Print Power magazine The Page by Print Power

THE CREATIVE ISSUE JUNE 2013 VIEW ON ADVERTISING IN PRINT

I AM

THE MOST

TRUSTED AD SPACE Iâ&#x20AC;&#x2122;m the power of print. Advertisers want their message to be trusted and believed by consumers. Consumer research shows that 63% trust advertisements in magazines and newspapers, whilst for TV and Internet this is only 41% and 25% respectively. Among all consumer segments advertising in magazines and newspapers is most trusted. For more reasons to use print advertising go to www.printpower.eu

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Print Power Europe

June 2013

Inside

THE CR E ATI V E ISSUE

Welcome Letter from Print Power Europe Marketing Manager Ulbe Jelluma

Foreword Letter from Editor-inChief Sonoo Singh

In Print We Trust The latest Print Power Europe research focuses on trust attached to advertising in the various media and ﬁnds consumers trust print media

The Creative Promise The link between creativity and effectiveness. The report, by Peter Field and the IPA, says ad campaigns that win awards sell more products

Beyond the Printed Page Technology has touched and revolutionised media as we know it, triggering innovation across the media space. Print is no different. Take a look at the singing, swinging developments in print.

Brand Stories in Print Brands tell their stories through print and present a compelling case of why print needs to be part of the overall media strategy.

Therapy Street Admen talk about their experience of print. What inﬂuenced them and how some of the best print ads were conceived and created?

2020: New Frontier How will the consumer consume print in the future? Future Foundation looks into its crystal glass and ﬁnds fascinating trends emerging.

On the Front Foot Media folk from across Europe on how print is adapting and evolving and is here to stay

Playing with Paper We have seen paper that we can smell, the use of thermochrome inks that change colour with change in temperature and the use of QR and AR codes. Meet innovators who are talking beyond these new technologies

What Lies Beneath Brands are discovering that beyond the virtual world consumers can be catered through innovative DM and customer magazines

Last Word A ‘Love Letter’ from Amsterdam

Welcome

Dear reader, When I started to work at Ogilvy years ago I quickly learned one of the one-liners of David Ogilvy: the consumer isn’t a moron, she’s your wife. In other words respect the consumer. You want him or her to buy your product, therefore don’t make a fool of yourself nor fool the consumer. Whether it is an advertisement, a mailing or a customer magazine, print advertising provides consumers - in a non-intrusive way – a moment to dream away, to get inspiration, to discover new products or new product benefits or to go online and buy the advertised product. Advertisements, mailings or customer magazines can provide all the information for consumer needs. Creativity in print executions benefits from the way print media are consumed. Consumers take the time to read their magazine or want to get the fine details of an offer received through the mail. They are not distracted from the creativity of the ad or mailing, it has their full attention. Brand owners prefer of course consumers that spend some time with their advertisements. Page formats, different sizes and special inks or finishes - all add to the image of the advertised brand. Techniques to trigger different senses at the same time, via sensory print, has regained some popularity like in the recent Fanta edible ad. Print continues to offer brands and creatives plenty of possibilities to respectfully address readers. And these readers trust these print channels more than any other channels. One more reason to conclude: add print, add power. Ulbe Jelluma

THE CREATIVE ISSUE

Marketing Manager Europe Print Power ulbe.jelluma@printpower.eu

June 2013

Welcome to The Page. The inaugural issue of Print Power Europe. A magazine to celebrate print and its power to surprise, the power to inspire. Print Power Europe is the panEuropean organisation dedicated to promote print media and its role in an integrated media plan. The ambition of Print Power Europe is to promote print media as an essential component of the multi-media mix, ensuring that print maximises its share of marketing expenditure in this rapidly developing media landscape. Indeed, the obituary for the print ad industry was written years ago but the transformation of the industry provided by digital, I believe, has granted it a new lease of life. After all, which other medium gives the tangibility, inspiring emotional states of comfort and familiarity, therefore leading to superior brand engagement? It is true to say that media budgets are moving really quickly to digital, but at a time when marketers are desperate for the attention of consumers print media’s ability to gain attention and compel consumers to take some form of action cannot be ignored. Print often becomes the story of nostalgia, but it is the transformation of the industry that makes it an emerging story. The medium might be the tale of growing up the hard way, but it remains the story of evolution nonetheless. According to Magna Global’s recent update of its European media owner revenue forecasts: Advertising spending in Western Europe has been hit by the economic slowdown and the full-fledged, protracted recession that has affected the periphery and the south of Europe. But it is also true to state that advertising spending level depends on the levels of business confidence and also consumer confidence. And it is this belief in the power of print that we are exploring. The Page includes

a 24-page supplement with some of the best print ads that this hand-picked jury comprising of creative agencies selected, to showcase how brands use print to their advantage. So why are we are lost in the binary debate over print versus digital? An argument hard to understand in a multi- media world where digital complements every single medium – TV, outdoor, direct and print. I have personal experience of this. Surrounded by mobile phones, tablets and other multi-media devices, it was a door- drop from the British retailer Early Learning Centre (ELC) that probably started my little boy’s love affair with print. ELC mailed him a Jack and the Beanstalk storybook, but changed Jack’s name to my son’s name in the book. Seeing his name in print as a hero that slays the giant prompted a love for print. Powerful ideas and sharable experiences will always continue to draw people in. Turn over to pages 22 and get an insight into how print can be interactive by making people sit up, take notice and react. The industry’s task is to ensure print evolves in step with the digital world and joins all the dots that lie in between. Just like the Svenska Dagbladet in Stockholm, which has propagated the notion of ‘fast’ and ‘slow’ journalism for web and print. The focus for the newspaper is on live-reporting for the website or mobile and on agenda-setting journalism and in-depth reporting for the newspaper. Evidence of this, you will ﬁnd, on page 18 where Future Foundation talks about such emerging trends and the consumption of print in 2020 and beyond. I am convinced that if millennials like my son are stimulated enough by the world of print, the medium will manage one last hurrah. The story of print won’t be about what print used to be but what print can be.

Simon Ford

Sonoo Singh

Designer nomiscreative.com

Editor-in-Chief, The Page, singhsonoo@gmail.com

Contributors: David Benady Karen Canty Dr Kate Stone Jorian Murray Printer: DeckersSnoeck, Antwerp (Belgium) www.deckerssnoek.be

Print Power Europe Foreword

In print we trust

In print we trust A S MOR E BR A N DS SEEK THE TRUST OF THEIR CONSUMERS , THE ISSUE OF BEST USE OF MEDI A IN UN DER STA N DING THE N EW DY NA MICS OF BU Y ER BEH AV IOU R W ILL CON TIN UE TO GI V E M A N Y A M A R K ETERS SLEEPLESS N IGHTS. THE GOOD N EWS IS PR IN T IS HER E TO STAY.

THE CREATIVE ISSUE

SONOO SINGH

A new pan-European research suggests that consumers continue to have most trust in advertising in printed media. When asked how much trust they attach to advertising in the various media, consumers gave magazines and newspapers a score of 63%, TV 41% and Internet 25%. In today’s world of choices, one of the greatest remaining challenges for a marketer is acquiring the trust of the empowered consumer. With the march of digital, marketers are also grappling with the issue of which media channel to use when trying to resonate with those consumers. But despite changes in media consumption, research commissioned by Print Power Europe and conducted by Finnish research company VTT last year in 13 European countries, ﬁnds the European consumer both trusts and values print advertising. When asked about the role of advertising in purchase decision-making - almost seven out of 10 said that advertising in magazines and newspapers was most important in supporting purchase decisions. The study questioned more than 700 consumers and covered nine media types - magazine, newspaper, TV, radio, Internet, addressed direct mail, unaddressed direct mail, catalogue and social media. When asked to compare direct mail with social media, nearly 90% of respondents valued addressed and non-addressed mail above social media. Though lifestyle and living situation inﬂuence choice of and attitude towards media, almost nine out of ten consumers said they have more trust in advertising in catalogues than on the internet. The survey also notes that advertising on TV does not score high for trust, useful and support purchase decisions. The research showcases the continued effectiveness of advertising in the various printed media.

According to the study, advertisers beneﬁt from the leading consumer trust in print media, as readers more positively evaluate their advertising compared to when it is placed in other media. The research presented the respondents with a series of different media-use situations and were asked to comment on how well those narratives described their own use of media. Four distinct consumer segments emerged from the research Slow Bon Vivants, Busy Mix-and-Matchers, Tolerant Surfers and Youthful Digilovers (see opposite). The Slow Bons vivants (23%) are print users who associate digital media with their hectic working life and see print ads as “very” trustworthy and useful. Busy Mix-and-Matchers (46%) easily shift between digital and print media and appreciate print media. Tolerant Surfers (19%) are digital media users with a positive attitude towards print media, and also do not trust advertising on the internet and social media as much as printed ads. Youthful Digilovers, the smallest segment (12%), are pure digital users. However this segment does see print media as the most trustworthy advertising channel, even though it is advertising on internet that it judges as being most useful. As one respondent said: “As I use the computer a lot at work, I very much value free time without it. I like reading newspapers and printed magazines because they tend to have longer and more profound stories in them.” As advertisers continue to shift budgets towards digital channels, consumers continue to put their trust towards print. Consumers continue to refer to advertisements in magazines and newspapers as a great sources of information to help support their purchase decisions. For more information go to www.printpower.eu

June 2013

Print Power Europe

Consumers trust print advertising Four consumer segments

23% Slow Bons Vivants

46% Busy Mix-and-Matchers

19% Tolerant Surfers

12% Youthful Digilovers

Print Media = Most trusted advertising media

Slow Bons Vivants

Busy Mix-and-Matchers

Tolerant Surfers

Youthful Digilovers

■ Magazine ■ Newspaper ■ TV ■ Social Media ■ Internet

Trust in Print advertising vs Online and TV

Online

Trust in advertising: direct mail vs social media

Trust in advertising: catalogues vs internet

■ DM addressed ■ DM non-addressed ■ Social Media

■ Catalogue ■ Internet

Slow Bons Vivants

Busy Mix-and-Matchers

Tolerant Surfers

Youthful Digilovers

The creative promise

THE CREATIVE ISSUE

IT ’S TIME TO ROLL OU T THE R ED C A R PET FOR AWA R D -W IN N ING A DS. A N A NA LYSIS OF A D C A MPA IGNS TH AT H AV E PICK ED UP THE GONGS CON FIR MS W H AT M A N Y OF US H AV E SUSPECTED A LL A LONG - TH AT THEY A R E M UCH MOR E EF FECTI V E . OV ER THE PER IOD 1994 TO 2002 CR E ATI V ELY-AWA R DED C A MPA IGNS W ER E A ROUN D THR EE TIMES A S EF FECTI V E A S NON-AWA R DED ON ES , A N D THIS N UMBER R ISES TO 12 TIMES MOR E FOR THE PER IOD 20 03-2010. W E R EV IEW THE AWA R D W IN N ING PR IN T C A MPA IGNS.

DAVID BENADY

Campaigns which bring in the trophies really do sell more products, says Peter Field in the latest IPA/Gunn report: The Link Between Creativity and Effectiveness. The analysis examined case studies of 435 campaigns that ran over a period from 1996 to 2010. Those that garnered awards were seven times more effective at increasing market share for their brands than the awards laggards. The more awards a campaign won, the greater its effectiveness, the report shows. Many of the award-winning campaigns used multiple media channels to broadcast their messages and print played a crucial part in this. Peter Field, a marketing consultant who carried out the analysis for the IPA’s study entitled “The link between creativity and effectiveness,” says: “What we know about creativity is that it boosts effectiveness in advertising. Creative ads are more emotive and have a buzz and talkability about them that are really good for business.” In 2012, the average campaign used 8 different media channels while some used as many as 19. But Field believes advertisers and their agencies may be missing a trick when it comes to the use of posters and press. Slam-Bang Print ads Campaigns such as Dove’s Campaign for Real Beauty and many of Nike’s “Just do it” ads have used print in a powerful way. The famous “Hello Boys” posters for Wonderbra featuring model Eva Herzigova showed what can be done in print. However, some believe the best days of print advertising have passed. The medium needs to restate its case and remind ad agencies and brand owners about what it can achieve. Field says: “Print has tended to be associated in advertising with closing the sale. It needs to migrate to a longer term brand-building role. The activation role usually associated with print has been taken over by digital channels, but print still has the ability to convey powerful images in an intrusive way that people can’t miss. I don’t see lots of advertisers doing that.” This view is endorsed by Tim Delaney, a copywriter who runs agency Leagas Delaney. He sees much print advertising these days as simply listing the attributes of a new piece of technology, showing prices of goods or promoting offers. “Don’t mess

Print Power Europe

June 2013

Respectful & disrespectful Marmite press campaign

Provoke, entertain & inform The Sunday Times Rich list campaign

around – blow their socks off,” he advises. “Don’t give them room for manoeuvre, get the idea slam bang in front of them,” he adds. Some of the strongest brands, for example luxury perfumes such as Chanel, make sure they run impressive double-page spreads in magazines and have high profile poster campaigns around Christmas to get their message across. ‘You don’t have to wait for print to download’ However, there are those that see print as the great survivor of advertising media. Radio and television were both expected to wipe out print advertising, but it survived the onslaught. One of the most awarded print ads of recent times was CHI’s work for The Sunday Times Rich List supplement, which won two Golds at last year’s Cannes Lions International Festival of Creativity and has picked up other gongs. The ads show celebrities re-sized according to their wealth. CHI creative director Jonathan Burley believes reports of the death of print are very much exaggerated. “I am sure print will survive the slings and arrows of digital marketing. A concise, perfectly executed print ad is still one of the sharpest implements in a brand’s toolkit. Between one blink and another, it can provoke, entertain, inform and surprise. And best of all, you don’t have to wait for it to download.” For Tim Lindsay, chief executive of creative excellence body D&AD, the idea that award winning commercials are more effective than the non-winners goes without saying. “It’s difficult to catch people’s attention even for an instant. The good stuff certainly works better than bad stuff,” he says. But he too laments the lack of big, bold print advertising as part of wider campaigns. For the love of print But he believes that creative teams in ad agencies love to get the chance to work on print campaigns. “Press is in many ways as central in creative teams as it has always been. We see a lot of really bold press and poster ideas. Perhaps this is because it’s a fertile ground for clients to push the barriers and experiment a bit because the production costs are not as high so the financial risks are not so big.” One of his favourite recent campaigns was the

Mighty Impact Wonderbra campaign

tactical ad for The Guardian by BBH promoting its weekend coverage following the death of Margaret Thatcher. It shows a mocked up Marmite pot with a picture of the former PM on the front and the line “contains iron.” Marmite is known as a brand that people either love or hate, a similar reaction that many British people have to Mrs Thatcher. “It was right on the money – both respectful and disrespectful,” says Lindsay. “You couldn’t get a TV ad on air that quickly. Topicality is a really interesting category for press.” Print has to prove its worth against the low cost of digital, but its sheer immediacy and power count in its favour. Its ability to respond in quick time to events give it a ﬂexibility and creativity that make it irresistible to brands. Print will doubtless remain a key part of the marketing mix and help more ad campaigns to win awards and more importantly, help brands to increase sales.

The IPA study on creativity and effectiveness fuses findings from the Gunn Report database of creatively awarded campaigns with the IPA Databank. The analysis compares the hard business effects achieved by creativelyawarded campaigns in the IPA Databank with non-awarded campaigns. The analysis shows a strong link between creativity and effectiveness. It shows that the more awards campaigns win the more effective they are. This is down to two factors – creative campaigns have greater emotional resonance and tend to have much greater buzz effects. One of the most striking findings of the research is that creatively-awarded campaigns become more efficient over time, while nonawarded campaigns become less so. Over the second half of the period analysed, creatively awarded campaigns were 12 times as efficient as non-awarded ones compared to only three times as efficient during the first half. This is thought to be down to the increasingly multi-channel nature of modern advertising and the fact that campaigns with engaging creative ideas tend to be shared through social media and the internet.

THE CREATIVE ISSUE

Beyond the printed page

Print Power Europe

June 2013

F ROM EDIBLE SOF T DR IN KS A DV ERTS TO AUGMEN TED R E A LIT Y IK E A C ATA LOGUES , PR IN T MEDI A H A S GR A SPED IN NOVATION W ITH BOTH H A N DS. IN THE K NOW LEDGE TH AT IT C A N PR ESS DIGITA L TECHNOLOGY IN TO I TS SERV ICE , PR IN T IS BOUN D TO J UMP OF F THE PAGE .

DAVID BENADY

The arrival of digital was predicted to deal a mortal blow to the printing press. Instead, print has taken up the cudgels and built its stature as an essential part of the communications mix. As Clare Hill, managing director of the Content Marketing Association, says: “Digital isn’t necessarily eating our supper, it is increasing the size of the dinner. “Print is responding proactively to the changing landscape. For advertisers to bring something to life off the page gives them a much more of a deeper connection with consumers.” Online goes offline The great challenge of modern communications is bridging the gap between the online and offline worlds. Many brands which exist online are scrambling to get printed materials into consumers’ hands. Mr&MrsSmith, an online agency for finding and booking boutique hotels, sends out printed guidebooks to valued customers. Founder and chief executive James Lohan says that for luxury brands, it is vital to be able to get printed brochures into customers’ hands and into their briefcases. “The problem with computer or mobile screens is that you can’t touch, smell or feel the quality. With print you can feel the paper and enjoy the quality of the photography. It is like penning a love letter to someone. Our guidebooks are the heart of our brand, people leave them on coffee tables. We’ve gone back to doing more direct mail because we want to touch customers physically.” Print in the shopping mix Meanwhile, some of the biggest retailers are seeing an opportunity to add a new dimension to their paper catalogues through digital tie-ups. Ikea uses augmented reality techniques in its catalogue, allowing users to scan pages with their mobiles and watch regularly updated promotional videos. The catalogue has a production run of 211 million copies globally. Brands are looking to integrate their messages across the spectrum of media. In Spain, mint brand Smint has tied up with Elle magazine to hand out limited edition dispensers created by young designers. Readers are asked to create their own dispenser designs and send them in via social media. Lledó Holgado, head of MediaCom Beyond Advertising Spain says: “Today, communication cannot live in a single medium. We have to play with all the ingredients to cook the tastiest dish. Technology, social networks and readers’ experiences are the perfect complement for print.”

Digital at your service Print is jumping at the chance to press digital technology into its service. Blurb, the print book self-publishing platform, has seen an opportunity to turn the trend for mobile phone photography back into printed matter. The company has linked up with Samsung to help embed the Story Album app on the new Samsung S4 phone which allows users to make a physical photo album via Blurb of the photos they’ve taken on their phones. Blurb’s European managing director Charles Davies says the company has opened up print to a whole new generation by providing individual or small runs of books at a low cost – under €10 for a single book. Brands such as Honda, Etsy and the Cannes Lions Advertising Festival have jumped at the opportunity. “This changes the industry, allowing smaller publishers something they couldn’t do before – previously they had to do a print run of at least 5000. The print-ondemand model gives everyone a chance.” According to Thibaut Guigonis, head of marketing communications at MediaCom France, print will remain a vital part of most brands’ marketing mix for many years to come. “Print is in decline but it maintains a huge importance for our advertisers. It helps them drive traffic to their websites.” Guigonis was previously director on the Audi account and oversaw a strategy of ensuring the brand appears in the first two pages of all relevant national magazines. This pride of place is crucial in establishing Audi’s reputation as a premium brand. Some 80% of the print budget is spent on this opening double spread strategy. “We have to be there just to exist and give the assets of the models. It helps Audi to give more information and get consideration of the brand,” he says. New developments in technology will enhance print’s position as a key ingredient in every communication strategy. The advent of 4G mobile bandwidth will open up Augmented Reality and Near Field Communications technologies, giving magazines a new leash of life and relevance. Publishers have already tested out incredible innovations such as talking newspapers and super-thin video screens embedded into magazine pages. The field of print electronics - where minute circuit boards can be put into paper-thin formats mean that screen and printed page are set to converge. Ink on paper will never be quite the same again.

THE CREATIVE ISSUE

Brand stories in print

Fashion Close to You Barcelonaâ&#x20AC;&#x2122;s biggest shopping centre, Diagonal Mar, uses print to activate fashion seasons

Print Power Europe

June 2013

Brand stories in print CONSUMERS DON’ T H AV E TIME TO BE IN TER RUP TED BY A DV ERTISING A N Y MOR E , BU T W ILL A LWAYS H AV E TIME FOR A GR E AT STORY. I T IS THE BR AV E A N D CLEV ER M A R K ETER , W ITH N UMEROUS M A R K ETING TOOLS AT HIS DISPOSA L , W HO H A S NOT FORGOT TEN TO USE PR IN T A N D CON TIN UES TO EMBR ACE IT TO CR E ATE GR E AT MOMEN TS IN BR A N D STORY-TELLING.

SONOO SINGH

A jolly, roly-poly man in a red suit and white beard. Most people will recognise the image around the world. Santa Claus. The iconic Christmas image, which has been shaped by the early Coca Cola print adverts. The image of Santa Claus and the red CocaCola cans is one of the most enduring moments of print, a point in time when advertising was elevated to become part of our culture. There are many such examples in the history of print advertising. But as advertisers are hit with newer technologies and the proliferation of data, it is becoming quite a challenge to craft brand stories that will connect with their audiences. The array of marketing tools is also leaving both brands and their agencies perplexed on how best to reach their consumers. Surrounded by all this bling and the promise of a new future, are brands forgetting how to explore so-called traditional media, such as print? Writing print’s epitaph has almost become a fashionable hobby for naysayers. But many brands have recognised that print is not going to lose out.

Brand stories in print

Print for us presents the story of our bricks in a very physical form. Katharina Sutch Head of brand relations, Lego Central Europe

Place of Pride Print will always be part of Jaguarâ&#x20AC;&#x2122;s media mix

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THE CREATIVE ISSUE

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Objet de dĂŠsir â&#x20AC;&#x153;People are multi-tasking and multi-consuming. In that multi-channel environment, we have to allow people to consume in different ways, and therefore print will always be part of the overall media mix,â&#x20AC;? says Jaguar global marketing communications director Ian Armstrong. As an automotive brand, albeit luxury car brand, there will always be a transactional element to Jaguar, where it will continue to push press ads targeting its trade audience and car dealers. However, Jaguar uses print advertising largely to push brand message and experience through print campaigns. Armstrong gives the example of the Jaguar â&#x20AC;&#x2DC;Aliveâ&#x20AC;&#x2122; multi-channel campaign, which aims to increase awareness of the brand to a new audience by developing an emotional connection and moving beyond the idea that cars are pure utility. Print, he says, became an integral part of this campaign because â&#x20AC;&#x153;I believe that the print environment reinforces the brand message as it allows for greater time, long format and can give a real chance to a brand to show what it is.â&#x20AC;? Werner Krainz, the global ECD of Spark44, the agency that created the Jaguar â&#x20AC;&#x2DC;Aliveâ&#x20AC;&#x2122; campaign, explains further. â&#x20AC;&#x153;Luxury cars are like objects of desire and when we place such an object in a double page spread in a glossy magazine, it creates a brand halo. â&#x20AC;&#x153;The target audience for Jaguar is the â&#x20AC;&#x2DC;best educated eliteâ&#x20AC;&#x2122; and it needs to see the brand in print, in coffee table books. The Jaguar design is very strong and powerful, more than its rivalsâ&#x20AC;&#x2122;. We need to put in on display. Put it in print.â&#x20AC;?

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Letâ&#x20AC;&#x2122;s talk Alex Martinez, director general creative of JWT, Barcelona agrees and adds: â&#x20AC;&#x153;Consumers are generally not devoted to any single kind of media. For consumers it is about seeking what is most attractive.

Print Power Europe

June 2013

For instance, a double-page-spread in Esquire magazine will be a very different experience to any social media experience. And the way a consumer will consume it will also be very different.” For instance, Barcelona’s biggest shopping centre, Diagonal Mar, which uses print to ‘activate’ different fashion seasons. “For Diagonal Mar, it is very important to be part of the consumer conversation. Our latest work, for the spring campaign called Fashion Close to You, approached its customers to help hire models, make-up artists etc. The campaign was then shot at the shopping centre in front of the public and the result was a print campaign to reach the right target audience.” Reaching the right audience clearly also means that brands have to live up to the experiences of their consumers who have changed their behaviour in the digital age. Nike, for instance, recognises that daily newspapers are no longer a major part of the media consumption among young men and women and it has been reducing its media spend on newspapers. But that is not to say that it has left print advertising out in the cold. When it needs to respond to major world events and therefore have a direct conversation with the consumer, it uses print as a tactical space, says Neil Christie, the managing director of Wieden + Kennedy London. Who can forget the World Cup 2006 tactical execution by Nike featuring Wayne Rooney, ﬁsts clenched, arms outstretched, celebrating a goal covered in white and red paint? “The Wayne Rooney ad featured in all the nationals, not just as an ad, but in all the editorials because it had become the story itself. At Nike, we want to be in the moment. It is about being targeted and appropriate and print gives us that opportunity,” adds Christie. The sentiment is echoed by the latest Coke advert

that capitalised on the huge interest following the announcement of Sir Alex Ferguson’s retirement as Manchester United manager with a tactical print ad inviting him to ‘share a Coke’ with the recently named successor David Moyes. “Print does still have resonance. But I think its role in the overall mix has evolved over the last few years and it has probably slipped a little in the hierarchy – but not as much as some might imagine, “ says Coca-Cola’s global head of connections, Ivan Pollard.

Brand Story The Wayne Rooney (World Cup 2006) ad was not just as another ad, but became the story itself

Coca-Cola is often credited for creating the iconic image of the modern day Santa Claus in its print ads

The art of story telling Lego is yet another example of a brand that uses print as its prime creative palette to tell its story to its key audience. Its hugely popular Lego Club Magazine goes out five times a year with a circulation of 4.6m members globally and much higher readership– the figure includes 860,000 copies in Central Europe. “Lego is a very traditional brand and it will never not have print as one of its main channels to reach out to our key audience - children,” says Katharina Sutch, head of brand relations, Lego Central Europe. “Also, our audience of younger kids are not as digitally active, so print is an important medium to us. Our Lego Club Magazine encourages kids to be creative with their Lego bricks and interact with us, by sending in pictures of their created models. We also have print catalogues in store and use print adverts in comics. It is all about telling a story, so that the children learn while engaging with the brand. Print for us presents the story of our bricks in a very physical form.” Without doubt, brands are finding print a challenging medium, especially in Europe. But as print continues to provide brands a way to a more established presence; and a place where brands can unite their big ideas with emotion to present a compelling brand story, print will strengthen its hold within the overall media mix.

Therapy street

THE CREATIVE ISSUE

A DV ERTISING A N D CR E ATI V IT Y W ER E ONCE BOOSTED BY THE PR IN T MEDI UM. BU T TH AT IS NOT TO SAY TH AT THE CR A F T A N D INGEN UIT Y OF PR IN T A DV ERTISING H A S FA DED OV ER THE Y E A RS. THER A PY STR EET IN V ITES CR E ATI V E LUMINA R IES F ROM ACROSS EU ROPE TO WA LK US THROUGH THE EVOLU TION OF PR IN T A DV ERTISING A N D W H AT M A K ES FOR A GR E AT PR IN T A D. R E A D ON TO GET A FA SCINATING INSIGHT IN TO SOME OF THE BEST CR E ATI V E WOR K A N D IN NOVATION IN PR IN T A DV ERTISING. THE INSERT IN THE M AGA Z IN E W ILL SHOWC A SE SOME OF THE WOR K MEN TION ED, A N D MOR E , CHOSEN BY THE CR E ATI V E J URY ON THE OPPOSI TE PAGE .

Therapy street

ALEX MARTÍNEZ GENERAL CREATIVE MANAGER JWT BARCELONA Choosing some of my all-time favourite print ads is as difﬁcult as choosing the best sex you’ve ever had. I love advertising. And “all time” is really a long time. But here I go. “Think small” DDB for Volkswagen- by far my favourite classic ad. It was not just a great piece of work but a clear and inspiring example of “let us prove to the world, that good taste, good art, good writing can be good selling” as William Bernbach wrote in his 1949 manifesto. “Absolut …” -TBWA for Absolut Vodka. It’s not an ad. It’s a collection of masterpieces that built a brand from nowhere. A model of consistency, beauty and art made to last forever. Not all brands can proudly show their advertising in a book that’s a classic. “Be stupid” Anomaly for Diesel. This is my favourite controversial campaign. Work made to generate a conversation around a brand that claims to be not just the coolest jeans but an attitude towards life. “Heaven and hell” JWT for Samsonite. This ad has it all. It’s simply perfect. Concept, insight, content, eye catching art, a perfect craft, and it’s been done by friends. A masterpiece ready for modern art museums. Not in vain, it is the most awarded print ad of all time.

NICK KIDNEY CREATIVE DIRECTOR BBH When I was a young writer, I was once told by a senior art director that the key to writing a good print ad was this. “You draw a rectangular shape on your pad and then inside it you put the best idea you possibly can. Anything else is a waste of time.” He was right. The question is, what makes one idea better than another? The answer to that depends on how interested you believe people are in print media. To my mind it’s simple. They’re not very interested at all. I take the tube to work every day and see people reading papers. And as they do, I see them routinely ignoring millions of pounds of advertising spend. Even a cursory glance is a rare occurrence. The truth is, most print ads are neither very interesting nor engaging. And for me, to stand any chance of being noticed they have to be. A powerful idea to draw people in, expressed in a clear, simple way. The quicker the better. Ironically, since I’m a copywriter, this usually leads me to choose ads with a strong visual idea over verbal ones. I can’t remember the last time I saw a killer headline, those days appear to be gone. But I do still see some outstanding visual ideas.

Print Power Europe

OLIVIER ALTMANN CCO PUBLICIS Print advertising works if you use it for what it’s good at: Allowing your reader to spend time with your brand, by entertaining him with striking images or by telling him a story worth reading. There will always be a future for print advertising as long as creatives will put their best effort to make it interesting and entertaining. Long copy has not disappeared. It is the creative who knows how to write great long copy who are disappearing. And when all print ads look the same, it is the best time to do one that stand out from others. Print ads can be as interactive as digital if you really understand what interactivity means. Not clicking, but reacting. I also don’t think the future of print advertising should rely only on new technologies but more on ideas. The Lexus example (which uses technology to enhance print) is great one to prove what you can do now by combining print and digital and I’m sure there are thousand other similar ideas. But apart from the “wow” experience, what kind of message does it really deliver? Will this ad be remembered in ﬁve years from now as a great idea that changed the brand image? Not so sure.

DIRK HAEUSERMANN ECD DRAFTFCB DEUTSCHLAND Print is dead. Or almost. Print ads have a very limited two-dimensional space. This forces a creative to really ﬁnd the essence of a thought, choose each word carefully and pick a visual style that brings out the best of the idea. Print can be intelligent. Like the Mercedes’ “Our most commonly used spare part”. A print ad can be bold. Porsche’s ad, “Family Car”, twists the perception of a sports car into the total opposite and is one of the nicer moments of surprise in advertising. Print ads can be funny and cute- one of the big drivers of human emotion. Print ads also have the potential to create a movie in your head. Playing with reactions, combining elements, using the recipient’s knowledge about things and setting them in context creates a lively world even though the medium is static. Print can be plain and powerful, like the campaign for “French Connection” which is a rare example in fashion advertising for adding idea to the pure world of looks. And can be ‘just’ beautiful. Glen Luchford’s campaign for Prada is legendary.

June 2013

MASSIMO MARTINENGO GENERAL MANAGER LOWE PIRELLA FRONZONI Press is an analogic medium, though on the wane in the West. But has the antibodies to fight its way through the digital age and coexist with this new world. This is true for print advertising as well that, though affected by a deep crisis in Italy (2012 datum: -20% vs previous year) can continue to play a highly important role in informing citizens and consumers. This is true provided that: It respects its own codes and peculiarities that make it different from the other online and offline media; the ads are in tune with the editorial style of the titles that host them; it’s effective, but also original; and it cannot be relegated to a merely information tool, the bar is to be raised to its creative potential. Let’s not forget that advertising and creativity were boosted by the print medium. Examples such as Sonera Internet Finnish provider turning a print ad into a game field for an interactive mobile app. Or Ikea that – via an app – transformed its 2013 catalogue into an interactive experience, or Coca Cola in Brasil, where it transformed the Capricho magazine into an iPhone amplifier prove how digital and analog can smoothly converge. If we think that the first print ad – for a chocolate product – traces back to 1657, we can’t but admit that we have travelled a long way.

TIM LINDSAY CEO D&AD My favourite ads of all time: Levi’s 501s by Paul Smith. BBH, 1986-- At the same time that we (I was the account director) were making 501s ubiquitous on TV, this campaign kept them special for aﬁcionados. AIDS awareness, BMP, mid 80s, featuring an aids victim that looked like a picture of a beautiful girl, followed by identical picture of beautiful girl with the line ‘terrifying isn’t it?’. Maybe it was scaremongering, but this really brought the risks home to roost. And who knew, at that point, where the AIDS crisis was going to go? Maggie Marmite ad for the Guardian by BBH Just the best topical ad ever made. Funny, appropriate, respectful (sort of) and memorable. What other medium gives you all of the above, every day?

2020: New frontier

2020: New frontier IN A CONSTA N TLY SHIF TING MEDI A L A N DSC A PE , PR IN T IS R EDEF IN ING I TS N ICHE , PUR POSE A N D A PPROACH. F U T U R E FOUN DATION PR EDICTS EMERGING TR EN DS TH AT W ILL BOOST THE R EL ATIONSHIP BET W EEN THE CONSUMER A N D PR IN T MEDI A .

THE CREATIVE ISSUE

KAREN CANTY

Beyond 2020 we will see a changed consumption landscape, where the printed format will not die; newsagents and street vending facilities will still be principal distribution outlets for magazines and newspapers; and although formats will certainly evolve, the respect commanded by established titles will not wane. Future Foundation’s Beyond 2020 series, which predicts the future of various sectors with forecasts and in-depth analysis, explores the future of the print media sector, identifying informed assumptions for the evolution of consumer trends and product-andservice innovations. Delayed Gratiﬁcation Print will, no doubt, change. But it will not die. Elements of the content landscape will continue to shift to digital platforms - but there will still be occasions when only the physicality of the print medium will do. From a long-term perspective, print media companies will come under escalating pressure to reduce the amount of waste they produce - it will no longer be deemed acceptable for millions of print newspapers and magazines to be thrown away each day. But this does not mean that printed edition will cease to exist; rather, issues will be published less frequently and with a far sharper focus on quality opinions and content. Indeed, printed material will be consumed especially enthusiastically during safeguarded and relaxed leisure time at the weekend. UK magazine Delayed Gratiﬁcation promises an antidote to throwaway media and makes a virtue of being the last to breaking news, featuring in-depth articles taken from the news agenda from the previous three months. Nostalgic News Of course, there is no escaping the fact that for some sectors at least, decline in print is inevitable. In future

decades, we suspect that print versions of morning newspapers will gradually be phased out - with the numbers who read printed material each day in terminal decline. But the Magic Nostalgic trend will continue to captivate consumers and will protect the last bastions of the printed word. Consumers will actively choose to sit down with their printed weekend newspaper, browsing through it at length and digesting information at their leisure. This will be intimately associated with the concepts of authenticity and relaxation. The weekend print newspaper (with all its accompanying supplements) will thus continue to be the ideal platform for a “weekin-review” style of journalism. Personal Picks In the years ahead, there can be little doubt that the news we consume will become much more personalised, with stories and content carefully filtered to meet our hand-picked criteria. Along the way, consumer definitions of what constitutes news are bound to be elevated, especially as readers become better equipped to hand-pick news from sources, authors and topics and even layout. Resulting in – The Newsmaster. A concept envisaged by the Future Foundation, the Newsmaster is a super-aggregator that draws material from our preferred sources, is continually updated in realtime and is made out of flexible, stretchable materials which can be unfolded to the exact size that the user needs. It is like a newspaper or a magazine, but incorporates a host of interactive features, allowing users to access the news they want, personalised to their requirements, wherever they are. The story of print is an optimistic tale, spurred by advances in digital technologies, shaped by changing consumer demand and continually evolving to become something new, dynamic and innovative.

In 2011, Wired magazine introduced Rich Media Notes, developed by Ulla-Maaria Engeström, which allow users to embed links into images on the web. The format of the in-image content ranged from text to sound, music, video, social media and shopping. The Rich Media Notes can be edited into printable images. These are readable using NFC enabled devices. Belgian publisher Roularta started the use of ‘webkey’ technology in their titles in 2011. It is a USB stick on a printed sheet of paper that can be integrated into advertisements and inserts; when inserted into a PC it directs readers to exactly the right page online. British broadsheet newspaper The Guardian this year launched Guardian Witness, the ﬁrst repository from a mainstream news provider for content created by users; a move likely to be welcomed by the 60% of UK consumers who say they feel the need to express themselves creatively. This is an online service – but it isn’t hard to imagine the day that content gathered online is routinely used in the print version of the newspaper.

Printed material will be consumed especially enthusiastically during safeguarded and relaxed leisure time at the weekend. Delayed gratiﬁcation offers an antidote to throwaway media and makes a virtue of being the last to breaking news

Hearst and Time Inc have both been pushing for higher quality personalised printing. Hearst has partnered with Hewlett-Packard Inkjet Webpress technology to send readers with a personalised ad, poly-bagged with the subscriber’s issue of the magazine. Individualised QR codes and URLs connect the reader to dynamic landing pages. Last year, Time Inc put personalised wraps on 2,000 copies of Fortune that were sent out media buyers and marketers.

June 2013

19 Print will, no doubt, change. But not die. The elements of the content landscape will continue to shift to digital platforms. But there will still be occasions when only the physicality of the print medium will do.

Print Power Europe

On the front foot

On the front foot V IR A LS DON ’ T STICK A ROUN D FOR LONG, A N D PR IN T IS COMING OF AGE . VOICES ACROSS EUROPE SAY TH AT THER E IS STILL LIFE LEF T IN THE PR IN T MEDI UM.

THE CREATIVE ISSUE

Ton Schoonderbeek There is a general tendency to see print media as a dying industry, and the impression is that in a world dominated by screens there is no future for print. I tend to disagree. Yes, there is pressure all over the place, but there is also a way out. The magical quote “change or die”’ applies here. I don’t mention move to digital, but live up to how consumers have changed their behaviours and lives because of digital technology. Don’t fight the web, but embrace it. The internet is the best way for print media to reinvent. Get interactive. Go mobile. Embrace local opportunities. Be personal. Be social. Put content first. Create partnerships. Thibaut Guigonis Print needs to become more digital and in a way that suits the print experience. It needs to evolve from a medium that we dip in and dip out of. When you buy or pick up a magazine or a newspaper, you often select it for the tone, the attitude and the reporters who write for it. The brand is important and when you read it, you make time to enjoy the experience. By contrast when we read news on the web, we leap from story to story. The reality of our current digital consumption is that we have a spare few minutes, flip on our mobile and read an article hurriedly before carrying on with what we whatever we were meant to be doing. Publishers need to bring the traditional experience to digital and that might mean more video, more interactivity. The way that we have consumed print for the last 10-30 years is over but we need to bring the same quality of experience to publishing. Chris Llewellyn Print is dying, apparently. I know this because extremely lazy journalists are telling me so. The old ‘print is dead’ story is not the story. Print media is changing for sure – but it will be a long time dying. As the leader of FIPP, I know full well the challenges that magazines media groups have in a

Print Power Europe

Ton Schoonderbeek CEO Benelux & Nordics, Mindshare

Thibaut Guigonis Head of marketing communications, MediaCom France

June 2013

Chris Llewellyn

Bettina Blomkvist

Stine Halberg

President & CEO, FIPP

Print Manager, ZenithOptimedia Nordics

Managing Director, ZenithOptimedia Nordics

world of massive digital disruption. Our audiences are changing their habits. They are increasingly expecting their content to be delivered in the format that suits best. And so magazine publishers are doing just that – be it on digital editions, apps, twitter feeds, live experiences, Youtube channels, and, yes, still on wonderfully tactile paper formats. Magazines have been curating content, and carrying native advertising for 300 years now, it’s the very definition of a magazine, and they will go on doing so for some time to come, with the only change being in delivery mechanisms. As our audiences get their fix of Cosmopolitan, or Grazia, or the Economist on several platforms then print circulations are likely to fall – though not in all cases. TV audiences have also declined as people get their programming fix on other devices. Yes, for most the new digital platforms are not yet as profitable as the old platforms, but that’s a timing issue – we’ve had 300 years to refine the printed magazine business model, and two minutes to come up with a digital equivalent. Bettina Blomkvist & Stine Halberg The Nordic countries still have higher readership levels compared to the rest of the world. This means that proportionately more people in the Nordic countries read newspapers, books and magazines. This is especially true in Finland, which is one of the strongest print markets in the world. However, like the rest of the world, we are seeing a decreasing market, with readership levels across the region decreasing by 6-10% per year. Across the Nordic market, we are seeing that the smaller, niche titles are faring better than the broader interest titles, and this is set to continue. We also expect to see the print media houses focusing even more on integrated digital solutions and broader editorial cooperation with advertisers.

Playing with paper

THE CREATIVE ISSUE

TECHNOLOGY ACROSS THE IN DUSTRY H A S R ESULTED IN A N A LMOST UNCON TROLL A BLE SPATE OF IN NOVATION. IN TH AT SPACE THER E A R E IN NOVATOR S W ITH THE GR ACE OF BA LLET DA NCERS W HO PIROUET TE ACROSS THE L A N DSC A PE TO SUR PR ISE A N D DELIGHT US. A N D R EIN V EN T PR IN T. And maybe print can do what digital can do. If trendsetters in the industry are working hard to see the future in print, it will take just one brave brand owner to join in and march towards this secondcoming of print. Professor Arved Hubler, who runs a research and development group at the Chemnitz University in Germany, has developed new inks that make it possible to produce ďŹ&#x201A;at speakers or printed solar cells. To produce a loudspeaker, the ink is printed on a sheet of paper and contains multiple layers of conductive organic polymer. Applying an electric current makes the layered ink vibrate, with the end result being a sheet of paper that is capable of producing quite loud and clear sound. Research expects the paper loudspeakers to open up a wide range of new applications, because they are easy and inexpensive to print on. In another example, the Mid-Sweden University is working on paper that talks. The paper talks to you directly, using digital information embedded in the paper. Simply touch the paper to get information to be streamed. And then there is Trish Witkowski of the FoldFactory who teaches marketers about the many creative ways they can bend, seal, crease and deliver their mailers as a way to get a higher response rate and a bigger return on investment on direct mailers. The Page also invites one such trendsetter to share their insights. TED speaker, Dr Kate Stone -- the Founder of Novalia, a company that specializes in interactive printing. Her work combines physical prints with digital electronics, to enable the printed item to become interactive by incorporating a mixture of sensors, lights, speakers and communication devices.

Print Power Europe

June 2013

DR KATE STONE I can’t quite put my ﬁnger on when it happened but I can say that it’s not the devices themselves; rather the way they hypnotised me with their portability, connectivity, delivery of relevant information and a continuity of my online life across devices. One thing I can put my ﬁnger on is the intuitive interface that no instruction book told me how to use. Looking back, the keyboard, video screen and mouse seem pretty outdated. Let’s face it we all love to touch what we see. Nowadays my computer sits obtrusively in the corner of my living room reminding me it’s still there; I only ever turn it on to occasionally watch television. I started working on printing conductive inks about eight years ago. I just loved the idea of using industrial print processes to print and pattern electronic materials. I began to attach small, low cost silicon chips, the sort used in a greetings card or a fast food toy, to the print. Although my background is electronics and physics, I fell in love with the solid simplicity of printing and converting and began visiting factories in Europe and the USA to understand what

Love my cake Interactive poster that can determine a user’s favourite type of cake.

they do and who they create value for. That initial naivety, inquisitiveness and creativity has brought me a long way, I now have a team of specialists around me helping to develop and deliver a whole new world of interactive print. I love the detail of each device, the software, the processes, the inks and the chips. However that’s not what I see, I see the great fun, interactive, immersive, and informative experiences we have created and I’m quite excited about the future! I’m surrounded by print that has touch interactivity hidden behind graphics; tangible, physical, printed graphics that only print can deliver. Graphic design entices me to touch the paper which in turn answers me back creating true communication. We have posters that play music on touching an icon. After all, there are some things you need to hear and experience, rather than just read. In my world a Facebook ‘like’ button can be on a wall rather than on a webpage. I can send a tweet by holding a postcard in my hands. Functional

pharmaceutical cartons remind me when to take medication and let the doctor know that I really did. We have created a regular looking book that you can read even with your eyes closed, something I ﬁnd particularly useful when reading a book on meditation. The most enabling development in interactive print for us was when we added print-to-smartphone connectivity. This gave us internet connectivity, data capture, up to date information, communication between people and a seamless continuity between physical and digital life. At Novalia our role is to create a platform that is easy to design with, that is inherently manufacturable and to put it in the hands of people who love printed items and everyday interactive experience. Pretty much the type of person who, like you, is reading this. I might have mentioned already that I love my iPad. I’m writing this on it whilst glancing at my phone to check my email. But, it’s been designed by a handful of people in California, and it’s been manufactured by a million people in a factory in China. It’s available in

Drum it Poster with drum-set print on it. Tap on the drums and play the music.

either black or white but there needs to be a lot more choice and adaptability in the world than black or white! The only sustainable way to manufacture the volume of technology we will consume is using machines not people, and I really believe that the only way to do this is using the existing capability and skills readily available in any city in the world of printing and converting. Print can once again revolutionise and democratise the world, giving people the opportunity to design and manufacture great products for the markets only they understand. The iPad is a one great product that aims to do everything. What if we could enable every product to discreetly and intuitively do one thing, but do it very well? I believe one day we will wonder when all the technology disappeared and everything around us worked with us to make our lives easier, safer and fun; and most importantly was nowhere to be seen when we didn’t need it. Not like my computer that keeps staring at me from the corner of my living room.

The promise of print

What lies beneath BR A N DS A R E R EDISCOV ER ING THE A PPE A L OF IN K ON PA PER TO CON N ECT W I TH CONSUMERS BOMBA R DED BY BA N N ER A DS A N D SOCI A L MEDI A MESSAGES. PR IN T IS BEING R EBOR N A S A CL A SSY A LTER NATI V E TO THE DELUGE OF V IRT UA L COMM UN IC ATIONS.

THE CREATIVE ISSUE

DAVID BENADY

This ‘rebirth’ of print as an upmarket and stylish medium for gaining consumers’ attention is taking the shape of innovative direct mailers and a surge in customer magazines. Paper has a sensuous quality that can never be replicated on a digital screen. Smooth to the touch, giving off a faint whiff of grass and vanilla or the rich odour of a glossy coating, you can feel its weight in your hands and hear its rustle as you turn the page. Just as importantly, paper endures, unlike the ephemeral blip of electrons on a computer screen. Customer Conversation The continued strength of print can be seen in the world of customer magazines created by supermarkets, media companies and other brands, which continue to dominate the magazine market. One only has to look at the Ikea catalogue, which published 212 million copies last year in 29 different languages, and is now twice as widely distributed as the Bible. As Keith Grainger, chief executive of customer publisher Redwood, says: “Magazines are sexy. They are cool and are nice to touch and feel. They are immersive, a place where people spend quality time. Customer magazines are a retailer’s shop window inside the home.” As evidence of the continued power that print exerts and its contribution to building brand credibility, some of Redwood’s clients are actually extending their printed publications. British retailer Marks & Spencer has created a new food magazine, while Virgin Media has increased the pagination of its customer magazine Direct mail arsenal Magazines published on behalf of leading brands are just one element of the print armoury at the disposal of marketers seeking a physical presence inside people’s homes. Many are rediscovering the joys of printed direct mail which is sloughing off its junk mail

reputation as email becomes the cheap method for reaching a mass market. And it is these print moments that consumers cherish and remember. Like the hugely successful ‘Falling Letters’ campaign in Germany. Relief organisation Misereor sent out mailers to journalists persuading them to do more than just report on the Haiti earthquake. Created by Kolle Rebbe, Germany, it sent out letters with a single sentence ‘Deeds, not words.’ And enclosed all of the redundant phrases in the mailing as loose letters. Other such examples include a report on the promotion of thermal solar energy sent to businessmen and politicians by the Austria Solar Association printed in special ink that made each page blank until exposed to sunlight; and the personal letters ‘left behind’ on tables, benches and desks in dormitories and canteens at the University of Oslo to target recently arrived students and report their change of address. Jason Andrews, executive creative director at Rapp, says direct mail is becoming better targeted and thus more effective. “I’d challenge the view that there has been a decline in direct mail. Volumes may have gone down, but that is in part because direct mail has become more sophisticated as we learn more about people from all the digital data that has been made available. The decline in volume is due to an increase in effectiveness and targeting,” he adds. Andrews argues that direct mail is ﬁnding better ways to address customers as brands reach a greater understanding of how print is consumed. “We’ve moved away from the assumption that people act on direct mail immediately. In the 80s, the message was about getting people to “buy now.” These days, brands are getting very good at creating things that people want to keep around the home and stay in their hands from a consideration point of view.” He points to the likes of The White Company, Boden

Print Power Europe

June 2013

and John Lewis, which all create catalogues that people like to keep around the house for browsing when they are at a loose end. Print as part of the overall mix Print as part of the overall mix A great challenge for print is working out how it fits in with other media channels. Pietro Leone, chief executive of activation agency network G2 EMEA,, sums up the challenge: “Brands need to create targeted, personalised communications rooted in rich, data-driven insights.” However, he recognises that this is made harder by the fact that the consumer is a moving target. “Sometimes consumer behaviour can be confusing. Brands need to work hard to understand where and how they fit into their audience’s world and create engagement based on that knowledge.” The important thing, he believes, is to offer a joined-up, seamless experience between the online and offline world. “People are fed up with experiencing one thing online and then finding a completely different experience from a brand offline,” he says. One would imagine that people’s inbox’s are the ideal place to send messages and carry on a direct conversation with consumers given the spread of connected devices. However, email marketing faces increasingly sophisticated spam filters and declining open rates. Recent figures from the Direct Marketing Association showed that direct mail’s response rate was 4.4% compared to email’s average response rate of 0.12%. Patrick Collister, a lifelong ad man who now heads design at Google, points out that even the search leviathan he works for uses direct mail to reach senior bosses. “A lot of bosses don’t look at emails. But you can reach these people with direct mail, though of course your argument has to be relevant and interesting,” he says. He points to recent campaigns for the ultimate luxury vehicle, Rolls Royce. “It costs the best part of £250,000 and the price goes up if you want extra trimmings. The brand has done email campaigns, Facebook pages and an online video which you can stop at any moment to look at the specifications. But to reach the people Rolls Royce really wants to get through to, it uses direct mail.” In these days of integrated marketing, print plays its role in the marketing mix as does every other medium. Particularly effective are campaigns where ads run on TV and are backed up with direct mail the following day. One of the big pushes for many brands is using the offline world to promote online marketing. Jonathan Sewell, an account director at agency TMW, says: “For many brands, DM is considered an integral part of the marketing mix and an entry point to a broader campaign which complements other channels.” He gives the example of work the agency carried out to announce the “Built to Thrill” campaign for the Nissan Juke. “Each person received through the post a brown bag

Twice as big as the Bible? Ikea catalogue

‘Falling Letters’ campaign Targeted journalists to do more than just report

Power of Integration Rolls Royce ‘Wraith’ campaign included brochures, emails, FB pages and online video

marked for use “in the event of hyperventilation”. This helped tempt recipients to register online for the thrills on the website. It encouraged them to take the Thrill Test on the online hub to determine their “Thrill Proﬁle” with a chance of winning prizes. The conversation was then continued with a series of emails.” It seems unlikely that brands will ever get to a point where they turn away from print, but the way they use it is changing. No longer a medium for simply spraying promotional material on to people’s carpets, it is assuming a unique position in the marketing mix. As online media morphs into mobile and new methods of promoting messages arise with every innovation in technology, good old-fashioned printed paper will remain a powerful way of building brand credibility for years to come.

Last Word

A love letter INSTA N TLY CON N ECTED TO W H AT IS MOST IMPORTA N T TO YOU. TH AT IS THE WOR LD W E LI V E IN. BU T R EMEMBER THE L A ST TIME YOU R ECEI V ED A LOV E LET TER IN THE POST, OR THE M AGA Z IN E TH AT YOU SU BSCR IBED TO, OR EV EN THE DR E A DED SCHOOL R ESULTS THROUGH THE LET TER BOX? THE E X PER IENCE IS BOTH R A R E A N D CUR IOUS IN THE DIGI TA L AGE . A N D THE YOUNG A R E FA LLING IN LOV E .

THE CREATIVE ISSUE

Jorian Murray Chairman, Arnold Amsterdam

Young people love the experience of receiving a piece of physical mail. There is a new generation that did not grow up with printed direct mail, so do not associate it with junk mail. They love receiving letters and mailings through the post. It is about quality rather than quantity. (I believe that) There is a new media for the younger generation and it’s printed on paper. Young people love the unusual experience of receiving a piece of physical mail. My 16-year-old daughter grabbed a Volkswagen Beetle mailer because she loved the postcards, my Creative Partner’s kids subscribe to a service called little passports www.littlepassports.com and excitedly look forward to the next letter in the post from somewhere new and exotic in the world. Real physical greetings cards or party invitations are so much more valuable than an e-card, right? They love receiving letters and mailings through the post. This also applies to the rest of us in the so called ‘age of engagement’ the internet is engaging us less frequently. We switch our attention between different screens 17 times an hour, allegedly. It’s why new media is so important. It’s also why the Adman cannot live on a digital media diet alone. As our eyeballs ﬂit between emaifacebootwi ttinstagrasnapchalinkeditxt&pheed they get stale and need a familiar place to take a pixel free rest. A drive in the car, a ride on the metro, the weekend papers in bed not an updatepostsharemsg in sight … what bliss. Enter the marketer whose job it is to reach an audience at their most receptive. Witness Jack Daniels’ welcome presence on the London Underground telling long copy stories across tracks, or the opportunity to see the latest beautiful designs of Volvo in print and posters before booking an appointment to sit in the real thing on the web. There is no doubt that print is here to stay and used correctly will ‘engage’ an audience in ways that new media can only dream of.

June 2013

Print Power Europe

Print Power A UNIQUE INITIATIVE PROMOTING PRINT MEDIA AS STRATEGIC CHANNEL FOR ADVERTISING GOAL Promote use of print in the overall media-mix AUDIENCE Agency and Client decision makers HOW By promoting the effectiveness of print

Number of partners in Europe: 1000+ Number of companies representing: 80,000+

Execution Effectiveness campaigns: via advertisements, mailings, websites, social media, newsletters, events, breakfast meetings, round tables, conferences, press releases and videos

Where: 13 countries across Europe Go to: www.printpower.eu/en/about/active-countries

Print effectiveness: Print channels remain effective because of consumerâ&#x20AC;&#x2122;s preference for paper and dominant single focus when reading printed material

Dominant print media share of advertising expenditures in Western Europe (2012): 35% Print is bigger than television (30%) and Internet (23%)

The Page: Our view on advertising in print Sustainability: Separate campaign to demonstrate environmental friendliness of paper and print via Two Sides Follow us www.printpower.eu #Printpower #LetsTalkAboutPrint

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The ads we love

Advertising is poison gas. It should bring tears to your eyes, unhinge your nervous system and knock you out. GEORGE LOIS

THE ADS WE LOVE

Be Inspired… No, it is not nostalgia that I feel for print. I am just not sure that print’s future will go the way of Commodore 64 and the vinyl. (Well, even vinyl is making a comeback). So when Print Power Europe started collating some of the most original and inspiring print campaigns from different parts of the world, the exercise was not simply a trip down the memory lane. Instead, the idea was to summon the satisfaction of print, the hopefulness for the future that the medium engenders and the celebration of the possibilities it presents.

Welcome to the Creative Issue of The Page. We asked creative folk from across Europe to pick out their all-time favourite print ads and in this supplement we showcase some of that work. Some of our Jury members—made up of advertising luminaries – also share their ‘print experiences’ in the magazine (page 16). Without doubt, most of the work that you will ﬁnd in this supplement will be recognised as award-winning campaigns. Bearing out the theory that creativity leads to effectiveness— music to the ears of marketers. The Page explores this link on page 8. Sit back, immerse, enjoy and be inspired. Sonoo Singh Editor-in-Chief singhsonoo@gmail.com

THE ADS WE LOVE

The Jury Olivier Altmann CCO Publicis, Paris

Dirk Haeusermann ECD Draftfcb, Hamburg

Massimo Martinengo General Manager Lowe Pirella Fronzoni, Milan

Tim Lindsay

Nick Kidney

CEO D&AD

Creative director BBH, London

Alex Martinez General Creative Manager JWT, Barcelona

Nicola Mendelsohn Vice-President EMEA Facebook

THE CREATIVE PAGE

The Rich List The Sunday Times CHI & Partners, London

THE ADS WE LOVE

THE CREATIVE PAGE

Lend it only to those who love Sevres Lowe Pirella Fronzoni, Milan

Smocks Ariel Beacon Communications/ Leo Burnett, Japan

THE ADS WE LOVE

Go back CafĂŠ Suplicy F/Nazca Saatchi & Saatchi Publicidade Sao Paulo

The Bottle Surfrider Foundation Y&R, BoulogneBillancourt

THE CREATIVE PAGE

When the world Zig Zags Levi’s BBH, London

THE ADS WE LOVE

The sea is the cure Yamaha Y&R, Lisbon

THE CREATIVE PAGE

Unhate United Colors of Benetton Fabrica/72andSunny NL

THE ADS WE LOVE

We live in The Financial Times BBH, London

I was made for loving you Costa Coffee Karmarama, London

THE CREATIVE PAGE

THE ADS WE LOVE

Heaven and hell Samsonite JWT, Shanghai

THE CREATIVE PAGE

We’re all babies inside, 1 Evian BETC Euro RSCG, Paris

THE ADS WE LOVE

Large Coffee McDonaldâ&#x20AC;&#x2122;s DDB, Helsinki

We are animals Wrangler Fred & Farid, Paris

THE CREATIVE PAGE

â&#x20AC;&#x2DC;66 was a great year for football Nike Simons Palmer Denton Clemmow & Johnson, London

THE ADS WE LOVE

Walnut Volvo Lowe Pirella Fronzoni, Milan

Firetruck Fabercastell Truecolours Serviceplan, Munich

THE CREATIVE PAGE

End of story Vapona Herezie, Paris

THE ADS WE LOVE

The Bridge Prada Lowe Pirella Fronzoni, Milan

Family Car Porsche Jung von Matt, Stockholm

THE CREATIVE PAGE

Kim Reporters without Borders BETC Paris

THANK YOU ARNOLD AMSTERDAM BBH, LONDON D&AD, LONDON DRAFTFCB, HAMBURG FACEBOOK, EMEA FIPP, LONDON FUTURE FOUNDATION JWT, BARCELONA JWT, LONDON LOWE PIRELLA FRONZONI, MILAN MEDIACOM, FRANCE MINDSHARE, BENELUX & NORDICS PUBLICIS, PARIS ZENITHOPTIMEDIA, NORDICS

ISSUE #1 JUNE 2013