the Media Democracy report.

Melanie Howard is a co-founder of Future Foundation, an independent global trends and insight consultancy that helps clients identify emerging market opportunities. She monitors trends from across the world using a specialist network of trendspotters and research groups who report the very latest innovations and technology, as well as key shifts in business, leisure and culture.

“The print industry has a phenomenal opportunity at the moment to position itself right at the start of a customer’s journey and make itself invaluable. We look at a lot of data on how people respond to media, and they almost always start their journey to a digital media from a traditional format such as newspapers or magazines. Print is very often the catalyst, the medium that pushes people towards digital.

So there’s an opportunity not just to use gripping content in print to hook people, but to use bridging technologies such as augmented reality or QR codes to make the transition from print to online easier. It’s very hard to get people hooked to the digital experience as a first step on a customer journey. Most people only have four or five sites they’ll visit and four or five apps they’ll use on a regular basis.

You can use print to change that behaviour because you have that fantastic content experience when you read it in a magazine or newspaper. The print industry has to re-invent itself, go back to what the fundamentals of the industry are: telling fantastic stories and entertaining people. Trust me, if you get under the skin of the digital industry in a lot of cases, you’ll find that without print, digital wouldn’t be profitable.”

“One of the major trends I’m seeing at the moment is a reaction to the overwhelming flood of information, images and technology that everybody now faces on a daily basis.

People want and need to create oases of time and space in which they’re not going to be assailed by their mobile phone or laptop, and print helps to create those oases.

Most media don’t disappear when a new format comes along, which is part of the reason why people can feel overwhelmed and surrounded by media. Marketers have to understand that their consumers are the ones who are working across all these different platforms, multi-tasking. Print is a single platform, where the reader is able to take in a limited amount of information and messages, and so has a large amount of value in a consumer’s life.

One of the major drivers for marketing campaigns is emotional connection, and the print format is strongly emotional. This is one of the reasons why it continues to be very popular – there’s an intimacy there you just don’t get with digital. Print taps into a deep-rooted sentiment within its readers and connects with them almost immediately. That’s a hugely valuable resource.”

www.deloitte.com

www.futurefoundation.net

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

OUT THERE STEVE WATSON GUIDES US THROUGH SOME OF THE MAGAZINE WORLD’S MOST EXCITING AND UNIQUE PUBLICATIONS

THE DISTRIBUTOR Steve Watson, Founder Stack Run by confirmed print fan Steve Watson, Stack is a subscription service for independent magazines, whose 1,300 members are sent a different magazine from around the world every month.

Stack members never know what magazine they’re going to receive, just that it will be an exciting, unusual and fresh piece of print they’ll want to keep.

“Stack was set up to offer a way for people to gain access to magazines they just wouldn’t be able to get hold of otherwise.

They don’t know what they’re going to get, but know that whatever it is, it’ll be a beautiful, intelligent magazine.

I think that as more and more of the world goes digital, people will begin to appreciate print a lot more. Which is great for good-quality magazines, but there’s still a lot of mediocre stuff out there. What I’d like to see is print becoming the place where readers know they will get the highest-quality content.

The rest can go online, in blogs or on websites.

One of the main qualities of print is that it’s archival, so people will keep it and return to it, time and time again. Print is also slow – it’s not expected to respond to news and things as quickly as TV or a website, which can be a benefit.

Print is also really limiting in the sense that you can’t do many other things while reading it, and it’s within that limitation that you build up a relationship with the reader. For example, Think Quarterly, the customer magazine for Google, has the express intention to provide its readers – senior decision-makers in large companies – with a quiet space to sit, think and reflect for a while. And print does that really well.” www.stackmagazines.com

BOAT This is made by Boat Studio, and twice a year they up sticks and move the whole studio to a city with a story to tell and produce the magazine from there. Their first one was Sarajevo and they’re currently in Athens. They’ll spend two weeks in the city and gather all the content there, talking to locals and finding out about the latest issues. When the magazine comes out, you get this unique insider’s perspective on a city and its people. www.boat-mag.com WRAP This is really unusual and exciting. Wrap is made up of pieces of wrapping paper bound together. Each page has an illustration on one side and copy on the other, so once you’ve finished reading the articles, you can use the magazine as wrapping paper. So no waste. As you can imagine, the magazine does particularly well at Christmas-time. www.thewrappaper.com DELAYED GRATIFICATION This is the magazine that bills itself as ‘last for breaking news’. The idea is to look back over the last three months and revisit news stories once the dust has settled. So they will go back and interview a journalist who initially covered a certain story or find a series of new ways to cover the story. They’re making a virtue of the fact that print is a slow medium. www.dgquarterly.com LITTLE WHITE LIES Little White Lies is a beautifully produced bi-monthly film magazine that provides an alternative to the newsstand film titles. The current issue theme is ‘On The Road’. Because the Kerouac book On the Road was typed on a single sheet of paper, the magazine team typed the whole feature section on a single roll of paper and got illustrators to illustrate around the copy. It’s really exciting that magazines and creative teams aren’t afraid of exploring what you can do with the medium. www.littlewhitelies.co.uk

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Everything You Always Wanted To Know About Paper* *But were afraid to ask

PAPER IS ONE OF THE WORLD’S OLDEST AND MOST SIMPLE MEDIUMS. YOU MAKE IT, PRINT ON IT AND DISTRIBUTE IT – JOB DONE. BUT WITH THOUSANDS OF DIFFERENT TYPES OF PAPER AVAILABLE WITH A VAST ARRAY OF INKS AND FINISHES, THE CHOICE OF WHAT TO USE AND HOW TO ORDER IT CAN BE MIND-BOGGLING. SIMON CREASEY TAKES A DEEP BREATH AND EXPLAINS ALL

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

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aper as a medium is having to compete in a very crowded media landscape and consumption is under pressure, largely because of the digital revolution. However, when done well, a printed piece of paper is a much more effective call to action than an SMS text or unsolicited email.

If you need convincing just look at the stats: some 48% of UK adults have done something in the last 12 months as a result of a printed piece of direct mail, with 23% of consumers purchasing a product after being exposed to magazine print advertising (Royal Mail, 2011 and PPA, 2010 respectively).

Despite these compelling figures, print media is taking a reduced share of the media budgets and, as a result, a knowledge gap has emerged amongst marketers who don’t know even basic information about the industry, such as the difference between coated and uncoated paper stock, or that putting ink onto paper can actually be more environmentally friendly and sustainable than digital messaging.

To redress the balance, what follows is a rundown of the most common questions marketers and print buyers have, from choosing the right paper to environmental credentials. >>

Worth the paper it’s printed on 1. Photograhic books such as Mario Sorrenti’s Swoon use uncoated papers to add more depth to the images 2. Jamie Oliver’s Big Feastival cook book is printed on uncoated sheets, giving the reader a more tactile experience 3. Wallpaper* is a pioneering publication that constantly surprises and delights with its groundbreaking covers

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Paper fit for a princess 1. OK magazine will use a high-quality cover paper, but for the inner pages, they’ll use lightweight coated materials 2. Paper suppliers such as Fedigoni and Burgo will have huge sample books featuring every weight and texture imaginable 3. The combination of heavy stock for the cover and light for the inner pages can be a powerful mix for any publication

<< There are thousands of different types

of paper available, so how do I choose the right one?

There are lots of different grades and grammages available at price points to suit all budgets, but to zero in on the best substrate for a particular print job you have to understand the nature of the target audience and the brand message that you want to convey. Jeremy Martin, UK Managing Director at Burgo, says a good way of getting your head around this is to consider the differing demands of magazine publishing houses.

“A publisher like Condé Nast is going to use heavier grammages for the cover and the internal pages of their magazines,” he explains, “and they’re going to use premium inks to portray a high-quality brand image because that’s what they’ve set their stall out to do.

Equally, a magazine such as OK will use a goodquality cover, but for the internal pagination they’ll use lightweight coated materials. These papers still look good and print well, but since

the shelf life of these impulse products is much shorter than a luxury coffee-table magazine, you don’t have to use materials that are as high quality.”

Another good way to get a feel for the best type of paper to use for a particular job is to request samples from your printer or paper supplier, advises Will Stone, UPM Kymmene’s Head of Communication for UK and Ireland.

“Many manufacturers invest in printed samples and sample books so you can see how the paper works under different print treatments,” he says.

What effect does coating have?

Printing onto coated paper is going to give you a much better ink lift than printing onto uncoated paper which, by its very nature, is going to be more absorbent so you’ll get better definition of colour tones and a far better gloss.

Coated papers tend to give a glossier high-end feel to a piece of print, but Stone says that he’s recently detected an emerging trend of mixing coated and uncoated paper grades as it gives a

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

“ ” OVER THE PAST FEW YEARS I’VE SEEN SOME AMAZING FINISHES, FROM MATT-COATED COVERS GIVING A RUBBERISED EFFECT FOR CAR MAGAZINES RIGHT THROUGH TO THERMOGRAPHIC INKS BEING USED TO REVEAL OR HIDE IMAGERY ON THE COVERS Will Stone, Head of Communication for UK and Ireland, UPM Kymmene

Fast-lane finishes Matt-coated covers combined with high-quality inner papers can create memorable brand experiences, as with this impressive sales brochure created for McLaren

“much richer reader experience”, with the use of uncoated papers also seemingly growing in popularity amongst brands and designers.

“It could be a move to a more understated look,” he says. “This may be due to the economic situation or – I hope – a renaissance for print and the tactile nature of paper.”

Philippa Charlton, UK and Ireland Marketing Director of PaperlinX, has also detected a recent push towards uncoated stock for jobs that would traditionally have been printed on coated paper.

“What was interesting recently was how Jamie Oliver’s Big Feastival cook book moved from a coated sheet to an uncoated sheet,” she says. “He was very much involved in that process because he understands how different cook books feel and look on an uncoated sheet.

The food looks very different. It doesn’t give it that lift but it’s a more tactile experience and I think it looks amazing.”

Philippa also cites the example of the iconic Pirelli calendars, which recently switched to

uncoated sheets for the first time.

“If you think about the kind of images you would typically find on a Pirelli calendar,” she says, “you’d expect it would have to be printed on a coated sheet in terms of stand-out, but it just looked like pure class.”

What special techniques can I use to make my print product stand out?

Here, the world really is your oyster. If you want to create a piece of print that moves when you tilt it, you can use lenticular technology. If you want a printed piece that reflects the smell of your brand, you can use scent encapsulation or scratch‘n’sniff. You name it and you can pretty much print it.

“Over the past few years I’ve seen some amazing finishes,” says Will Stone. “From mattcoated covers giving a rubberised effect for car magazines right through to thermographic inks being used to reveal or hide imagery on the covers. The choice is almost endless.”

Simple and relatively affordable finishing >>

THINK INK Sun Chemical’s EU Business Leader for Special Effects and Sustainability, MICHEL VANHEMS, explains why selecting the right ink can make a major difference to a piece of print and the environment.

• How important is ink in printed publications?

It’s very important. It can adapt up to a certain point, but the substrate is also key. We do a lot of work and have a lot of involvement with associations such as Print City where we are participating proactively in advising people on how to best use and select appropriate inks for an application.

• How do you know which ink to choose for a particular job?

There are a number of different printing processes, and for each process you need to have a special ink. We have inks for newsprint, heatset inks and sheetfed inks for commercial printing. We’ve even got solutions to print on metal. So you have to choose the print process first, then the substrate and then the ink.

• How environmentally friendly are vegetable-based inks?

We’ve developed a range of bio-derived or vegetable-based inks, which are mainly used in sheetfed printing. But although you have a renewable resource in terms of the raw materials, that doesn’t mean that the environmental footprint is better for that ink. Vegetable or bio-derived raw materials also have an environmental footprint that could be significant when you consider the machines, pesticides and fertilisers that are used in agriculture.

• How big a role can ink play in making print stand out?

We’ve developed a range of special effects inks that are helping and enhancing print communication under an umbrella that we call Sun Inspire. This covers metallic effects and tactile effects. Of course, when it comes to special effects there are limitations. For instance, you may not be able to print the inks directly in offset, but some printers are getting around this by using them in their coating units.

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See me, touch me 1. Debossing distinct areas of paper or card gives a publication an intriguing tactile nature and adds a sense of depth 2. Almost any pattern can be embossed or debossed onto card or paper, providing an extra element of interest 3. The use of high-quality inks and varnishes can really lift a cover and give a publication a unique sense of touch

<< embellishments such as lamination, cold foiling and embossing can also create an engaging stand-out piece of print, with great examples everywhere you look.

Will Stone cites the example of high-end fashion and lifestyle title Wallpaper* as a pioneering publication that’s conjured up some groundbreaking magazine covers using innovative and surprising 3D effects, amongst other techniques.

“I’m a print junkie and pick up lots of different pieces of print,” he says. “It’s best to go and explore and see for yourself rather than present your printer with a shopping list.”

What environmental accreditations should I look out for?

It’s never been easier for marketers to find environmentally friendly paper grades, according to Burgo’s Jeremy Martin.

“The vast majority of products in the UK market have got environmental credentials of one form or another,” he says, “so it’s much

easier to tick all the right boxes now.”

However, the profusion of environmental claims surrounding different paper grades has made it increasingly difficult for substrate buyers to establish which of the different accreditation schemes is most suitable for their business values and needs.

Take recycled paper, for example. Even if a paper claims to be made from recycled sources, the percentage of recyclable material can vary wildly and the waste may come from pre-consumer sources rather than postconsumer (post-consumer is better).

Also, although the paper may contain a high percentage of recycled materials, you need to check that the remainder of the fibres come from a forestry that’s sustainably sourced and accredited by one of the main sustainable forestry accreditation schemes, such as the Forest Stewardship Council (FSC) and the Programme for the Endorsement of Forest Certification (PEFC).

Historically, a debate raged as to which of

the two schemes was better, but today Martin thinks that it’s less of an issue.

“PEFC was always better known in Europe, whereas FSC was always buoyant in the UK market,” he explains. “That’s largely due to the fact that it was prevalent in other industry sectors, such as furniture. However, today there’s no real difference between the two.”

Finally, it’s worth bearing in mind that just because you choose an environmentally friendly paper grade, it doesn’t necessarily mean that your print job is going to be green. For instance, if you specify a finishing embellishment such as lamination or foiling, it can make it harder for the piece to ultimately be recycled. When considering finishing options, it’s always worth asking your print partner what impact it will have on the recyclability of the job.

What do I need to know when ordering paper for my campaign?

It may sound obvious, but make sure the paper you select is right for the job you want

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

GLOSSARY

“” THE VAST MAJORITY OF PRODUCTS IN THE UK MARKET HAVE GOT ENVIRONMENTAL CREDENTIALS OF ONE FORM OR ANOTHER, SO IT’S MUCH EASIER TO TICK THE RIGHT BOXES NOW Jeremy Martin UK Managing Director, Burgo

to produce. So if you want greater ink lift and definition of colour, don’t go for ultra-absorbent uncoated stock.

Likewise, if you want to employ a particular finishing embellishment to give your printed piece a lift, make sure that you select the right grammage of paper.

“There’s no point embossing lightweight paper,” advises Burgo’s Jeremy Martin. “You need something with a bit of grammage and rigidity about it. Take foil blocking for instance.

If you opt for stock that’s 100gsm, it’s never going to stand up to the blocking process.”

Also, make sure you never fall into the trap of treating paper as a commodity product, cautions UPM’s Will Stone.

“Paper should be the first thing you consider in the print process,” he says. “It’s vital to consider the end result – what’s going to make your target audience pick it up and read it. The more tactile the better. Digital can offer all sorts of rich media but print provides a powerful, colourful and tactile experience.” PP

ABSORBENCY The extent to which wet ink is absorbed into the paper.

CARBON-BALANCED PAPER The carbon impact of the product has been estimated and an equivalent amount of carbon is either prevented from being released or absorbed from the atmosphere.

COATED The substrate is coated with an agent to improve brightness or printing properties, as opposed to uncoated where the paper isn’t treated with anything.

EMBOSSING This finishing effect creates a raised or 3D image.

FOILING The transfer of metallic foil – typically gold or silver – onto a substrate.

FOREST STEWARDSHIP COUNCIL A not-for-profit certification scheme that promotes sustainable forestry management.

GRAMMAGE A metric measure of paper weight usually referred to as gsm.

LAMINATION The application of a plastic film to lift a piece of print.

Lamination can also protect paper from damage.

LENTICULAR PRINTING The technology is used to produce printed images with an illusion of depth and is typically employed to show movement.

MILL BROKE Waste paper produced by mills during the papermaking process.

OPACITY The characteristic of a substrate that stops print on one side of the sheet from showing through on the other side.

PROGRAMME FOR THE ENDORSEMENT OF FOREST CERTIFICATION A sustainable forestry management certification scheme.

PULP A dry, fibrous material created by separating fibres from wood, fibre crops or waste paper.

RECYCLED PAPER Made from fibres that have been recovered from existing paper products. Although recycled paper can be made from 100% recycled materials, it’s typically mixed with virgin fibres to improve quality.

UV COATING A liquid-based protective coating applied to a printed sheet, then cured by UV lamps to create a shiny finish.

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SCREAM IF YOU WANT TO SELL FASTER THE UK TOURIST INDUSTRY IS A MASSIVE USER OF PRINT, WITH LEAFLETS ONE OF THE BEST WAYS TO REACH THE HOLIDAYMAKER LOOKING FOR SOMETHING TO DO. STUART MUIRHEAD ROLLS UP HIS TROUSER LEGS, KNOTS HIS HANKY AND INVESTIGATES

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

A

question: what’s the most influential communication channel when choosing an attraction to visit while on holiday? The internet perhaps?

Newspaper advertising? Maybe a bit of social networking? No, the single most influential channel is the leaflet.

Whether you’re a huge theme park or tiny model village, leaflets remain the most effective way to get people through your doors. The same qualities that made them a success centuries ago – high reach, low cost, easy access, ability to cram plenty of information and images into a small package – are just as relevant today, with almost every one of the thousands of UK attractions spending a large proportion of their marketing budget on them every year.

“Producing a leaflet then distributing it is cheaper and more targeted than a campaign in a newspaper,” says Philippa Harris, MD of Take One Media. “For some attractions, it will be the only marketing they do.”

“” EVERY YEAR, TAKE ONE MEDIA DISTRIBUTE A HUNDRED MILLION LEAFLETS TO TEN THOUSAND STANDS ACROSS THE COUNTRY

Every year, Take One Media distribute over one hundred million leaflets to ten thousand stands across the country. Those stands are found in airports, train stations, supermarkets, hotels (including Premier Inn and Travelodge) and roadside restaurants.

Concerned that digital marketing was pushing further and further into the leaflet and brochure sector, Philippa decided a year ago to conduct some research into what prompted holidaymakers to visit a certain attraction.

What she found not only reaffirmed her faith in print but gave her a fascinating insight into the way people plan their holidays and how print is used with other channels.

Stand and deliver While the recession may be biting hard in most areas of UK business, the tourism sector appears to be thriving. Out of a sample of 1,000 people, Take One found that 58% intended to holiday in the UK, compared to 48% in 2011.

That’s twice as many as Spain and four times as many as the USA. But while visitors to hot countries such as Spain can expect to spend a certain amount of time soaking up the sunshine on an inviting beach, tourists staying on home soil may be >>

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Summer spectacular (left) Tatton Park in Cheshire attracts thousands of visitors each year to its neo-classical mansion and extensive deer park. Meanwhile (below left and below right) Paultons Park in the New Forest makes fantastic use of leaflets and other print marketing to entice families from all over the UK to its 60 rides and attractions, including Peppa Pig World

Photography: Andrew Brooks

Demonstrating another attraction of print, a significant amount of people also keep and reuse leaflets, with 40% agreeing with the statement: ‘I keep a collection of attractions leaflets at home for future reference’.

<< looking for activities that rely on the weather a little less. Another key stat is that 74% of these people are expecting to spend the same or more on their 2012 holiday as they did on their 2011 trip. What all this means is that there are a lot of people on a lot of UK holidays looking for a lot of things to do.

“There’s certainly no downturn in the leaflet and brochure industry,” says Philippa. “This year, leaflet orders from tourist information centres have gone up by 12%. Given the poor weather we’ve had over the summer and the Olympics slowdown, that’s pretty impressive.”

This unprecedented rise in leaflet use has a lot to do with how people plan – or don’t plan – their holidays. Many will only decide what to do en route or once they get to their destination, using leaflets as inspiration to plan their time away. Indeed, over 60% of those surveyed agreed that ‘I find these leaflets useful when deciding where to visit’.

Country living While leaflets are undoubtedly practical, another driver in their success is the poor quality of broadband in the UK’s more rural areas.

Despite a dramatic increase in the amount of smartphone use and one in five holidaymakers now taking their laptop on holiday with them, both still lag behind print material in the decision-making process.

“Apart from London, most of the UK’s big tourist areas still have poor broadband speeds,” says Philippa, “So people will look for more reliable sources of information. We also found that the people who take their technology on holiday with them and can get a good signal, tend to just use it for work, sending emails or updating their social media rather than searching for local attractions.”

If people do use the internet to look at local attractions, it’s usually in the detailed planning stage – getting the latest information on events and opening times, and to ensure the correct route is taken to get there.

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“At the first stage, people aren’t so interested in the facts,” explains Philippa. “What they want is an idea of the experience they’ll be getting at the attraction. That’s what leaflets do so well. Once they’ve decided to go, they will then investigate the facts by going on the internet.”

Gold blend It’s no secret that good marketing thrives on the integration of a number of channels, and tourism is no different. Word of mouth has a large effect on all channels, but when it’s added to a leaflet, it raises impact from 21% to 35%, suggesting that the leaflet has a significant impact on visiting behaviour in one in three potential customers.

Of course, the internet and social media will assert more and more influence in the UK tourism industry, but at the initial decisionmaking stage, there’s little doubt that print will always have a big part to play.

“Leaflets will still be here five years from now,” says Philippa. “But attractions have to be aware of all the different channels and make them work together properly. You can’t just go down one route. Many of the attractions we distribute leaflets for don’t have very large marketing budgets, but that just means that we all need to be clever about how that money is spent.” PP

“

LEAFLETS WILL STILL BE HERE FIVE YEARS FROM NOW. BUT ATTRACTIONS HAVE TO BE AWARE OF ALL THE DIFFERENT CHANNELS AND MAKE THEM WORK TOGETHER

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THAT’S THE WAY TO DO IT! THREE UK TOURIST ATTRACTIONS THAT UNDERSTAND THE POWER OF THE LEAFLET 1. Paultons Park This family theme park in the New Forest features over 60 rides and attracts over one million people a year from all over the UK. Using a mix of marketing channels, they estimate that 40% of guests see a Park leaflet prior to visiting. “All of our print is designed to drive guests to our website,” says Marketing Manager Rob Griffiths.

“A good leaflet has to have exciting images and it has to be crystal clear what you are from the outset.”

2. Beaulieu National Motor Centre The National Motor Museum at Beaulieu has over 250 vehicles, collectively telling the story of motoring. In 2012, they wanted to promote Bond In Motion, their collection of original James Bond cars, so Take One distributed over 100,000 leaflets to key sites within four hours travel distance. In six months, over 1,400 vouchers were redeemed, helping to achieve a 19% increase in visitors for the museum year-on-year.

3. Merrivale Model Village Merrivale Model Village is one of Great Yarmouth’s best-loved attractions, but visitor numbers had fallen to an all-time low in 2003 to just 18,000. But after increasing leaflet numbers from 60,000 in 2004 to 160,000 in 2011, visitors swelled to 53,000 paying visitors and an additional 60,000 using the tearooms and penny arcade. The majority of these 113,000 visitors were attracted through a leaflet.

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“IN THIS OVERLOADED, MULTI-TASKING WORLD, THE ORDERED ENVIRONMENT OF A MAGAZINE CAN HAVE A POWERFULLY BENEFICIAL EFFECT ON THE MINDS OF READERS”

PUBLISHERS ARE NOW USING A VAST ARRAY OF FORMATS TO ENGAGE READERS AND BUILD THEIR MULTI-CHANNEL MEDIA BRANDS, WITH WEBSITES, TABLETS, SMARTPHONES, LIVE EVENTS AND SOCIAL MEDIA ALL PLAYING THEIR PART. BUT WHERE DOES PRINT STAND AMID ALL THIS DIGITAL ACTIVITY? BANG SMACK IN THE MIDDLE SAYS MARKETING CONSULTANT AND DIGITAL EXPERT MIKE BERRY

O

n January 27, 2010, the late Steve Jobs unveiled Apple’s new iPad. Against the backdrop of a giant image of an iPad version of The New York Times, he enthused about “the best browsing experience you’ve ever had, a whole web page you can manipulate with your fi ngers, holding the internet in your hands.”. The implication was clear: here was the future of newspapers and magazines, and it didn’t include print.

The launch of the iPad – essentially the announcement of a whole new category of ‘tablet’ devices – naturally raised major

concerns in the publishing community.

Indeed, before the great man had even fi nished his presentation, certain ‘experts’ were calling it ‘Book/Newspaper/ Magazine 2.0’ and proclaiming the imminent death of periodicals.

For some, tablets such as the iPad are the natural successors to magazines; for others they’re more a gimmick than a radical game-changer. But many people believe the truth lies somewhere in-between – that tablets have their place in the market but they won’t become the whole market any time soon.

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

“”

IF HISTORY WERE DIFFERENT AND EVERYTHING WERE ELECTRONIC, AND SOMEONE INVENTED GLOSSY PAPER, PRINTING AND BINDING, WITH ALL ITS ADVANTAGES OF PORTABILITY AND COST, IT WOULD BE HAILED AS A KILLER APP

Print’s place

Charlotte Stockting, Publishing Director of Hello!, suggests that print has a secure future. “Some people assume that now you can get magazines on lots of other touchpoints, publishers are going to put everything online,” she says. “I can’t think why. I don’t see tablets or iPads or iPhones or any other smartphones or devices being the alternative to magazines just yet, and won’t be until the whole editorial package can be transported in its entirety, including the advertising, in a satisfactory way for the same price.”

My own view is that content for the iPad and other tablets should not simply be an electronic facsimile of the print magazine (ie. the PDF that was sent to the printers); that’s just lazy. Certainly the multimedia capabilities of tablets, laptops and desktop computers can add richness to the magazine experience.

But the death of print has been much exaggerated. Crucially, reading magazine content on the iPad is a different experience.

And, as has been frequently noted, if history were different and everything were electronic and someone invented glossy paper, printing and binding, with all its

advantages of portability and cost, it would no doubt be hailed as a ‘killer app’.

The future of magazines is print and web. I fi rmly believe that, for a long time to come, print will still be at the core of what magazine publishers do and, crucially, will be something they can make money out of. With a strong print title providing a stable anchor for a magazine brand, other avenues can be developed to complement, but not replace the print edition.

Renowned technology, culture and economics journalist Nicholas Carr once asked the question: Is Google making us stupid? In the now-famous Atlantic Monthly cover story, the Pulitzer-Prize nominee tapped into a well of anxiety about how the internet is changing us, reducing our capacity to think deeply about a single subject.

Carr expounds this thesis further in his book The Shallows: What the Internet Is Doing to Our Brains, in which he argues that even adult brains are relatively ‘plastic’, that the internet is a ‘distraction machine’ and that as we learn to cope with multiple competing stimuli, we are ‘unlearning’ how to follow a single linear narrative argument.

Maybe we are indeed becoming ‘pancake people’, with our attention spread thinly over the vast quantity of distracting content and data on the web.

It’s certainly true that many of us fi nd it increasingly diffi cult to read the dense paragraphs of prose as found in books – even on a Kindle. But that doesn’t mean our brains are damaged irrevocably; we can retrain them.

Many of us still allocate part of our time to reading books and I’m sure we get something out of that immersive experience, free from ‘distracting’ hyperlinks. The same goes for magazines, with their unique combination of high-res images and long-form copy.

In this overloaded, multi-tasking world full of messages and demands placed on our time, the ordered environment of a magazine can have a powerfully benefi cial effect on the minds of readers.

Albert Read of Condé Nast says (perhaps with a sidelong glance at his advertisers): “Magazines are an immersive experience, doing something different to other things like TV or radio. They are a lean-back experience. Readers are relaxed, engaged and open to suggestion.” >>

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

<< Takeaway order So what are we to glean from all this? What are the best ways to use content across print and digital platforms? I’ve gathered a number of tips down the years after working with international brands of all shapes and sizes, which boil down to: 1. Don’t duplicate content mindlessly from print to web just because you can.

2. Partial or porous paywalls can work as teasers to sell paid access.

3. Give readers a choice; we’re all different (and sometimes fi ckle).

4. Don’t give away the content ‘crown jewels’ unless the advertising revenue is massive and sustainable.

5. Don’t let the advertisers drive you into building circulation for its own sake; engagement is much more important than eyeballs.

6. Watch the competition closely; maybe they know something.

7. Celebrate print confi dently as your flagship medium, without feeling embarrassed that it might be too traditional or ‘old school’.

There’s no doubt that digital platforms can be valid and lucrative additions to the main magazine brand. Consumers have shown themselves to be willing to pay for mobile and tablet magazine apps, whereas they expect their PC news sites to be free. iPads and their competitors may be a radical addition to publishing, but are they a direct replacement for magazines?

Not yet, and probably never. Newspaper publishers may well have reason to feel threatened by the digital revolution, but the smartest and most forwardlooking magazine publishers see more opportunities than threats.

But what about the long-term future of print? History suggests that new media

doesn’t in general kill old media; rather they settle down alongside each other. And of course, as John Maynard Keynes said, “In the long run we are all dead.”

At the end of the day, advertiser support requires reader engagement, which all depends on interesting and relevant content delivered in high quality in whatever way the reader prefers at any particular moment. And in my view, there will be paper magazines, professionally written, designed and produced long after we’ve all moved on to the great Reading Room in the sky… PP Mike Berry is an internationally recognised blogger, lecturer, trainer and consultant in digital and integrated marketing. www.mikeberryassociates.com @mikeberrytweets

COVER STARS Three thriving global titles that place print at the heart of their publishing strategy

1.

WIRED The US edition of tech, design, gadget and futurist magazine Wired was the first to create a dedicated iPad edition, allowing readers to zoom into photos, play music and view animated content around the core magazine articles. Arguably it adds an extra dimension to the static text and pictures.

However, Wired Editor David Rowan believes that print is still irreplaceable: “What can we do with a magazine that the internet can’t? The fantastic, high-quality photography, the infographics, the design which isn’t so easy to replicate online, the long-form short-story telling. We publish articles of up to 5,000 words – that’s much harder to do on the desktop internet.”

2.

ELLE Iconic fashion title Elle is adopting a dualformat strategy, with print taking the lead as the core content vehicle and digital versions complementing it. Lorraine Candy, Editor-in-Chief of Elle, explains how she sees digital working for her brand: “Magazines and digital content will co-exist,” she says. “There will be layers and layers of what we do and our content will be stretched in different ways. I wouldn’t put Elle the magazine online. That’s not what people are going to look at. They want to see different areas covered, things we wouldn’t cover in the magazine.”

3. CLASSIC ROCK The print magazine Classic Rock is thriving, with an ABC-certified circulation of over 70,000, of which more than 50,000 sales are sold on newsstands at £5 each.

“Beyond the magazine there are so many touchpoints for the consumer,” says Malcolm Stoodley, Ad Director at Classic Rock publishers Future. “We now have a website, plus two magazine spin-offs from the core body called Classic Rock Prog and Classic Rock AOR. We’ve got a distribution model for CDs and have distributed Slash’s solo CD a month before general release. So we now have a direct-toconsumer marketing opportunity and distribution model. We also have a 50% share in our own festival, High Voltage, which enables clients and advertisers to come and touch 30,000 of our readers.

None of that is possible without the core magazine brand at the heart what we do.”

www.ppa.co.uk

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Evolution not revolution Charles Darwin pioneered the realisation that emotions provide vital information that boosts your odds of surviving

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

IF YOU WANT YOUR PRINT AD TO REACH THE RIGHT PEOPLE AND GET THE RIGHT RESPONSE, THEN LOOK NO FURTHER THAN DARWIN. THE REVOLUTIONARY VICTORIAN NATURALIST HAS JUST AS MANY LESSONS FOR MARKETING AS HE DOES FOR SCIENCE. DAN HILL, FOUNDER AND PRESIDENT OF US NEUROSCIENCE RESEARCH FIRM SENSORY LOGIC, PUTS ON HIS WHITE COAT AND EXPLAINS

S

urvive and thrive: that’s the key in business, Darwin’s second big, unknown insight is that you as in life in general, a motto most readily best reflect and communicate your emotions in your associated with the Darwinian survival- face. Indeed, even a person born blind emotes the of-the-fi ttest mentality. But while Charles same as anybody else because our expressions are Darwin’s work on evolution is widely known, universal. They’re hardwired into the brain. They’re most people in business may not realise two also spontaneous, making the facial coding market of Darwin’s other contributions, not just to the research tool that Darwin pioneered the best way to society we live in but to making your know whether you are grabbing your marketing investment in print ads market’s interest.

DARWIN SAID target more effective for your company.

After all, as eye tracking research has The first is that Darwin pioneered shown, the average person will ‘study’ THAT YOU BEST the realisation that emotions aren’t a print ad for three seconds or less. But REFLECT AND merely ‘noise’. Instead, they provide make the most of those three seconds COMMUNICATE and you’re gold. vital information that boosts your odds of surviving. Rene Descartes’s famous For nearly 15 years now, I’ve run YOUR EMOTIONS saying, “I think, therefore I am” has now a cutting-edge market research firm been contradicted by the breakthroughs IN YOUR FACE based in America that uses facial in brain science, which categorically coding to ensure that companies spend confirm that the decision-making process of your print their monies wisely on advertising. We gather our facial ad’s target market is SENSE-FEEL-(think)-DO. coding data by analysing the faces of consumers in Sensory impressions, emotional response, a little person or on video during focus groups, in-person thought (less than 5% of the brain’s mental activity interviews or online tests.

By now, we have tested more than 40% of the top is conscious, rational thought) and on to action – or inaction. Emotion and motivation have the root word 100 brand in the world, such as Target, General Motors, in Latin: movere, to move, to make something happen. Miller Coors, Hershey’s, Nokia, GSK, and ING, gaining A print ad that’s thought about but not felt in the gut is insights I’m happy to share.

These insights boil down to: like having a shiny new car without any gas in the tank.

“

“

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FOLLOW THE 60/30/10 RULE

IN RATIONAL SECTORS SUCH AS FINANCE AND TECHNOLOGY PROVIDE A BLANKET

In other words, 60% of your print-ad readers will treat your advert like the best of outdoor advertising – they’re skim readers. So your ad must capitalise on the key, dominant visual that tells a branded story, as well as the supporting headline that confirms what’s in it for the reader, not the company. And the print ad must do so within three seconds to leverage sensory impressions and get your target market onto the intuitive, emotional response.

AVOID CONFUSION

“”

THE AVERAGE PERSON WILL STUDY A PRINT AD FOR THREE SECONDS OR LESS, SO MAKE THE MOST OF THOSE THREE SECONDS

Frustration is the hidden emotional cancer of advertising. As an Oxford don has noted, one fifth of the adults in Europe and North America are functionally illiterate, without any real command of language. So reach them through images not words and keep it simple. After all, the joke that has to be explained is never as funny as the joke you just ‘get’.

For the 30% of your target market who will read into the copy – and especially for the 10% of those inclined to read deep into the copy – they need an intellectual alibi they can wrap themselves in to be warm. That’s the blanket. They need a way to rationalise or justify a purchase choice they’ve already made emotionally. In other words, a feeling – in this case, comfort – can enable you to make money from your print ad.

Most print ads, if tested, get tested rationally through self-reported ratings that favour people giving the safe, smart answer – after they’ve read all the copy. How unnatural. To return to Darwin, human beings are genetically 99% identical to chimpanzees, and the more you ask a person to think, the less they feel. And the less they feel, the less they act. That’s why the Institute of Practitioners of Advertising (IPA) has found that advertising that makes the emotional soft sell versus the traditional, rational hard sell is twice as effective at making money for you.

We’re not talking about awareness here.

Awareness is soft. I can’t take awareness to the bank. Stopping power and preference, not awareness, are the essentials – and both are emotionally based, which brings me to one last point:

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

EARLIER THIS YEAR, SENSORY LOGIC TESTED FIVE DIFFERENT PRINT ADS FOR A MAJOR INTERNATIONAL PHARMACEUTICAL COMPANY. THE RESULTS SURPRISED MANY Carried out in in America, Brazil, France, Germany and the UK, the unique aspect of this test was that one of the print ads was dubbed the rational ‘hard sell’ and took a just-the-facts, ma’am approach.

Meanwhile, the other four print ads each sought to leverage a specific emotion to learn whether the emotional approach was, firstly, more engaging than the rational ad, and secondly, whether there a particular emotion that best evokes purchase intent (consideration).

Across all five countries, the rational ad rationally won – based on ratings.

But add in the emotional data and the picture changes. The rational ad did as well as any ad in evoking positive appeal (preference) but utterly failed when it came to generating engagement.

By country, in Great Britain the sadness ad did the best with the rational ad a distant second place. With France, the land of Descartes, the happiness print ad wins. But, not so surprisingly, the rational ad puts in a strong second-place showing.

The morale of the story: in France it’s okay to philosophise, even in business.

Elsewhere, go with animal instincts and as we say in America, the pursuit of happiness – and profitability!

Top 3 Performers UK

Overall Results for All Countries

ADHERE TO WUNDT’S CURVE Before there was Sigmund Freud, neuromarketing or behavioral economics, there was the psychologist William Wundt. My 15 years of research to figure out what works for people in advertising, including print ads, points to Wundt’s wisdom (see diagram above).

The curve or high point of greatest (branded) preference is to combine the simple and the novel, or the complex and familiar. The simple/ familiar parts of the equation aid accessibility.

The novel/complex add the spice.

Some of my clients go the simple/familiar route and create boredom, which is a low grade version of disgust. If disgust is bad taste, bad smell, hence not worth engaging with the print ad, boredom is no taste at all.

At the same time, don’t give into your ad agency’s temptation to create an ad that’s complex/novel. That might win creative awards, but it won’t bring in the money.

To return to Darwin and animals one last time, you have to pitch the hay where the goats are, and they’re rarely on the complex/novel mountaintop. That’s simply too much effort, too much of a stretch. Go with the percentages: the 60% of readers first, then try luring in the 30% and 10% afterwards.

Top 3 Performers France

Dan Hill is the founder and president of Sensory Logic. Among his four books is Emotionomics (Kogan-Page), chosen by Advertising Age as one of the Top 10 Must-Read Books of 2009. He can be reached at dhill@sensorylogic.com

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MAGAZINE ADVERTISING / DIRECT MAIL / DOOR TO DOOR / CUSTOMER MAGAZINES / 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 £25billion 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 £277million 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 £10billion global industry thanks to the huge levels of engagement it offers brands.

CATALOGUES One of the oldest forms of marketing, catalogues remain a highly effective sales driver, with 17.7 million 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

THE MAIL MOMENT Direct mail enters an individual’s home and is consumed on a one-to-one basis. This gives you much more time with your customer, time to engage them in a relaxed environment at a time of their choosing.

2.

SENSORY EXPERIENCE The physicality of a mailing adds another dimension to the brand experience.

Using your customers’ senses you can stimulate and entertain them, encouraging them to reassess your brand and drive response.

3.

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

4.

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

5.

EFFECTIVENESS 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).

15 51 .2 bn

The estimated UK spend on direct marketing in 2012 (Future Foundation, 2012)

%

The percentage of consumers that say they open DM because it is addressed to them (fast.MAP, 2012)

6.

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

7.

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.

“

DM PLAYS A REALLY IMPORTANT PART IN OUR OVERALL MARKETING MIX, GIVING US A CHANNEL FOR TARGETED, SALES-FOCUSED COMMUNICATIONS

“

1.

Chris Bates, Head of Marketing – CRM and Customer Insight, John Lewis

FOR MORE INFORMATION ABOUT DIRECT MAIL, GO TO www.mmc.co.uk

BRITISH AIRWAYS

First-class cabin BA’s new first-class cabin was conceived by a team of experts that had dedication to quality, craftsmanship and attention to detail. So OgilvyOne developed a DM pack that mimicked the level of detail found within the cabin, inviting customers to discover the detail by using a magnifying glass lens hooked within its cover. Designed to retain the loyalty of a valuable segment of the BA customer base, 500 packs were sent out, resulting in 121,294 bookings made – up to three bookings per person in a four-month period.

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DOOR DROP MAIL

7 REASONS

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

2.

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

3.

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

4.

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

5.

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

6 22 .9 bn

The volume of UK door drops in 2011 (DMA, 2012)

%

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

6.

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.

7.

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

“

I EXPECT TO SEE A SIGNIFICANT INCREASE IN MARKETERS USING DOOR DROPS IN CONJUNCTION WITH ONLINE CHANNELS TO CREATE HIGHLY INNOVATIVE INTEGRATED CAMPAIGNS

“

1.

Mark Young, Chief Executive of The Leaflet Company

FOR MORE INFORMATION ABOUT DOOR DROP MAIL, GO TO www.tntpost.co.uk/services/directmarketing/doordropmedia.aspx www.elma-europe.com/ www.royalmail.com/marketing-services/campaign-delivery/door-door

FOCUS DIY

Keep Britain Beautiful Focus DIY wanted to promote their good reputation for plants and flowers, so their agency came up with the theme of ‘Keep Britain Beautiful,’ which led to the idea of printing the door drops on seed paper. The door drop then invited its 812,000 recipients to tear it up and plant the pieces to grow wild flowers. The door drop gained a response rate of 26%, achieving an incremental income of £2,900,000 and ROI of 12:1.

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CUSTOMER MAGAZINES

7 REASONS

SUBSTANCE There’s nothing to beat the feel of a magazine.

Taken with its portability, ease of use and sense of glamour, it offers the reader control and entertainment in one neat package.

2.

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

3.

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

4.

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

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

5.

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

75 61 %

The percentage of customer magazines whose pagination has either risen or remained the same since 2011 (CMA, 2012)

%

The percentage of consumers that said they were readers of magazines published by retail brands or supermarkets (CMA, 2012)

6.

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.

7.

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.

“

OUR MAGAZINE IS A PLACE WHERE WE CAN SHOWCASE OUR OWN BRANDS AND BRING THE FOOD TO LIFE. WE WANT TO INSPIRE OUR CUSTOMERS

“

1.

Amanda Collins, Senior Marketing Manager of Co-operative Group

FOR MORE INFORMATION ON CUSTOMER MAGAZINES, GO TO www.the-cma.com

JOHN LEWIS

Edition John Lewis Edition magazine, published by John Brown on behalf of retail giant John Lewis, delights its 480,000 readers every month with an engaging editorial mix of fashion, beauty, home and technology. With leading columnists and photographers, the monthly title offers newsstand-quality content that inspires its readership, 70% of whom say it prompts them to visit more departments, resulting in an average value sales uplift of 65%.

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Editorial engagement for brands

speakers announced for

THE InTErnaTI rna onal rnaTI ConTEnTT MarkETIng

SUMMIT 2012

telling Brand stories

Book your place at the leading event for the content marketing industry, featuring some of the world’s foremost experts on content strategy and creation, including • Claire Hilton HeAd of AdverTising, MediA & ConTenT, UKrBB MArKeTing, BArClAys A Ays • MattHew taylor Ceo, royA oy l soCieTy of ArTs oyA • Melanie Stubbing PresidenT, WeigHT WATCHers eUroPe • MattHew gueSt senior MAnAger, deloiTTe digiTAl, deloiTTe • CatHerine toole foUnder & Ceo, sTiCKy ConTenT • Jan rezeb Ceo & Co-foUnder, soCiAlBAKers • Marie o’riordan ediToriAl direCTor, JoHn BroWn • danny Miller Co-foUnder & Ceo, THe CHUrCH of london • Sara CreMer MAnAging direCTor, redWood • niCola MurpHy Ceo, THe river groUP • Melanie Howard exeCUTive CHAir, fUTUre foUndATion • Jon King MAnAging direCTor, sTory WorldWide • toby guiduCCi digiTAl sAles MAnAger, THe MeT offiCe • arJun baSu ConTenT direCTor, sPAfAx

#content2012

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ImagE rECOgnItIOn & augmEntED rEalIty partnEr

In aSSOCIatIOn WItH

The Content Marketing Association (CMA) is the representative body for the content marketing industry, whose members are agencies who produce effective editorial content on all communication channels for client brands

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MAGAZINE ADVERTISING

7 REASONS

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.

2.

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.

3.

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

4.

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

5.

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

46 88 %

The percentage of women that are more likely to purchase a product they’ve seen advertised in a magazine (IPC, 2012)

%

The percentage of consumers that prefer to read their favourite magazines in print rather than on tablet or smartphone (Deloitte, 2012)

6.

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

7.

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

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AS WELL AS DRIVING PURCHASE, MAGAZINES PROMPT OTHER ACTIONS, INCLUDING ENCOURAGING FOOTFALL IN-STORE, DRIVING TRAFFIC TO BRAND WEBSITES, IN-STORE TRIAL AND ONLINE SEARCH

Amanda Wigginton, IPC Insight Director

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1.

FOR MORE INFORMATION ABOUT MAGAZINE ADVERTISING, GO TO www.ppa.co.uk • www.fipp.com

NATIONAL TRUST

The Beano National Trust wanted to energise families with children to visit their sites across England, Wales and Northern Ireland, so partnered with Britain’s most famous comic to promote their ‘Kids go free’ offer. The ‘Gnashional Trust’ issue of The Beano featured five of their most popular comic strips located at different National Trust sites around the country, with each site having Beano-themed activities available to young visitors. The campaign resulted in a 25% increase in voucher downloads, while generating a PR value of £400k in just four days.

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CATALOGUES

7 REASONS

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.

2.

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.

3.

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

4.

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

5.

TARGETING OPPORTUNITY Since the main distribution method for catalogues is post, targeting is a key element to ensure you’re reaching the right prospect.

Whatever demographic you’re after, you can reach them in a matter of hours.

34 18 %

The percentage of consumers that say catalogues offer a better product overview and make it easier to look through different products (E-Commerce in the Nordics, 2011)

6.

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

7.

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

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The amount of different catalogues high street store Lakeland publish every year

AS A KEY FOCUS OF OUR MARKETING STRATEGY, IT’S ESSENTIAL THAT OUR CATALOGUE CONTAINS TRUE ADDED VALUE IN PRODUCT PROPOSITION, EDITORIAL CONTENT AND CONSUMER OFFERS

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1.

Vincent Smith, Head of Marketing, Sportsdirect.com

FOR MORE INFORMATION ABOUT CATALOGUES, GO TO www.catalogueexchange.co.uk

FAT FACE

Northstar Clothing brand Fat Face needed a creative approach to reflect a community and brand culture that would make it stand out from the crowd, so their agency Northstar created a catalogue that delivered a unique adventurous element to the clothes.

The execution impressed the client so much that they used it across all brand communications, including the business documents for City flotation.

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www. p r i n t p ower u k. c o. u k _PRINT POWER_

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QA &

FINAL WORD STEVE AUCKLAND, MD OF NORTHCLIFFE MEDIA, OVERSEES ONE OF THE UK’S LARGEST PUBLISHING GROUPS, WITH 84 NEWSPAPERS READ

BY OVER 5.8 MILLION READERS, ALONGSIDE 26 LOCAL NEWS WEBSITES AND 160 LOCAL COMMUNITY SITES ACROSS THE UK

WHAT’S THE FUTURE FOR LOCAL NEWSPAPERS? I think they’ve got a very strong

future. We’ve got an ageing population now, and these people have more feel for their community and locality, which is why they value regional print media. They feel it’s legal and honest, with no spin, a medium that actually lets them know what’s going on. They also want a feelgood factor about where they live, to know that other people care about their area as much as they do, and local newspapers can provide that. WHAT DOES PRINT DO PARTICULARLY WELL? It’s the tactile effect.

You’ve got a newspaper in front of you, you can put it down, pick it back up again. Print’s also very good at galvanising people, bringing them together for a common cause. A classic example is a campaign we did in Derby when the Bombardier factory was going to close because the government had awarded a key contract to a German manufacturer. The editor at the time, Steve Hall, got all the businesses together in Derby, really campaigned heavily and took the case down to London. In the end, Bombardier were awarded another contract that saved the factory.

Would the internet have been able to do that? I don’t think so. Print’s still got that ‘Read all about it’ factor, which the web hasn’t got yet. HAVE YOU HAD TO WORK HARDER TO RETAIN ADVERTISERS? On print, yes. We’re working harder to make our ads as creative as we can. Instead of the traditional quarter- or half-page ads, we now sell singles and spreads, the same as a magazine.

We’re breaking all the taboos on regional papers. But in

“OUR READERS FEEL THEIR LOCAL NEWSPAPER IS LEGAL AND HONEST, WITH NO SPIN, A MEDIUM THAT ACTUALLY LETS THEM KNOW WHAT’S GOING ON” order for the ads to be successful, they have to be creative and really stand out. HOW DO YOU INTEGRATE YOUR PRINT AND DIGITAL CONTENT? We make sure that every different site for each area has a large amount of relevant local content. But whatever the platform, I want a ‘We break it first’ attitude. Whether we break news first on the web or in print, I don’t really mind, as long as it’s us that breaks it. WHAT DO YOU ENJOY ABOUT YOUR JOB? The challenge. There are certain things that you do in life that are the bread and butter stuff, things you have to do to do your job.

What really gets you out of bed in the morning is doing something a bit different, something that’s going to test you. Then when you look back a year later, you go, ‘Actually I’ve achieved a hell of a lot more than I thought I could have done’ rather than, ‘I did the same as I did last year and ticked another box.’ Well, you know, we ain’t here long enough to just tick another box.

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Bigger response to your door drops.

Get your targeting right, and response goes up.

Get your distribution method right, wastage goes down and ROI increases.

Get your measurement and evaluation right, and your next campaign can go through the roof.

Are we bigging it up too much? Not a bit of it – our Doordrop Media division is the UK’s leading specialist, and makes it happen with unique and innovative methodologies.

Call us, and we’ll put the welcome mat out for you.

Talk to Ian Lacey today on 07786 173 763 or visit www.tntpost.co.uk

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