Print Power Issue 10

AUTUMN 2015_PROMOTING THE EFFECTIVENESS OF PRINT MEDIA THROUGHOUT EUROPE

Why are digital brands spending millions on print?

GOOGLE IT (OR JUST OPEN TO FIND OUT)

THE COMPLEX MEDIUM How print can improve understanding and memory DM GETS PERSONAL Discover how profitable effective targeting can be INTERNAL INCENTIVES Why big business is turning to print to engage their staff ENGAGEMENT PARTY Reaction to Sir Martin Sorrell’s comments about print

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For a complimentary demo and a free copy of our report, ‘Back to Business: Tools, tips and resources to help you to successfully navigate your buyers through the sales cycle’ contact sales@bradinsight.com or call 020 8102 0913.

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/ CONTENTS

22 | SIR MARTIN SORRELL

30 | THE COMPLEX MEDIUM

FIND OUT MORE Print Power is a European initiative dedicated to strengthening the position of print media in a multimedia world. For more information, go to www.printpower.eu

04-10 Engage The latest European news, research, opinion and trends in the world of print, media, advertising and marketing.

100% RECYCLABLE Print Power is printed on 100% recyclable paper from sustainable managed forests. All inks and finishes are also 100% recyclable and biodegradable. Printed using vegetable-based inks by an ISO 14001-accredited printer.

12-13 Take 5 A drinkable print ad, pages that could save millions of lives, and a book you can plant combine to create a round-up of the world’s finest examples of print marketing.

PRINT POWER Published by Print Power www.printpower.eu Content by Soul Content www.soulcontent.co.uk Editor Sam Upton Design Ian Findlay Coordinators Martyn Eustace Jonathan Tame Shareena Patel Print PCP Data management DST PrintPower UK iCon Centre, Eastern Way, Daventry, Northamptonshire, UK NN11 0QB info@printpower.eu +44 (0) 1327 262 920 www.printpower.eu #Printpower © 2015 Print Power

Sponsored by

36 | UP CLOSE AND PERSONAL

14-15 Thought Leaders Sue Todd, Chief Executive of Magnetic, and Matt Cooper, Manager Strategy at Deloitte Consulting, explain why print is now more important than ever to marketers.

16-20 From online to offline We reveal why the biggest digital brands on the planet are using print to expand their businesses and seek out new customers.

22-25 Sir Martin Sorrell Three of the world’s leading figures in advertising and marketing weigh up recent comments by the advertising legend.

26-29 Posh print Discover how the Austrian jewellery giant Swarovski and the world-famous Harrods store use customer magazines to get closer to their affluent and demanding clientele.

40 | INTERNAL MAGAZINES

36-39 Up close and personal Whether it’s customer magazines tailored to the individual or direct mail that knows your likes and dislikes, personalisation is big news in print marketing. Find out how BSkyB and Germany’s Walter Werbung Group do it.

40-44 Internal magazines A professional publication designed to inform and inspire can being together staff from all over the world to improve morale and make everyone feel valued. Just ask IKEA, Coca-Cola, EDF Energy and Canon.

46-49 Catalogue models Discover why catalogues are still hugely popular with customers across the world and making retail brands millions thanks to their ease of use and practicality.

51-57 Knowledge From direct mail and customer magazines to catalogues and magazine advertising, discover why print media should be a key part of your marketing strategy.

58 Final word Joanna Manning-Cooper, Director of Marketing for the Rugby World Cup 2015, reveals how one of the world’s biggest sporting events uses print to engage millions of rugby fans.

30-34 The complex medium Find out why print has a unique ability to get across complicated information in a simple way, making it ideal for complex brand messages and product detail.

www.printpower.eu | PRINT POWER _ 03

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TOUCH.

FEEL.

Sometimes interaction isn’t about digital technology. It’s about physically turning pages, it’s about textures, smelling ink and seeing the visual richness of a printed image.

The love of printed media is growing stronger, because people want to get away from screens and enjoy the experience of browsing in an analogue way, connecting with content on a level that digital media simply can’t.

It’s about touching, and it’s about feeling. Let us put your message right into the hands of your target audience.

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Tel: 01952 585585

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Engage The latest news from the world of print

PEOPLE PREFER PRINT THE PROOF

A new report into consumer preference for different media has proved conclusively that people prefer to read from paper rather than a screen.

The research commissioned by Two Sides found that 84% of respondents understood, retained or used information that had been printed and read on paper much better than information received on a digital device, while 83% stated a clear preference for reading print on paper for more complex topics.

The survey also revealed that 79% found

MORE FINDINGS FROM THE REPORT 69% of people are more relaxed and receptive when reading a newspaper on paper compared to 25% who felt more relaxed and receptive when reading a newspaper from a mobile device

72% believe print is easier to read 83% of all respondents state a clear preference for reading print on paper for complicated documents

84% of people believe that they understand and can retain or use information much better when they read print on paper

79% of people are most relaxed when reading print on paper

printed media more relaxing to read, while 60% of mobile/smartphone users were concerned about how these devices were damaging their health. Overall, the survey reported that 79% of respondents preferred to read print on paper when given the choice.

“The results of the UK survey have lessons for all those who choose the way in which information is distributed, particularly for advertisers, marketers and educators who need to understand how information is being delivered, received, processed and retained,” explains Martyn Eustace, Director of Two Sides. “While on-screen reading occupies an increasing amount of consumer time, people’s preferences are still for a physical reading experience which they believe to be a ‘safe’ medium which is more informative, less distracting and less harmful to their health.” + To access the full survey, go to www.twosides.info/Literacy-andLearning-2015

79%

PREFER TO READ PRINT ON PAPER

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The rules of magazine attraction Magnetic, the brand new marketing agency for magazine media, has announced the results of its new study into magazine media and the increased opportunities it gives brands to engage with their customers.

Titled ‘The Rules of Attraction’, the study polled 15,000 consumers and found that demand for magazine content is increasing rapidly, with 22% having a daily connection with magazines in 2015, compared to 12% in 2014. In addition, 28% say they intend to interact with magazine brands more this year.

One interesting aspect of the study was the emergence of ‘super-users’ – those who access magazine content on both print and digital platforms.

The research found that by using both print and digital, these consumers had

a deeper emotional and functional involvement with the magazine brands, and found them even more inspirational, pleasurable and relaxing. But far from digital replacing print platforms, the study found that 96% said they will be reading printed magazines in the future and not give up print in favour of digital.

“We believe that magazine media is growing in power and influence as consumers demand more compelling content which inspires ideas and helps them make choices in an increasingly cluttered world,” said Sue Todd, CEO of Magnetic. “People give their full and undivided attention to this one media experience, something that is highly attractive to advertisers.” + To read an exclusive thought piece

by Sue Todd, turn to page 14

The rules of attraction

The Magnetic study found six key rules, which explain the attraction of magazines to consumers 1. Immersion – A sense of luxury, indulgence, me-time 2. Stature – Trust, expertise, curation, quality 3. Belonging – Communities centred around one’s passions. Like-minded people. Sharing (especially on social media). Personal badging 4. Inspiration – Sparking ideas, including from advertising.

5. Influence – Prompting to action, including purchases 6. Growth – Multiple platforms, new offerings

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/ ENGAGE The world of print

+ A footcare brand has made the first magazine you read with your feet. To launch a new line of foot creams, Hansaplast created Feet Mag, a luxury publication designed with heavy paper that can be easily turned by a foot. It also features large print for the extra reading distance.

Sorrell promotes print Sir Martin Sorrell, chief executive of WPP and the world’s most powerful ad man, has confirmed his belief that print has great value when it comes to engagement. Speaking to Jonny Hornby, chairman and CEO of The&Partnership, at the Cannes Lions Festival, he said: “I think there’s a legitimate argument as whether time spent by consumers is the right metric or whether it should be engagement, and there’s some really strong evidence that engagement with traditional print is greater than that engagement with so-called ‘new media’”.

This comes after his comments on BBC Radio 4’s Media Show, in which he stated that “the death of traditional media is much overplayed… there is value there.”

He also spoke about the fact that “the average Times reader spends “Print is still a toparound 40 minutes reading cover of-funnel medium. to cover of a physical edition, so It’s for establishing engagement is very strong.” brand worthiness These comments indicate a in the marketplace, remarkable change of view by for establishing the Sir Martin, whose company has value of the brand, for embraced online advertising, with communicating very 36% of revenue coming from digital broadly, with broad sources – a figure that’s predicted to reach, to the right rise to 45% in the next five years. target audience” + For more reaction to Sir Martin Andy Blau, senior Sorrell’s comments about print, vice president of advertising at Time Inc go to page 22

+ Fast food chain KFC have invented the ‘Tray Typer’, which allows you to type messages on your smartphone without touching the screen. Connected via bluetooth, the paper keyboard means you can type without leaving oily fingermarks on your mobile. + Stephen Hawking and Russian billionaire Yuri Milner have taken out a print ad in the Financial Times to promote their $100m quest to find out if there is any other life in the universe. The ad says: ‘Are we alone? Now is the time to find out’. + Budding tattoo artists in Brazil have been able to practice their skills using a specially developed sketchbook instead of the usual substitutes such as fruit, animal skin or brave friends. The Skin Book is made up of pages that resemble the texture of human skin, with images of different parts of the body such as shoulder, foot or knuckles the artist can tattoo over. + The colouring-in trend for adults continues as monthly magazine Colour is launched in the UK. The magazine aims to ‘relieve stress and relax through colouring-in’ and ‘allow readers to take some time for themselves, enjoy a little escapism and make the most of some quality metime’. Felt tips at the ready…

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Redefining print as personal

www.dstwatercooler.com

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/ ENGAGE Apple ad wins Press Lions Grand Prix

Event diary 11-12 November 2015 Festival of Marketing Now in its third year, the award-winning Festival of Marketing is the place where marketers, brands and agencies meet to celebrate, discover and shape the future of marketing. With 12 different stages dealing with subjects ranging from customer experience to personalisation, the two-day event promises to be an exhilarating and memorable experience. + London, UK festivalofmarketing.com 25 November 2015 Newsworks Planning Awards This annual celebration of the UK’s outstanding planning talent in media agencies is a highlight for all those in the newspaper industry, rewarding innovative work and creative people. This year, the judges include Jan Gooding, Group Brand Director of Aviva, Kerris Bright, CMO of Virgin Media, Dan Clays, CEO of OMD UK, so expect standards to be particularly high. + London, UK www.newsworks.org.uk/awards 1-3 December 2015 Eurobest As one of Europe’s finest festivals of marketing and creativity, Eurobest rewards creative excellence in creative communications, advertising and related fields. With a tradition of moving venues, this year it’s being held in Antwerp, a hotbed of creativity.

It’s organised by the same company behind the Cannes Lions International Festival of Creativity, so expectations are high. + Antwerp, Belgium eurobest.com 1 December 2015 DMA Awards 2015 Organised by the Direct Marketing Association, the annual DMA Awards are closely watched by agencies and brands alike, as the world’s leading DM firms battle it out to win a prestigious award. + London, UK dma.org.uk/awards 3 December 2015 CMA International Content Marketing Summit & Awards The world’s leading content marketing conference is where the top experts in content marketing reveal the secrets behind their successful campaigns.

The day-long event is followed by the CMA Awards, which rewards and celebrates the very best in content marketing. + London, UK summit.the-cma.com

A series of magazine ads for the Apple iPad mini claimed the Grand Prix in the Press category at this year’s Cannes Lions festival. The ads, which ran on the back covers of magazines including Time, Wired and Wallpaper*, featured the tablet at its actual size, with its display featuring the front cover of that issue of the magazine.

Jury president Marcello Serpa, partner and chief creative officer of Almap BBDO, Sao Paulo, said: “It’s a product that goes inside the media and says I’m going to kill you, [then] I’m going to save you. Let’s embrace.”

Created by TBWA\Media Arts Lab in Los Angeles, the ads won a closely fought race with Ogilvy Brazil’s ‘Sketches’ campaign for Dove. “Print is a magical medium, inside a frame,” said Serpa. “If an idea is there, it pops up. There’s no case video, no music.” + For more information on all Cannes Lions winners, go to www.canneslionsarchive.com/winners

Print will still dominate in 2020 Digital may dominate just about every marketing and media conversation, but when it comes to revenue, print will still be the number one revenue earner in 2020, according to a report by global technology research firm Ovum.

Published in July, Ovum’s Digital Consumer Publishing Forecast predicts that despite the investment in digital, print revenues in the US and UK will dominate, with shares of 58% and 63% respectively, compared to digital’s share of 42% and 37% respectively.

The report makes it clear that while publishers must continue to innovate in the digital space, they cannot afford to abandon print just yet. + For more information on the report, go to bit.ly/1DbvLYl

Digital Consumer Publishing Forecast Ovum July 2015

58%

USA

42% 63%

UK Global

37% 76% 22%

Print Digital

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ENGAGE

\ More revelations on the value of mail

Royal Mail have launched their second phase of their campaign to promote the role of direct mail with their latest research report, This Time It’s Personal. The report reveals further insight into the emotional role mail plays in the lives of consumers and investigating what they do and feel as a result of receiving it.

Key findings from the report include the fact that 92% of people do something as a result of receiving mail, and it changes the perception of a brand or product, keeping the organisation top of mind (60%) or inspiring them to think more positively about it (57%).

“This research validates what we have always known about valued mail – that it drives direct action,” said MarketReach Managing Director Jonathan Harman. “There’s a clear gain for advertisers who understand this and leverage mail for both direct action and positive brand effect.” + The full report can be downloaded from www.mailmen.co.uk

57% Research reveals that people are more absorbed and attentive when they read newspaper content.

OF PEOPLE SAY THAT PRINT MAGAZINES INSPIRE THEM TO GO ONLINE AFTER READING IPC, 2014

The Labour leadership saga? The chaos outside Calais? The latest gossip from Tinseltown?

No matter how our news brands capture a reader’s attention, they are remarkably successful at keeping it.

An NRS survey had them spending 45 minutes with us on their smart phones and tablets.

They are more relaxed than TV viewers and radio listeners and less likely to be multi-screening.

Learn more: newsworks.org.uk/butterfly

In fact, the 36 million who pick up a paper spend over an hour reading and don’t multi-screen at all.

Research also confirmed that this deeper involvement coincides with deeper pockets.

News brands reach 98% of those earning over £70k and they spend rather more than the average amount of it online and in the shops.

When they can tear themselves away from that editorial of ours.

Nothing works like news works.

Connected shoppers still use catalogues

New campaign for newspaper advertising The UK’s six leading newspaper groups are joining forces to launch a £3m advertising campaign that reminds people of the unique role newspapers play for advertisers, readers and society.

Created on behalf of Newsworks, the UK’s marketing body for national newspapers, the six ads highlight the level of attention and influence newspaper brands still command.

An accompanying 40 second film called Media Butterflies, develops the idea that it’s hard to find any audience today that gives you its undivided attention.

“Technology and the arrival of tech organisations has transformed the way all of us find information,” said Rufus Olins, Chief Executive of Newsworks, “which means the important role newspaper brands play can sometimes be overlooked.

We felt it was time to remind people about the job they do and extraordinary influence they have over people’s opinions and decision-making.” + For more information, go to www.newsworks.org.uk/butterfly

“It’s resilient, it’s resourceful, it’s portable, it’s foldable, it’s strong if you want it to be strong. It can last 500 years if that’s the goal. Or if it’s a tissue, maybe five or six seconds, but it’s still doing its job” Nicholas Basbanes, author of On Paper: The Everything of Its TwoThousand-Year History

Shoppers in the UK are among the most digitally engaged in the world, but when it comes to shopping, catalogues are still a vital part of their retail journeys.

According to a report by shopper research firm Shoppercentric, catalogues are used in 62% of purchases

by UK consumers, beating smartphones (54%) and tablets (43%).

As well as confirming the vital role catalogues play in the retail journey, the report also concluded that physical stores were the most popular touchpoint, with 95% of respondents saying they visited a store at some point during their decisionmaking process. + For more information, go to www.shoppercentric.co.uk

FOR MORE NEWS ON THE PRINT MARKETING, ADVERTISING AND MEDIA INDUSTRIES, GO TO WWW.PRINTPOWER.EU

/PRINTPOWER

10_ PRINT POWER | www.printpower.eu

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4

3

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TakeFive

Discover how Coca-Cola produced the world’s first ‘drinkable’ print ad, why Microsoft have moved into newspapers, and how a paper book can save thousands of lives

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/ TAKE 5

CHEVROLET VIDEO AD US auto brand Chevrolet have placed video technology within the pages of Esquire, allowing readers to watch one of three videos promoting a new Chevy truck.

Created by Commonwealth/McCann, the technology was used in 10,000 issues of the magazine, with the page featuring a 4.3” LCD screen with three buttons that the reader could press to activate each of the ads. “We’re always looking for innovative ways for print to come alive,” said Jack Essig, Publishing Director of Hearst Magazines. “This was one of those aha moments.” But while Esquire is no stranger to innovation in its pages (it once used electronic ink on its cover), this is just the latest example of video screens being embedded in print, with Entertainment Weekly using the technology back in 2009.

TREE BOOK TREE An ad agency and book publisher in Argentina have created the world’s first print book that can be planted after being read to create a new tree. FCB Buenos Aires and children’s publisher Pequeno Editor created Tree Book Tree, a project that involves making handstitched books from acid-free paper, jacaranda seeds and ecologically friendly ink. Once planted in the ground, it will eventually sprout into a tree. The project was designed to teach children about where books come from, as well as provide a way for them to learn about renewable resources. Called Mi Papá Estuvo En La Selva (My Dad Was In The Jungle), the book tells the tale of one man’s adventures in the Ecuadorian jungle and aims to get readers thinking about the destruction of natural habitats. In Argentina, book shops display the picture book planted and germinating in their store windows.

COCA-COLA Coca-Cola has lifted advertising to a new level with its new Coke Zero campaign, in which customers are invited to “Drink an ad”. Alongside TV ads that customers can Shazam with their mobile to receive a voucher, and giant billboards dispensing the soft drink, the global drinks brand produced ‘drinkable’ print flyers. The flyer comes complete with removable straw, which the customer pulls away and uses to drink the Coke Zero after redeeming the voucher at the nearest Coke stand.

“This campaign is based on the simple insight that many people think they know the taste of Coke Zero, but they actually don’t,” said Racquel Mason, Vice President, Coca-Cola North America. “Drinkable advertising is an innovative approach to removing barriers and making it ridiculously easy for those who are open to try Coke Zero to enjoy it in fun and unique ways.”

THE DRINKABLE BOOK Lack of access to clean water affects over a billion people around the world, with 3.4 million dying of water-related diseases every day. These statistics are made even more alarming by the fact that most people affected by unclean water don’t know that their water is unsafe, so non-profit organisation Water Is Life and the University of Virginia created The Drinkable Book.

The book is made up of a number of paper filters, each infused with anti-microbial silver nanoparticles, which reduce the amount of bacteria in the water by more than 99.9%. As well as providing up to four years of clean drinking water for a community, each book contains information on good hygiene practice. Costing pennies to produce, the book has the potential to save thousands of lives every year.

MICROSOFT FIVE TO NINE Microsoft has been experimenting with print journalism by producing its own newspaper. Titled Five To Nine, the limited edition paper was published over a fiveday period earlier this year and 10,000 copies were distributed each morning to commuters at creative and commuter hubs in Europe. With the aim of encouraging people to get out from behind their desk and do things that are creatively and personally important to them, the newspaper concentrated on positive and uplifting content to inspire readers to work more efficiently.

“With time so often at a premium, Microsoft is committed to enabling people to get the most out of their days,” said Jules Grudniewicz, Campaigns and Partnerships Manager for Microsoft Devices.

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Thought leaders Sue Todd, Chief Executive of Magnetic, the UK’s marketing agency for magazine media, explains why print is now more important than ever for brands, while Matt Cooper, Manager Strategy at Deloitte Consulting, picks out some fascinating findings from this year’s Deloitte Media Consumer report

M

Magazines have always been recognised for serving a unique consumer need when it comes to relaxation, escapism and reward.

Twenty years ago we would have called this experience ‘me-time’ and plenty of research over the years has explained the value that readers place on these moments and the effect this has on advertising receptivity.

Recent analysis by Magnetic into how the various channel proliferation and changing nature of content distribution suggests that these solus and fully immersive media moments are becoming rarer and more valued. We wanted to understand not only how engaged and immersed consumers now are in magazine content but how each channel might differ. Was print still the dominant channel for ‘media mindfulness’?

In terms of the wider context in which magazine consumption sits there are now close to 300 million active internet domains.

But that’s nothing alongside the billions of texts and emails that are sent every day; the hundreds of millions of Facebook, Twitter, Tumblr, Instagram and Snapchat accounts.

In this mass content era, individuals are bombarded with information and media brands compete like never before for their attention. Being able to offer well crafted, original and trusted content with a clear point of view for the right audience is more important than ever.

And if we were under any illusions about how much peoples’ lives really have changed, neuroscientist Daniel J. Levitin in his recent book, The Organized Mind, makes it explicitly clear. He writes: “Thirty years ago, travel agents made our airline and rail reservations, salespeople helped us find what we were looking for in shops, and professional typists or secretaries helped busy people with their correspondence.

Now we do most of those things ourselves.

We are doing the jobs of 10 different people while still trying to keep up with our lives, our children and parents, our friends, our careers, our hobbies and our favourite TV shows.”

Levitin argues that this causes anxiety and mental exhaustion. His discussion also raises the issue of how distracted people can be when trying to juggle so many tasks. The science suggests that it’s hard to absorb messages and experiences in this situation and points the way towards the need to create regular moments throughout each day to allow people to step away from the noise.

Our own research project, The Rules of Attraction, interviewed 15,000 magazine consumers over two years and showed that as well as the magazine experience becoming more 24/7, the print experience is still highly valued as a rare ‘make time’ as opposed to ‘fill time’ experience. With these immersive moments comes an openness and receptivity to ideas and inspiration; a welcoming of messages and content that helps us navigate daily decision making.

As psychologist Barry Schwartz said: “Choice is cherished, but choosing is a chore.” This combination of providing an escape from the noise and being a trusted source of information, entertainment and ideas is what magazine media does brilliantly. It provides environments that encourage attention, escapism and inspiration – precious assets to both consumers and advertisers amidst a world of distraction. + Sue Todd will be speaking at the Print Power Annual Seminar in London on November 3, 2015. For more information, go to twosides. info/about-autumn-seminar-2015

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/ OPINION “ The print experience is highly valued as a rare ‘make time’ as opposed to ‘fill time’ experience. With these immersive moments comes an openness and receptivity to ideas” Sue Todd, Chief Executive of Magnetic

A

As someone who works on a variety of media and telecom and technology companies within Deloitte, I found working on this year’s Deloitte Media Consumer report fascinating. The report helps a wide variety of industries understand how and why media consumption habits have changed over the past eight to ten years.

This is a topic that increasingly touches on more than just traditional media and telecom industries, since advertisers and brand managers want to know how and when people are doing certain activities and how they are changing.

This year the report had a particular focus on millennials, the 16-24 year olds.

It felt like a demographic that was least well understood by the industry and by clients.

So we commissioned Ipsos MORI, who spoke to 2,000 people. Their research was supplemented by a number of focus groups

“ Nearly two-thirds of those aged 16 to 24 have never purchased an e-book and only one in four has bought one in the past year” Matt Cooper, Manager Strategy at Deloitte Consulting

with millennials in schools, which allowed us to go much deeper into the topic.

As well as social and mobile, we had a section on print, and what we found was that for the millennials, they all really value and appreciate print – especially physical print books – far more than we expected.

Nearly two-thirds of those aged 16 to 24 have never purchased an e-book and only one in four has bought one in the past year.

Part of that is functional. For a student textbook, it’s far easier and arguably superior if it’s your own physical textbook to annotate and put your little notes in than an e-book. They also found that having grown up with multiple screens, they actually quite enjoyed and appreciated the focus that reading a book has. The fact that a book doesn’t have a screen is actually quite welcome.

One thing they also like about physical

books is the ability to build up a bookshelf, a library of books you can refer to, pick up, scan and put down easily. It’s about being able to show your personality, and they appreciated that a bookshelf is a way you can do that. So when someone comes to your house and looks at your bookshelf, they get a better snapshot of who you are.

The millennials felt that this is something fundamentally lacking from e-books as a medium. While there are occasions it can be convenient to have an e-book, such as commuting on a bus, in an ideal world they would like to have both the physical and e-book versions when they bought them, to give them the flexibility to choose.

Another interesting thing that came out of our report was that newspaper commentary is far more highly regarded than online commentary. If you want a serious opinion or a more in-depth perspective on a topic, people regard newspapers as more likely to provide that than online or social. Our respondents still pick up newspapers in order to get expert commentary on a particular topic, with 42% of readers of print newspapers doing so to get the best expert commentary or reviews of political issues. That compares to just 12% of Twitter newsreaders. + For more information on the Deloitte Media Consumer report, go to www.deloitte.co.uk/ mediaconsumer

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/ THE NEW DIGITAL REVOLUTION

Think different B Y D AV I D B E N A D Y

Apple, Google, Facebook, LinkedIn, Airbnb, Uber, Net a Porter, plus a host of other tech brands have built their huge businesses using digital marketing. So why are they now turning to print to grow even bigger?

ILLUSTRATED BY TOMI UM

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APPLE LAUNCHED ITS APPLE WATCH using press ads, LinkedIn has used direct mail to build a new customer base, Google has spent heavily on print advertising in some of its markets, while Facebook stunned the world earlier this year with poster ads across the US, Canada and the UK proclaiming the power of friendship.

International tech giants may have created a digital revolution, transforming the way we consume media and getting us hooked on screens. Yet Apple, Google, Facebook, LinkedIn, Airbnb and Uber have all turned to print to forge stronger connections with consumers, staff and other stakeholders.

They originally built their businesses on new technology but have recently discovered that they need the technology of print to get their messages across.

Google has hiked its print advertising budget in the UK, spending £5m on outdoor advertising and £3.5m on press ads in 2013

A stand-out channel The likes of Google and Facebook have been busy telling brands that the most effective way to reach consumers is through digital communications. But whether they are sending out direct mail packs to stakeholders or running imaginative poster campaigns, the tech giants have learned that they cannot do without print advertising to connect with their audiences.

“Like any marketer, you use all the tools in the box,” says Patrick Collister, Google’s

Style and substance (Above left) Apple recently used print to launch its Apple Watch while (above) Porter magazine blends great editorial with shoppable content

Head of Design and Creative Director of Google Zoo, a department that helps agencies create ad campaigns. “Print is a brilliant B2B medium. Google has used a lot of print in the past, not just direct mail but also outdoor.”

In one memorable outdoor campaign for Google voice search, each poster featured a site-specific phrase spelled out as it sounded. So a poster at Chelsea Football Club carried the line “ley-tist skorhz” (latest scores) and at Canary Wharf, in the fi nancial centre of London, the poster read “foot-see-wun-hun-dred” (FTSE 100).

Google has hiked its print advertising budget in the UK, spending £5m on outdoor advertising and £3.5m on press ads in 2013.

It also used press and posters for a campaign promoting its YouTube stars such as Zoella and has used traditional media to promote products such as Google Maps and the Nexus 7 tablet.

Collister says that Google has used direct mail to target small businesses, as these can stand out against the deluge of emails that decision makers often receive. “There’s a role for print in direct mail and press to reach influencers,” he says.

And he points to the warning by Google vice president Vint Cerf earlier this year about the threat of permanently losing digital data such as blogs, tweets, photos and emails as the old software needed to view them is gradually replaced by new technology. This threatens to wipe out our collective memories.

“Vince was saying that we need to monitor the digital revolution carefully so we don’t lose so much memory,” Collister says. Cerf argued that keeping important content in print will help future generations understand what happened in the past. “If there are photos you really care about, print them out,” he told The Guardian.

The latest trend One of the most successful players in e-commerce, Net a Porter, has also recognised the importance of print in reaching its upmarket consumers. The luxury fashion site launched in 2000 and demonstrated that the internet could be a marketplace for selling high-end clothing.

Then, in 2014, its print publishing division created a glossy magazine called Porter that competes on newsstands with the likes of Vogue and Elle.

Every page of Porter magazine is shoppable. By pointing your smartphone

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/ THE NEW DIGITAL REVOLUTION Out and about (Left and below) Huge digital giants such as Google and Facebook are now using traditional media to grab people's attention

“Like any marketer, you use all the tools in the box. Google has used a lot of print in the past, not just direct mail but also outdoor” Patrick Collister, Head of Design at Google

camera at a picture and using the Porter app, the details of the garment come up and readers can either buy the item directly or fi nd out where to get hold of it. This is evidence of the prime role that print plays in reaching upmarket consumers.

As Natalie Massenet, Founder & Executive Chairman of Net A Porter, said at the launch: “With the launch of Porter I feel we have come full circle at The Net-A-Porter Group. The founding idea for this business was about launching a shoppable magazine online, inspired by the incredible glossy magazines we have grown up with. Porter is the fulfi lment of many years of thinking and dreaming.”

Creating new connections Other tech giants have used print for specific tasks. LinkedIn created a direct mail pack last year to announce that it had reached 15 million UK subscribers and to promote the launch of a student hub, after it emerged that students were one of its fastest growing groups.

The pack included a mock newspaper called The LinkedIn Times, which featured a personalised message to the recipient

and included their picture taken from their LinkedIn profi le. There was also a printed press release and a hoodie. LinkedIn UK spokesman Darain Faraz says people were intrigued that a tech company would do something in print.

“For the world’s biggest networking site to go old school and go back to print,” he says, “that really got people’s attention and showed the huge power of print.”

The personalised packs were sent out to 50 print journalists and bloggers, and Faraz says the campaign was a resounding success. “We wouldn’t rule out using print again,” he says. “There’s a huge amount of value people still associate with print. I’ve been working in communications for 14 years and still remember the buzz when I got into print. That still gives me a buzz even in these days of digital.”

Best friends forever?

Earlier this year, Facebook launched a branding campaign promoting the power of friendship, using TV ads, press and outdoor.

Titled ‘The Friends’, the campaign shows people having fun together.

According to Nielsen, between February

and April, Facebook spent £600,000 on press ads and £1.5m on outdoor media in the UK to promote the campaign, which appeared on roadside posters and across the London Underground. Some thought this switch to using traditional media was ironic, given that Facebook had put a lot of effort into trying to persuade advertisers to switch their advertising budgets into digital social media.

Facebook ran TV, press and poster ads in the US, Canada and UK for both the ‘Friends’ campaign, as well as the ‘internet. org’ campaign, which seeks support to boost access to the internet around the world.

“Facebook is a place where friends go to make meaningful connections,” says a Facebook spokesperson. “This regional campaign celebrates those connections and the different kinds of friendship that enrich our lives both on and off Facebook.”

The tech giants’ recent use of print communications may be evidence that the limits of digital marketing are being reached. To build their businesses further, these huge technology companies are now looking to traditional media. Could print be the key to a new digital revolution? www.printpower.eu | PRINT POWER _19

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THE NEW DIGITAL REVOLUTION

\

Online goes offline Five print publications commissioned by digital giants

THE SPLENDID SIXTH STAR Honoring Uber partners who go beyond the call of duty

TWEETS, PERKS, AND WHEELS Social media buzz, rewards to enjoy, new car deals

HOW TO FILL YOUR BACKSEAT Coming events and dates for peak ridership

MOMENTUM T HE M AG A ZINE FO R UBER PA R T NER S

Pineapple

Savvy partners are putting Uber on the map

Allrecipes magazine Allrecipes Two years ago, US publisher Meredith used the popularity and recognition of their usergenerated recipe website Allrecipes.com to launch a print magazine that now sells over 1.1m copies.

Allrecipes magazine was the US magazine industry's first largescale digital-to-print brand extension when it launched two years ago. + To take a look, go to http://allrecipes.com/ features/allrecipesmagazine Winter 2014

Momentum Uber Earlier this year, global taxi service Uber launched a print magazine for its 150,000 drivers in the US. Titled Momentum, the magazine aims to bring its community of drivers together and increase loyalty by informing them about new developments within the company and helping them to connect with one another. + To download the first issue, go to bit.ly/1EbPiwl

London | Seoul | San Francisco

POWER STEERING

£9 €11 W 17,000 $12

Pineapple Airbnb The global online home London | Seoul | San Francisco rental service has over 25 million users and needed a way of communicating with those users and creating a community of travellers and hosts. So they launched Pineapple, a quarterly print magazine that covers travel, culture, art and food from around the world, as well as content created by the Airbnb users themselves. + For more information, go to www.airbnb.com/ pineapple WINTER 2014

Politico magazine Politico Political website Politico has been covering the issues and personalities behind US politics since 2007, but found they had a need for long-form articles that went deeper into a story. So two years ago they launched Politico magazine, followed by a European version earlier this year.

“We do great stuff in the moment,” said Politico CEO Jim VandeHei, “but didn’t have a great apparatus for telling longer stories. The magazine goes deeper – it’s additive.” + To read a selection of content, go to www. politico.com/magazine

Facebook Employee handbook Like most large tech firms, Facebook has a handbook they give to all new employees. But unlike other firms, this handbook doesn’t set out the HR rules or give directions to the nearest sandwich shop. It’s a gorgeously designed piece of print that blends thick, uncoated paper and simple statements such as ‘The quick shall inherit the earth’. + For a sneak peak at the handbook, go to bit.ly/1fYfJfw

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/ SIR MARTIN SORRELL

The swinging pendulum Sir Martin Sorrell’s comments about print at Cannes saw the world’s most powerful ad man come out in favour of print. But does this mark a seismic shift in print’s fortunes or simply a call for new research on the medium?

Three of the world’s leading figures in advertising and marketing jump into the debate B Y A L A S DA I R R E I D sir martin sorrell’s recent comments about

the ‘engagement’ virtues of traditional media have helped re-ignite a debate about the merits of print as an advertising medium. But just how significant was his intervention?

At a WPP results presentation in 2013, Sorrell said that clients were spending too much on print and not enough on online and mobile. He pointed out that print has 25% of advertising spend but only accounts for 7% of consumers’ media time. Conversely, mobile devices account of 10% of media time but get just 1% of ad spend.

Then, speaking during a panel session at the Cannes Advertising Festival back in June, Sir Martin said he’d had a change of heart, now believing that if there’s a correction to be made, it needs to be in the other direction.

He explained: “I think actually we are starting to see with traditional media, particularly newspapers, a bit of pendulum swinging back because [the market] will realise they are more powerful than people give them credit for.”

This caused great excitement in some parts of the media industry – and rightly so. As always, though, Sorrell’s words should be read carefully. Some observers noted with interest his caveat that, although print’s engagement with consumers may be strong, “it is not measured properly.” And of course, it’s true.

This is, at first sight, a perplexing omission, but the truth is that many media owners, particularly magazine and newspaper companies now pursuing 'digital-first' philosophies, have not been as energetic in this area as they might have been. Despite its continuing contribution to revenues and profitability, print, at some media owners, has become merely the heritage component of a cross-media sell.

Advertising agency sources, both on the creative and media sides, point out that you can only get a big-picture feel for the contribution of print advertising by immersing yourself in dozens of individual case studies. Only a small fraction of this data ever makes it into the public domain.

And the irony is that some of the www.printpower.eu | PRINT POWER _23

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“Print media is tangible, intelligent and likely to remain a part of our lives” Shiona McDougall, Executive Strategy Director at Rapp

Think again LIDL's recent 'Money On' vouchers, which used print to subvert brand expectations

advertisers who know most about the engagement power of print are the ones least likely to want to talk about it. One high-profi le example is Apple, which is one of the modern era’s most enthusiastic print advertisers both in press and posters.

So will Sir Martin’s comments galvanise new research initiatives? We asked three senior figures from the marketing and advertising worlds to share their views.

Pablo Del Campo, the worldwide creative director of Saatchi and Saatchi, was President of the Press Jury at this year’s Cannes Festival, and he says the experience rekindled his enthusiasm for ink on paper.

Then we have Matt Stockbridge, head of analytics at Mondelez International, one of the world’s largest snacks companies. He shares the positive feelings engendered by a hugely successful print initiative for Oreos.

Finally, there’s Shiona McDougall, strategy director at the global direct marketing agency network RAPP, who’s best placed to take a considered view across the whole print market and its evolving relationship with the digital world.

“While traditional abovethe-line agencies may have to accommodate swinging pendulums, there are still those of us who have been quietly getting on with the best channel for the job at hand, which is as likely to be print as any other mechanism.

Whether we’re talking about letterbox marketing or press and magazine advertising, print is still very much a key part of the mix.

In the world of direct marketing, measurement has always been our thing. We know there’s a time and place for digital engagement and a time and a place for print because we’ve measured the relative impacts.

As digital consumer behaviours have increased – either through search, website or social media – it would be easy to focus on the vast amounts of new data produced by these and spend a disproportionate amount of time, energy and money on generating more of that data.

But if you dig a little deeper, you can see that print is often at the heart of the story it tells.

Techniques such as ‘search as call-to-action’ mean it’s been possible to make a linear case for print media as part of the mix for some time. Econometric modelling also helps marketers understand the relative return on investment of the different components of their marketing mix and plan more effectively.

Of course, data and logic is only half the story. The craft of print communications is where smart brands can find a role and harness the real value of print. Engagement with any communication is driven by the magic of the creative craft.

Print media is where that craft has been honed, iterated and developed for 50 years.

There are known techniques

for getting attention in print, and they don’t involve getting in the way of what the consumer is doing, as is often the case with digital. And there are established techniques for soliciting an action from consumers using print, with no need for garish flashing ‘buy now’ buttons.

Just look at the persuasive power of long copy in campaigns such as Harrison’s Fund, where a desperate father wishes his son had cancer. And see how Lidl’s recent ‘Money On’ coupons subvert expectations completely, eliciting a response while taking the mickey out of the genre they are riffing on.

Of course print media works best when it reflects real-life behaviour of consumers, and that means seamlessly in conjunction with all the other marketing channels together.

Whether using onlineredeemable coupons as a call to action, or reinforcing key TV advertising messages, print media is tangible, intelligent and likely to remain a part of our everyday lives.”

“If a specific campaign suggested that investment in print media would make sense then we will do it” Matt Stockbridge, Head of Analytics at Mondelez International

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/ SIR MARTIN SORRELL “ Originality, simplicity and surprise need to combine in print to create a singular emotional moment” Pablo Del Campo, Worldwide Creative Director of Saatchi and Saatchi

Matt Stockbridge says that advertisers tend not to have generic attitudes towards print – or traditional media in general for that matter.

The company assesses suitability on a campaignby-campaign basis.

But it’s no secret that Mondelez has, in the recent past, been keen to pursue scalable, global, real-time event-based opportunities in social media.

The best-known example is its activity in the power cut during the 2013 Super Bowl.

“In the recent past, we have not invested significantly in

President of the Press Jury at this year’s Cannes Lions International Festival of Creativity, Pablo Del Campo says that the experience made him believe that we should talk not of print but of a new concept: Ink In A Blink.

“Serving as Jury President at Cannes reignited my respect and love for print advertising. There’s been a lot of talk in our industry about how new media has transformed everything, but print still represents the toughest creative challenge in the business. If you can do great work in print, you can do great work in any other media.

That’s because print – the oldest form of advertising – is a creative exercise in simplicity and distillation. You have one page, one frame, one shot to tell a story. Print engages a sole sensory dimension so your insight has to be sharper, Simple and effective your creative idea has to work harder. Originality, simplicity (Left) A powerful print and surprise need to combine in print to create a singular ad for Harrison's Fund, emotional moment. What a challenge! What a puzzle! which helps those with Duchenne Muscular What an opportunity!

Dystrophy. (Below) There’s a romance in print. In a highly audio-visual The Sun's Oreo Eclipse cover, which helped world that can sometimes be ephemeral, print work is deliver a 59% sales lift substantive, it’s tactile, it’s permanent. I know I’m not alone in loving the feel of print and the exotic appeal of a glossy full-page magazine ad. Being captivated by a print ad is similar to looking at a great painting or photograph in a museum. In a busy, crowded world, it’s a moment of silence, stillness and communion of ideas between viewer and artist.

Perhaps it’s the category name that needs a rebrand?

Let’s consider replacing fusty, clunky, mechanical old ‘print’ with the more fluid, graceful and contemporary ‘ink’.

For anyone who thinks the category is being erased, I’d suggest flipping through a copy of Vanity Fair – each ad looks like it has the production value of a small movie. Despite the print media,” says Stockbridge. an opaque cover wrap for the explosion in electronic media, the “It is true that, like many of our UK’s biggest-selling daily and magazine industry continues to peers, we have tended to invest two special eclipse-themed grow, and ink remains especially more in new media channels translucent Oreo ads also strong in luxury products, beauty, than more traditional channels appeared within. technology and finance. such as print or radio, with levels This initiative dovetailed Advertising is the commercial of TV investment remaining with outdoor and social media art that is most in touch with reasonably consistent. If, activity that tracked progress human nature. As such, it lives in however, the requirements of of the eclipse. In effect, the a biological world of adaptation a specific campaign suggested activity allowed the brand and reinvention. But the medium that investment in print media to become a ‘sponsor’ of this is never a zero-sum game; it’s would make sense then we celestial event and delivered continually additive. Advertising will do it.” a sales spike of 59%, making always has been, and will The best recent example is its March 2015 Oreo’s highest-ever continue to be, ‘and-and’ not Oreo Eclipse partnership with UK sales month. ‘either-or’, and ink remains the The Sun newspaper. On the day Stockbridge concludes: foundation of the craft. Let’s of the most recent solar eclipse “Internally we were very happy leave the angst behind, roll up over Britain, Oreo produced with the results.” our sleeves and do great work.” www.printpower.eu | PRINT POWER _25

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/ POSH PRINT

Swarovski and Harrods are two of the world’s biggest brands in luxury retail, with a rich history and an even richer clientele. And central to both their marketing strategies is a stylish, opulent and glamorous customer magazine. Credit cards at the ready

Strikea pose

BY JOHN REYNOLDS

a few years ago, the British

Model marketers (Far left) Nathalie Colin, Creative Director & EVP Communication at Swarovski, and (left) Deb Bee, Director of Creative Marketing at Harrods

national press published a story about a hand-made cast iron bath encrusted with 22,000 white Swarovski crystals with an eyewatering sale price of ÂŁ150,000.

The Swarovski tale clearly proved a hit, as soon after a similar story appeared about Russian student Daria Radionova, who was photographed in London next to a Mercedes car decorated with one million Swarovski crystals.

A common thread between the two stories is their location: Harrods, the luxury department store in Knightsbridge, London, whose customers were equally astonished at the glittering bath within its walls and the bejewelled Mercedes parked outside.

The jewel in the crown While the Austrian crystal maker and the world-famous department store have become international

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Harrods Magazine is published 10 times a year, boasts an average circulation of 120,000 and is part of a wider portfolio of publications which has grown to include 25 titles bywords for luxury and opulence, they share further common ground: both started out as family businesses in the 19th Century and have a heritage with a rich vein of Hollywood glamour – Marilyn Monroe wore a Swarovski-studded dress when she sang 'Happy Birthday' to president John F Kennedy, while Charlie Chaplin and Vivien Leigh were granted ‘extended credit’ at Harrods.

Likewise, both brands cherish their affluent customers and view them as an extended family.

This trust-based relationship between brand and customer is strengthened through various membership and loyalty schemes, but it’s their respective customer magazines that are its foundation.

Swarovski publishes two main customer titles: Multifacets, a quarterly publication which is distributed in its stores across Europe, India, Japan and the rest of the world; and The Swarovski Magazine, which is mailed out to customers in 120 countries and published in more than 10 languages.

The two titles are the twin engines of the crystal maker’s print marketing, which also spans print ads in consumer titles and innovative tie-ups such as its deal with Oprah Winfrey’s O magazine, which celebrated its 15th anniversary with an array of covers coated in Swarovski crystals.

“Multifacets is used as a marketing tool to enhance Swarovski’s status as a brand associated with glamour, as well as a sales tool guiding readers to everything from Swarovski’s crystalline watches to stone pendants,” explains Nathalie Colin, Creative Director & Executive Vice President Communication at Swarovski.

“The magazine is a quick flick-through read, which highlights seasonal trends in jewellery wear.”

Meanwhile, The Swarovski Magazine is a much longer title, featuring dreamy images for crystal lovers to luxuriate in, as well as

more in-depth features such as the creative process behind the collections, sneak previews on special Swarovski projects, or weightier matters such as the business discipline needed to run the famous Tyrolean business. Both titles are crammed with “information that can help women to be daring and to incorporate jewellery in their daily routine.”

Colin adds: “Through Multifacets, we aim at staging women of different styles in situation from day to night, office to party, casual or festive formal occasion. Our aim is not only to show our collections but share some styling tips, interpretation of trends, how to wear and how to accessorise.”

An impressive portfolio Like Swarovski, the flagship customer magazine of Harrods includes productrelated content alongside style, fashion features and lists such as ‘The best face creams to buy’, all squarely aimed at affluent and stylish women.

Harrods Magazine is published 10 times a year, boasts an average circulation of 120,000, and is part of a wider portfolio of publications which has grown to include 25 titles published each year including men’s, watch, jewellery and travel titles.

Deb Bee, Harrods Director of Creative Marketing, said: “We have a lot of input from our buyers who say things like, ‘We would like you to strongly feature these seven brands’. We come up with a creative spin but obviously everything we do has to be dictated by what we buy.”

Despite commercial objectives, Bee says that Harrods Magazine has retained its integrity in the market and to the independent observer it reads like an upmarket women’s consumer title.

“We have developed an independent voice that's not hard sell,” she says. “The most important thing about our magazine is we don’t ram Harrods down people’s throats.”

Indeed, such is its antipathy towards the hard sell that words such as ‘stunning’ and other highly emotive sales adjectives are banned from appearing in the magazine.

Hand in glove One difference between the Swarovski and Harrods titles is their approach to advertising – or lack of it in the case of Swarovski, which views its magazines as a platform that focuses solely on the brand.

On the other hand, Harrods Magazine carries a wide array of high-end advertisers such as Bvlgari, Graff and Messika, underscoring Bee’s suggestions that “we get big brands as they know the magazine is an incredibly useful tool.”

Both brands are adamant that their print titles have a long future ahead of them and work hand-in-glove with digital offshoots.

“It actually sits together with some digital versions,” says Swarovski’s Nathalie Colin.

“Both are complementary: digital to have instant reach and be more in conversation, and print because you can collect and keep hard copies when you feel the images are strong or inspiring.”

Meanwhile Harrods’s Deb Bee points to the longevity of print and the experience it gives its readers.

“Reading a print magazine feels like something you do to relax,” she says. “When you flick through a magazine, it’s a relaxing pastime. The minute you go onto a screen it becomes something different. Print is something more precious. It feels like you own a bit of the pie.”

Despite being two of the most recognisable brands in the world, Harrods and Swarovski clearly see the importance of their customer magazines as an important tool to reach out to customers and cement their relationships. And even though the titles are also offered in digital forms, it’s clear that it’s the print titles that are the primary driver for sales and marketing to customers.

“Multifacets is used as a marketing tool to enhance Swarovski’s status as a brand associated with glamour, as well as a sales tool guiding readers to everything from Swarovski’s crystalline watches to stone pendants” Nathalie Colin, Creative Director & Executive Vice President Communication at Swarovski 28_ PRINT POWER | www.printpower.eu

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/ POSH PRINT

Exclusive for Members

JUNE/JULY 2015

TWO TIMES THREE We showcase the »Trumpet Triton« and »Nautilus« in three different design styles.

Be inspired!

TREND & CHANGE

MOVIES & LEGENDS

What would Hollywood be without brilliant costumes? How Swarovski helps to create screen icons

ART & IMAGINATION

This time columnist Ann-Sophie asks the questions! An interview about the new Swarovski Kristallwelten

THE SUPERBRANDS HAVE LANDED

Swarovski transforms the ballpoint pen into a wonderfully feminine fashion accessory

JUNE/JULY 2015

harrods.com

THE SUPERBRANDS HAVE LANDED Out-of-this-world collections find a new home

Cover stars (Clockwise from left) Harrods Man is just one of the 25 titles produced by the luxury brand; Swarovski's Multifacets is a "quick flick-through read", while The Swarovski Magazine is a more in-depth title. Harrods Magazine boasts a circulation of 120,000

The style file Nathalie and Deb's top five tips for luxury brand marketing Don’t use hard-sell language in your marketing as it will be a turn-off for customers.

Customers can make up their own mind about products, which should sell themselves without the need for emotive sales language.

Offer the readers a piece of content that appears exclusive to valued customers, such as behind-thescenes images of a forthcoming show.

Don’t limit your content offer. If you are marketing primarily to women, offer them advice on as many different looks as possible, whether it's going to work in the morning or going out at night.

If other parts of the business want to have input into the magazine, like buyers for instance, take their advice on board. However, it’s important to remember that customers will most value a title that has the look and feel of an independent magazine.

Make the magazine as stylish as possible.

You are marketing to a demanding, affluent audience who will have high expectations about the design and quality of the title they are reading.

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The map of the future A collaborative project between Density Design Lab and Wired Italia, which used consequences to identify the major challenges we will face over the next 10 years

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/ THE COMPLEX MEDIUM

GET THE PICTURE? Whether it’s detailed infographics that explain complex industry trends or long-form journalism that describes tricky financial models, print has a unique ability to get across the most difficult information BY MARK HOOPER

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in comprehension compared to print.

A familiar pattern emerges in case studies, where a combination of time spent reading and understanding text increases when the text is read offline. This is something marketers need to heed, particularly when they are dealing with complex financial and technological information.

what is it about print that allows us to

convey highly complex information simply and concisely? Whether in the form of data (via infographics, illustrations and other graphic devices) or long-form journalism, brands are finding that they are able to get across key messages to their customers more effectively by turning to print.

A 2014 book by Naomi S Baron, titled Words Onscreen: The Fate of Reading in a Digital World, concluded that many supposedly ‘digital native’ university students vastly preferred to read textbooks in print than online, claiming they are more inclined to skim read online, are more easily distracted and encounter greater difficulties

Shelf expression Jonathan Milne, Head of Communications for Maersk, the Denmark-owned oil company, commissioned White Light Media to produce the magazine Shelf because, as he states, “We felt that we needed a platform for intelligent editorial to frame the challenges and successes of the industry in a different way. We see Shelf as part of our overall stakeholder engagement activity. The decision to go for print reflected our view that very high production values and the ‘slow journalism’ approach we wanted lent itself best to a print format.”

Reflecting Maersk’s declared corporate value of ‘humbleness’, Shelf uses illustration-led design and infographics to deliver a broad and considered survey of some of the major issues facing the North Sea oil industry – an interesting read even to the layman, especially when compared to the dry offerings of comparable corporate reports.

Milne is keen to point out that digital communications are still an important part of his remit, but there are certain things print can perform better at, particularly as part of a joined-up (on- and offline) strategy.

“It in no way detracts from our desire

and ability to use the content across other channels,” he says. “But I find print is a good way to convey complex information to our customers easily. A good-quality print publication is also something that people tend to keep and refer back to.”

The ease of reading print The sheer physicality of paper products is something that David McKendrick, founding partner of design and editorial agency BAM, firmly believes can never be overstated.

“I actually enjoy the physical sense of achievement you get with reaching the end of a piece of print,” he says. “You can see it’s 10 or 12 pages long and you know as you turn the page that you’re getting somewhere.

Whereas reading online, you don’t actually feel like you’re having that experience of achieving something. I find that if I’m reading something long-form onscreen, the contrast makes it really physically difficult.

Whereas if I read The New Yorker, I find it much easier in print.”

Physical discomfort is an underacknowledged reason why you tend to get eyeballs on a page for longer than on a website. “People would rather spend time with print than staring at a backlit screen,” says McKendrick. “So if there’s a complicated message you want to deliver, having graphics on a printed page is a better option. Plus of course there’s less moving stuff on a page to distract you.”

BAM, who list Christie’s auction house in London among their clients, are launching a new magazine in France this October for

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/ THE COMPLEX MEDIUM financial paper Les Echos.

“Sometimes we may not even understand the content,” says McKendrick, “because it’s financial articles sent over to us in French.

So we have to go by a synopsis they write for us. But they’re often quite stunned about how we can articulate this complicated information by using simple design approaches.’

Financial model A great example of print delivering a complex message is Quintessence, a bi-annual magazine produced by Cedar Publishing for BNP Paribas Securities Services, the pan-European global and financial services group. The magazine uses long-form journalism and graphic devices to produce “rich editorial content, drawing from expert insight on the latest developments in global finance.”

“Developing high calibre, engaging content for our external stakeholders is critical to staying at the forefront of our industry,” said Mark Hillman, BNP Paribas Securities Services Head of Marketing and Communications.

Hillman was so satisfied with Quintessence that he commissioned a second magazine from Cedar. Available in English, French and German, Focus features content tailored to corporate treasurers who have expressed the need to stay abreast of key trends and news affecting their business.

Think, question, engage David Moretti, the former Creative Director

Many ‘digital native’ university students prefer to read textbooks in print than online, saying they encounter greater difficulties in comprehension compared to print of Wired Italia and now Deputy Creative Director of Wired US, highlights the ability to deliver complex messages with his graph on the politics of climate change. Rather than using actual meteorological data, Moretti’s team chose to focus on the relative activity and noise made by each country attending the United Nation’s Framework Convention on Climate Change between the years 1995 ad 2013.

What is most telling, points out Moretti, are the moments “when the big nations, the United States, Russia and China, stay silent”. While the band representing the US rises and falls – often corresponding with the balance of power in the Senate – and the Chinese presence is reassuringly significant, the line representing Russia remains eerily below the radar.

Unsurprisingly for someone who works at Wired, Moretti stresses that the digital side of his job is vital and that he produces content that can work in conjunction between print and other platforms.

When it comes to print, he sees the use of infographics as “creating an instrument to help people understand complexity and have an opinion.”

For Moretti, this is crucial to how we think

Above Shelf magazine uses simple illustrations and infographics to describe some of the key issues currently facing the North Sea oil industry

Below Three Wired Italia infographics that describe (from left) the evolution of the robot, what the internet is used for, and Italy's wheat consumption

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THE COMPLEX MEDIUM

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about visual language in modern magazines, which are consumed within the context of a digital landscape. “We use and abuse the word storytelling,” he says. “In a magazine like Wired, we moved from the idea from informing people to communicating with them. There’s a subtle difference. Wired became much more interested in creating a community and provoking a dialogue than simply sharing information.”

In other words, he no longer sees his role as merely conveying complex information.

Instead, he wants the reader to think, to question, to engage. He talks not simply of different levels of information within the infographics he produces, but levels of interaction. Illustrations are printed in gatefold so they can be physically folded out. He also talks animatedly about how he would ideally create these illustrations on a larger scale – for instance in an exhibition space, where an audience could literally be encircled by an infographic, “like in the film Minority Report”.

Embrace the complexity If the scale of Moretti’s ambition is contagious, his appreciation of how illustrative skills can bring cold factual data to life is enlightening.

“It’s the Wired voice – the geek voice – at its best,” he says. “The big challenge everyone talks about is whether it’s possible to use this voice to communicate complexity. But there’s some complexity that cannot be compressed. This is the miracle you find in the era of ‘make it simple’ – sometimes you need to spend the time, you need to sweat!”

In other words, some things demand reading properly for full understanding.

There are all manner of graphic tricks that can help, but as one of Baron’s students discovered, the simplest advantage of the printed page is often that “it takes me longer because I read it more carefully.”

“ Infographics create an instrument to help people understand complexity and have an opinion” David Moretti, Deputy Creative Director of Wired US

“Illustrations look a lot nicer in print”

International illustrator Craig Robinson on making complex data simple Craig Robinson is an illustrator and founder of flipflopflyin.com, who has worked for an international set of clients including the Observer newspaper, Sports Illustrated and Yahoo!

Having earned his living first in Berlin and now Mexico, he has a unique take on the international appeal of infographics and their role in simplifying the most complex of statistics.

Why is print a preferable medium to get across datarich subjects?

“Illustrations look a lot nicer in print. I especially like seeing something as computerlike as my pixel illustrations in print [see image left].

And with more complex infographics, you don’t have to scroll to see everything.”

How do you approach a new illustration?

“The first thing I do is to get away from my desk, put my headphones on, have a walk and think about it. I like to be forced to think more about an idea before I touch my mouse. With infographics that can be tougher, because there’s a definite goal: make information understandable and aesthetically appealing.”

What are your favourite illustrations from your own body of work?

“There is one called ‘Flower’ [left], which began small and ended up showing a cross-section of the earth.

As for infographics, I still really enjoy ‘Green Monster’ from 2010, which features a size comparison of Fenway Park’s ‘Green Monster’ outfield wall.

I’ve never been there and I find sizes difficult to get my head around, so it was useful and ended up looking good.”

Which illustrators most inspire you?

“I’d go for Saul Steinberg and Alan Fletcher every day.

While it’s clear they know their way around a pencil, I love that their work is about expressing ideas rather than making things pretty. So much of what newspapers and magazines and websites call ‘infographics’ are just information next to graphics. They use the term to justify making a load of data prettier, which is a misrepresentation of the idea of infographics.” + To see more examples of Craig Robinson’s work, go to http://flipflopflyin.com

Which subjects do you find make the best illustrations for you?

“I currently live in Mexico and have found that since being here my work tends to be more colourful. Sports illustration is still fun to do and enjoyable to look at.

We are so used to seeing sports photos every day that illustrators can bring new things that even the greatest photos cannot do.”

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Up close and personal From bespoke pieces of direct mail to customer magazines created for the individual, personalisation is the next big thing in print marketing. Are you ready to get closer to your customer?

BY S A M U P T O N

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/ PERSONALISATION

we’re offering too generic content. This is not personal enough.”

The reaction to the special edition was astonishing. Every single passenger took their magazine away with them after the plane landed and the average time spent reading the magazine increased by 1,200% during the flight. Also, 100% of passengers felt that “TAM cares about them”, while the campaign won a Bronze Lion at this year’s Cannes festival.

earlier this year , Brazilian airline TAM

Airlines wanted to celebrate the 35th anniversary of their Milan to Sao Paulo route, so decided to create a special issue of their onboard magazine. Focusing on their core values of innovation and constant improvement of passenger service, they commissioned ad agency FCB Milan to create Ownboard, a truly personalised magazine, with every passenger receiving a unique publication tailored to their likes, dislikes, interests and social activity.

Each version of the magazine was created using the passenger’s Facebook page, accessed during the online ticket purchase process. The result was that every passenger received a publication full of their own photos and details about their friends' activity, along with articles based on their interests and events they enjoyed.

“Once our clients read our usual magazine,” said Inigo Larraya, Marketing Manager Europe at LATAM Airlines Group, “they easily forget about it. We know that

The individual approach The TAM Airlines example of personalisation is clearly an ingenious idea executed well. But it’s just the tip of the iceberg when it comes to making customers feel special. Fueled by the individuality of social media, email targeting and increasing sophistication of data capture and manipulation, personalisation is being used in more and more campaigns, to the point where consumers now expect the personal service in many areas of marketing – and the media and advertising industries are only too happy to give it to them.

According to a recent report by data software provider Celebrus Technologies, two thirds of consumers across every age group in the UK and Germany now like to receive individualised communications, and more than half claim to be happy to share personal information with brands.

Also, research by Econsultancy found that 95% of client-side marketers worldwide who had implemented personalisation via offline channels have seen an uplift in conversion rates. This was more than any digital channel studied and led email – the most popular personalisation channel – by 5%.

The latest PriceWaterhouseCooper Global Entertainment and Media Outlook report also states that consumers are seeking out tailored, inspiring content experiences that transcend platforms.

“Digital or non-digital, for consumers it’s all about content experiences,” says Marcel Fenez, PwC’s Global Leader, Entertainment and Media. “Given the wide variations in consumer preferences, the challenge for www.printpower.eu | PRINT POWER _37

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The personal touch (Below and middle right) TAM Airlines created a personalised inflight magazine, while

entertainment and media companies is to blend data insights and consumer intuition to maximise the value of the experiences they offer.”

And, according to a report conducted by Ricoh and the DMA, 98% of marketers said better personalisation would enhance the effectiveness of mail, with 68% pointing towards image personalisation as an innovation to improve its ROI. 900 million and counting Of course, there’s always been an element of personalisation in print marketing platforms such as direct mail – it would have difficulty being delivered without at least a name and address. But the world of personalised marketing has now widened to encompass the target’s likes and dislikes, as well as their position in the sales funnel.

“We have done several pieces of personalised DM in the past and it’s a lot more effective than generic targeting,” says Mark Cruise, Head of Print Management at BSkyB. “My view is that everyone is going to need to be much smarter about how we all sort our data and use that data to target the customer. In order to survive, DM has to

Targeting the customer However, it’s not just direct mail and customer magazines that have the potential to be personal. By its very nature, door drop is also a highly targeted medium, with customers chosen according to their location – a good indicator of income – and proximity to a brand’s store.

“Brands can use door drop media to promote their products to specific target groups and also benefit from the fact that the study of print media by the user is very intense and repeated,” explains Iris Fuchs, Divisional Developing Director of German door drop specialists Walter Werbung Group. “One of the biggest advantages of all door drop campaigns is the possibility to target certain geographical areas, as well as avoid wastage.”

Retailers such as Homebase and B&Q also produce seasonal versions of their catalogues, with different versions sent to customers according to their previous purchases, while clothing brand JD Williams found they had a better response

ston, Leicester LE7 1PD

98% of marketers said better personalisation would enhance the effectiveness of mail, with 68% pointing towards image personalisation as an innovation to improve its ROI

perform, and the best way for it to perform is by being more personal and more applicable to the person it’s being sent to.”

Mark is responsible for an annual print budget of £15m and produces around 900 million items of print marketing every year.

Around half of that total is direct mail, a third media inserts and the remainder door drops. In short, he’s responsible for one of Europe’s largest output of print marketing from a single brand.

“The advantages of direct mail to us is that it’s a longevity piece – people hold onto it for longer than an email – and it’s more engaging,” says Mark. “The tactile nature of print will always be an advantage as long as there’s an emphasis on quality stock and quality creative. And with personalisation, we can target the customer based on the service we’re trying to sell.”

One of the most effective DM pieces BSkyB sent out was a letter with a personalised card attached, a campaign that was so successful that it ran for three years and has only just stopped. On the card was printed the target’s name and exclusive customer number as though they were already a valued Sky customer.

“That was designed as a piece of mail that the customer could keep in their homes,” explains Mark. “It was phenomenally successful, a really heavy engagement piece that the marketing department loved using.”

(bottom) BSkyB produce over 900 million items of print each year. (Middle left) Boden are famed for their unique catalogues

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/ PERSONALISATION rate from catalogues printed with the customer’s name on the cover.

But one of the most innovative brands when it comes to catalogues is Boden. The clothing label that operates across Europe has a fantastic track record in creating engaging catalogues that succeed in selling product and building their brand.

In 2010 it produced 300,000 copies of its Winter catalogue with a personalised cover featuring products relevant to the individual customer, as well as a fictional love story between the customer and Boden, identifying the very first product the customer had purchased.

Then, last year, they gave children in the UK, Germany and the US the opportunity to create their own MiniBoden catalogue cover via an online app. The children used various pre-designed elements to produce an image of an island that, along with the child’s name and age, formed a unique catalogue cover that was then printed and mailed out to them.

“It’s a really good way of illustrating how something digital can fuse with something tangible,” explained Mike Gough, Boden’s Associate Director of Creative Services.

“It’s been an amazing project and we’re really proud of it.”

The Amazon of mail Of course, you can have all the creative solutions in the world, but without good data, any personalised piece will be unengaging and ineffective. And worse, if you get any details wrong about the potential customer, you could lose them forever.

But not only are print and data companies getting more watertight in terms of customer information, they are now about to use that information in more and more sophisticated ways.

“You have to have the knowledge and data to be able to target effectively,” explains Robin Welch, CEO of GI Solutions, a print and marketing firm whose clients include Tesco, BSkyB and Pets At Home. “Using digital print, we can set up an automated job that will take a feed from a client’s CRM system that can tweak certain pieces of information or calls to action on a client’s direct mail piece, and have that out within a few hours.”

GI Solutions are working on a new DM product which will be a mail prompt for abandoned baskets. So if you don’t purchase an item in your online basket, instead of an email, you will receive a piece of mail that

Return address: Sky UK, Unit 5, Wanlip Road Industrial Estate, Syston, Leicester LE7

d

95% of client-side marketers worldwide who had implemented personalisation via offline channels have seen an uplift in conversion rates. This was more than any digital channel studied and led email – the most popular personalisation channel – by 5%

offers you an incentive to go back and buy the item.

“We’re almost at the point where we can deliver Amazon marketing on paper,” says Robin, “where we can send out mail within six hours that suggests different products based on what the customer has bought. It’s all about using the data to get somebody to do something.”

More personal, more effective If print marketing is to continue to be effective, it has to go further down the road of personalisation. No one is saying that it will be able to compete with the immediacy of digital, but the combination of the relevant message and the physical medium is a powerful one, and one that will continue to be effective long into the future.

“More and more brands will have to use personalisation in their print simply because you and I and everyone else out there are more likely to engage with print if it’s more relevant to them,” says Mark Cruise of BSkyB. “Don’t get me wrong, plenty of generic leaflet, brochure and DM work will remain, but the personalised piece will become more a lot more personal.” www.printpower.eu | PRINT POWER _39

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The internal magazine has developed in recent years from a hastily written piece of A4 to a professionally produced publication designed to engage and bring together staff from all over the world. We explain how print has become the communication of choice when it comes to company news

BY J O H N N Y S H A R P

“Once an unloved adjunct to the HR department, internal comms has moved up the food chain and enlightened leaders now see it as critical to business success�

SIR MARTIN SORRELL, CEO, WPP

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/ INTERNAL COMMS

WHEN SIR MARTIN SORRELL recently wrote about ‘The 10 trends shaping the global ad business’ earlier this year, he included ‘The growing reputation of internal communications’.

“Once an unloved adjunct to the HR department,” he wrote in his annual adland address, “internal comms has moved up the food chain and enlightened leaders now see it as critical to business success.”

There are other ways a company can foster positive feelings within its workforce, of course, from fi nancial bonuses to teambuilding events to dress-down Fridays. But communication is key not only in preserving a positive working environment, but also in making employees feel like they matter. And we’re not just talking about from the topdown communication, but contact between all areas of an organisation.

That’s why many of the world’s top companies and biggest-name brands invest significant resources into producing print magazines for their staff, aimed not just at keeping workers informed but at fostering a feeling of passion and pride in the workplace and promoting investment in the organisation’s values.

A global approach Keeping employees informed and happy is a tough enough task for any business, but when you have employees speaking several different languages working thousands of miles apart, communicating to them all is a considerable challenge. When Canon Europe’s Chief Communications Officer James Leipnik awarded the contract for their internal magazine View to content agency FST, it was on the basis that they would make the whole affair more inclusive.

“Canon wanted to consolidate its people,” explains FST’s Creative Director Richard Gray, “but previous internal comms had talked down to them instead of engaging and making their communications interesting and intuitive.”

“It goes to 17,000 employees in 19 different countries,” adds account director Jo Mossop, “and most of those people don’t interact with senior management at all, which meant people, say, in Turkey in a sales

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The magazine for all our people.

AUGUST 2014

›› ISSUE 68

KEY ROLE OF SCOTTISH SITES Dialogue launched with stakeholders on all sides

“When you’re featured in a physical magazine it’s something you can show to your family and friends, and giving people that opportunity can really help them feel valued within a company” Julie Isherwood, Internal Communications manager at EDF Energy

PAGES 21-23

role felt really disengaged, and didn’t feel they had much in common with the rest of the company or had much of a valued role to play.”

New regular features were brought in which featured employees from contrasting ends of the company interviewing each other about their work. So you would have a CMO being grilled by a graduate trainee and vice versa, for instance. “It helped to dig deeper into the culture of Canon and what they are about,” Gray explains.

Each territory was encouraged to contribute ideas, news and stories to ensure there would always be content relevant to all corners of the Canon family. This is an approach endorsed by Anders Lundblad, IKEA’s Head of Internal Communications, who approves and contributes content to their Read Me magazine.

“When I write an article, I always ask: will it be just as interesting for someone driving a truck in China as a cashier in the US?” he says. “Read Me has the purpose to raise awareness. We want people to know what is going on in the company and in what direction we are going with our business. This is the old-fashioned, one-way communication… I think it’s quite cool.”

While on the face of it, the communication is one-way, IKEA’s CMA award-nominated magazine is also as likely to feature top brass as workers on the shop floor, adding to the sense that theirs is a publication that belongs to everyone in the company.

In recent years, Read Me has included everything from an exclusive interview with their new CEO to a feature called ‘Step

Inside – into two co-workers’ bathrooms’, which featured a Portuguese HR assistant showing off her new bidet.

The role of print With IKEA dealing in physical, touchy-feely products, it makes sense that they should produce a print magazine. And as Canon are one of the world’s best-known brands in imaging technology, it’s also natural that print should play a particularly crucial role in an picture-led magazine that showcases the best of what their products can do.

At the other end of the spectrum, however, an internal magazine can speak to people by using the more populist, low-budget form of print publication – the tabloid newspaper.

For example, London’s Heathrow Airport found that some of their employees were proving hard to engage in the company. With many staff involved in highly important work such as security, Heathrow needed them to be keenly aware of the team around them and the goings on within their workplace in roles where more than just disengagement was at stake. They chose to launch their own internal newspaper, Heathrow Life, and right from the start, it was designed as anything but a glossy, corporate affair.

“We agreed with the client at Heathrow that we wanted it to be as far away from a top-down communication as it could be,” explains James Wickham, senior editor of content agency Beetroot, who produce the newspaper. “It was all about putting people like security personnel and engineers front, back and centre, so they’re telling

the stories about the company and not the management.”

The aim was to imitate the format of the London Evening Standard or Metro, but with added emphasis on the real-life stories that have proved a hit in consumer magazines aimed at a similar demographic.

The ‘pickupability’ factor Print’s familiarity and ability to appeal to a chosen, targeted audience is reflected in these contrasting examples, but both also take advantage of print’s ‘pickupability’ factor – aiming at an employee base who are relatively time-poor and, unlike many office workers, don’t have access to computer screens or web access that might have made digital offerings a tempting option.

Julie Isherwood, Internal Communications Manager at EDF Energy, oversees their Connect magazine, which was voted Best Internal Magazine at the 2014 International Content Marketing Awards.

“Our employees like having it there as something they can pick up and look at during their breaks at work," she says. "The CEO is a big fan – he’s very keen on making all the staff feel aware of the company’s philosophy and are behind what EDF is trying to do with green energy initiatives, for example.”

Isherwood also pinpoints print’s added feel-good factor for employees whose stories are featured in Connect.

“When we’ve talked to readers, we’ve found that there’s nothing quite like seeing yourself in print. With the advent of social media, people are quite used to seeing pictures of themselves and mentions on a computer screen, but when you’re featured in a physical magazine, it’s something you can show to your family and friends, and giving people that opportunity can really help them to feel valued within a company.”

Images equal engagement Done well, giving your employees a visible presence in their staff magazine not only gives them a welcome boost to the workplace ego, but illuminates other areas within the organisation and the people working within them.

“We were keen to commission as many photographs as we could in Heathrow Life,” says Wickham, “so we had professional pictures of people doing their jobs. If you make people look as good as possible then it maximises the emotional response we want to achieve, and that’s something print

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/ INTERNAL COMMS

Think local Coca-Cola's internal magazine Contour is produced in many different languages

BUILDING THE BOND How to get closer to your staff using an internal magazine

does really well.”

The result, Heathrow found, was an increase in employee engagement, while Canon found that View magazine has enjoyed a 45% uplift in reader interaction since FST’s revamp last year. The perceived value of print, meanwhile, sends a message to staff that the company cares about them more than the occasional impersonal email or PDF product. The traditional ability of the best magazines to make readers feel like members of the same community or club is now being used within companies to foster the same social feelings.

An even better option is to tailor content for different territories. Coca-Cola’s internal magazine Contour is centrally produced for publication in numerous different editions around Europe, which, they explain, “ensures brand consistency in five languages with room for local personality in each country.”

Bespoke print editions in each territory show you care about what goes on in your employees’ particular part of the world, even if you are a multinational corporation.

“I’m defi nitely seeing a trend of brands coming back to print as a means of communication,” says Richard Gray, Creative Director of FST. “Amid all the digital and social media communications we’re bombarded with now, print communications feel human again. When you’re trying to share culture within an organisation, whether it be a few hundred or many thousands of people, you want it to feel personal and inclusive. And that’s where print comes into its own.”

For the staff, by the staff, about the staff The office equivalent of Pravda isn’t going to make anyone feel all warm and fuzzy about their workplace. The best internal magazines focus on human interest content that promotes emotional engagement in their colleagues and company.

For example: Heathrow Life magazine made a ‘no senior management’ rule for their content, ensuring the readers felt more ownership and involvement in the communications.

Canon found that View magazine has enjoyed a 45% uplift in reader interaction in one year, while Heathrow gained an increase in employee engagement with their magazine Heathrow Life

Incentivise interaction Anything that offers added value in a publication is a big help in getting readers engaged, and consuming the messages therein. Letters pages, competitions, prize quizzes and crosswords have long served that same purpose in consumer mags, while links to social media and company intranet systems mean interaction has never been easier in internal comms.

For example: Canon Europe’s View magazine runs a ‘Beat The Ambassador’ competition for employees, many of whom are keen amateur photographers. The challenge is to take a better picture than one of the high-profile ‘ambassador’ celebrity snappers the company sponsors.

Know your audience Internal magazines should be tailored to a demographic just as those on the newsstand are. You need to make the kind of publication they would buy for themselves.

For example: The UK Post Office’s internal magazine Wow! won the Institute Of Internal Communication (IoIC) Gold Award last year, and adopted a similar design to successful consumer publications such as Take A Break to aim at the predominantly female, aged 30-55 staff of their sub-Post Office branches.

Be culturally aware Larger multi-national companies need to be sensitive to cultural as well as language differences in different territories. For instance, images of women that are acceptable in Western Europe may offend readers in the far east or Asia, while the tone of voice, while in keeping with brand values, should be tailored to its local audience.

For example: Canon Europe have used alternative imagery for editions of View distributed in regions such as Turkey, due to different cultural and media norms in those countries.

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/ CATALOGUES

The indestructible medium People have predicted the demise of the print catalogue for years, but its ease of use and tactile nature continues to give brands a valuable platform for inspiring customers and prompting purchase. Just ask P&O, Boden, IKEA, Firebox, Argos‌

BY S I M O N C R E A S E Y

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when jc penney

announced in 2009 that it was culling its iconic ‘big book’ catalogue and phasing out distribution of 70 smaller catalogues in 2010, many people feared it was the death knell for the medium.

The famous American department store had printed a catalogue since the 1960s and it was seen as being part of the chain’s DNA. However, earlier this year, JC Penney stated that it was doing a volte-face. From March, the retailer announced that it was reinstating its catalogue after data showed that many of its online sales were prompted by what its customers saw in print.

It should have learnt from clothing retailer Lands’ End’s misstep back in 2000. The company stopped mailing catalogues to a group of its best customers to see what would happen. The move backfired as its best customers simply stopped ordering, costing the company $6m in lost sales.

Over the past few decades it’s fair to say that the humble product catalogue has undergone a rough ride. Run lengths have shortened and catalogues are being sent out less frequently as retailers have the ability to put their entire back catalogue of products online for a fraction of the cost. However, at the same time retailers are making better use of customer data to produce more targeted catalogue mailings and are increasingly using catalogues as part of their wider omni-channel strategies.

That’s because printed catalogues work.

Picture perfect (Right) Clothing retailer Boden uses a series of high-quality images in their catalogues

58% of online shoppers browse printed catalogues for ideas and 31% have a retailer’s catalogue with them when they make an online order

What JC Penney failed to understand is that for many customers the catalogue is part of their experience of the brand. As Mike Gough, Associate Director of Creative Services, Production, at Boden, explains: “The catalogue is part of our brand heritage and we really value the tactile experience it gives our customers. We know it’s a powerful tool and is particularly loved by our best customers who really engage with it.”

The traveller’s companion But don’t just take Gough’s word for it.

According to research by management consulting firm Kurt Salmon, 58% of online shoppers browse printed catalogues for ideas and 31% have a retailer’s catalogue with them when they make an online order.

For some industry sectors, the catalogue is arguably more crucial than other media.

Take travel, for example. Travel agencies could easily get away with placing their holiday packages online where they can use larger images and even video content to bring their resorts to life, yet the agencies still value these ‘brochures’ and print them in their thousands every year. That’s because they “still play a massive part in our passenger booking journey,” according to a spokeswoman from P&O. “We currently mail around a quarter of a million passengers our first edition brochure, which features the new programme available to book,” she adds.

“This represents a huge spike in bookings.

Whether passengers subsequently book

In 2000, clothing retailer Lands’ End’s stopped mailing catalogues to a group of its best customers. The move backfired as its best customers simply stopped ordering, costing the company $6m in lost sales.

via phone, online or via travel agents, the brochure is still very much used by passengers to choose their holidays.”

Like P&O, many of the companies that continue to use catalogues do so because of the high engagement levels the printed page generates versus the level of interaction when consumers surf the internet for products.

“Looking at online behaviour, time on site is relatively short and the number of pages visited is limited,” says Barney Byfield, Managing Director at packaging manufacturer Davpack, which has been printing product catalogues since the late1990s. “Therefore the customer’s knowledge of our range is often limited. With the UK’s biggest in-stock choice of packaging, offered with attractive discounts, it’s important to Davpack to get these USPs over to customers. The catalogue does this well and gives us a permanent presence in the office.”

A continual presence The benefits Byfield details is why a growing army of companies are being drawn down the catalogue route. In the last decade, a number of companies have broken into the catalogue market for the first time. In the UK, the supermarket groups have particularly embraced the model to advertise their growing general merchandise ranges and even online-only operators such as Firebox rely on print catalogues to drive sales.

One company about to join this group by launching its first ever catalogue is Bizzi Growin, which designs and supplies soft nursery furnishing for newborns and babies to high street brands such as Mothercare,

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IKEA The poster company for the catalogue industry, IKEA has been printing catalogues since 1951 and shows no signs of slowing down. It currently distributes over 217,000,000 copies of its 300-page catalogue around the world every year.

Top Toy Swedish toy retailer Top Toy, which holds the franchise for Toys R Us in the country and regularly prints catalogues, caused a stir two years ago when it published a Christmas catalogue that challenged gender stereotyping, featuring images of boys playing with vacuum cleaners and girls firing guns.

58%

Argos In 2013, Argos added augmented reality (AR) functionality to its catalogues when it trialled a ‘Blippable’ issue. Throughout the catalogue, users could use the Blippar app to access additional product information and view videos.

Carhartt Although many fashion brands are increasingly using online channels to reach out to consumers, one brand bucking the trend is contemporary workwear outfit Carhartt. Never one to conform, the company produces a ‘must-have’ pocket sized ‘lookbook’ aimed at the cool crowd to showcase its offerings for each new season.

of online shoppers browse printed catalogues for ideas and 31% have a retailer’s catalogue with them when they make an online order Kurt Salmon, 2014

Tesco and Babies R Us. “We will start by printing for our buyers at Mothercare, Tesco and John Lewis, as well as independent retailers,” says Cathy Bolton, head of sales at Bizzi Growin. “We then plan to branch out into catalogues for the consumer and this will be a much higher volume.”

Bolton says that the catalogue is a vital part of the growth plans for Bizzi Growin, as its target audience are parents and grandparents who still love to read magazines and catalogues.

“Catalogues are easier and more userfriendly than online,” explains Bolton.

“Plus it’s something that people keep and always have around, whether that’s on a desk at work or on a coffee table at home.

A catalogue ensures that your company, brand and products stay at the forefront of the customer’s mind.”

Flicking towards the future It’s vitally important that growing retailers such as Bizzi Growin and established operators such as Boden fi nd what Gough describes as the right blend of “relevant printed material to excite and engage the customer whilst complementing the digital experience”. Boden has already used technology to enhance the print experience.

“We are currently looking at ways of using online data to create and deliver faster, reactive and more relevant print,” explains Gough. “Last year we ran a Mini Boden ‘Create Your Own Cover' campaign using an online platform which enabled our customers to create their own personalised cover for the catalogue. We are looking at other ways to use the same platform in the future.”

Recognising that the future of retail is omni-channel, home furnishings giant IKEA – probably the largest catalogue user in the world – has developed an app that works in tandem with the catalogue to give users extended digital content, including home furnishing tips and ideas, videos, 360-degree views of rooms and the ability to place selected 3D images of IKEA products in customers’ own homes.

Considering recent developments and forays into the digital world from the offl ine world of print, it appears that rather than kill off the catalogue entirely, these online channels will increasingly feed and complement the printed page, thus ensuring the catalogue will be around for many years to come. www.printpower.eu | PRINT POWER _49

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The Centre of Excellence for Doordrop Media in 23 European Countries • Doordrop Media can reach targeted audiences across 182 million households • Doordrop Media plays a key role in the customer journey from offline to online • Doordrop Media could be the most effective customer acquisition channel in your marketing mix

To find out more about ELMA call +44 1628 816 685 or visit www.elma-europe.com PP10_50-57 Reference_UK v2_su.indd 50

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Knowledge Over the next five pages, we’ll be giving you the latest research, information and insight into the six key mediums covered by Print Power.

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

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NEWSPAPER ADVERTISING Newspapers are still the number one medium for shaping public opinion.

Their credibility, knowledge and values remain a formidable force.

— MAGAZINE ADVERTISING With over 50,000 magazine titles currently published in Europe, they are an ideal way to get your brand in front of a key target audience.

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

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

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

— CATALOGUES One of the oldest forms of marketing, catalogues are still a highly effective sales driver, generating over £16bn of sales in the UK every year.

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

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7 reasons_Newspaper advertising

1. REACH AND RELIABILITY Not only do newspapers reach a lot of people, these people span a wide age range (60 per cent of German 14-29 year-olds are reading), while different sections and supplements allow advertisers to tap into specific groups and backgrounds.

2. PEOPLE READ NEWSPAPERS For many, newspapers are the most reliable form of news and information, backing up this information with credible opinion and insight. This level of trust leads to readers spending a huge amount of time reading their newspaper – 40 minutes on average .

3. EMOTIONAL CONNECTION Neuroscience has demonstrated the power of newspaper advertising to drive a strong response. Tracking of in-market campaigns has reinforced this, with 20 in-market studies providing clear evidence of national newspapers’ strength in generating increased emotional identification (NMA).

4. UNIVERSAL APPEAL Newspapers know that if they are to thrive in a hyper-media world, they need to offer their reader not simply news but a huge variety of content.

This means that no matter what the brand, there’s always relevant content to fit into.

5. VERSATILITY Newspapers are the only media where a brand can alter their campaign late in the day and still communicate it to half the adults in an entire nation the next morning.

6. INTEGRATION Studies prove that newspapers are fantastic at driving readers to advertiser websites, proving the significant cross-media effects of using online and offline advertising.

7. EFFECTIVENESS Newspapers give any brand an immediate response, as virtually all of the reach is delivered on the day the ad appears. And compared to other media, newspaper production costs are low.

GIVE A CHILD A BREAKFAST KELLOGG’S The international food brand Kellogg’s wanted to build integrity and trust and so launched its biggest CSR initiative to date, with its ‘Give a Child a Breakfast’ campaign. The campaign was a call to arms against child poverty, with the aim of donating two million breakfasts to less fortunate children in the UK. Central to the campaign was a multimedia partnership with Trinity Mirror, including newspapers such as the Mirror, the Manchester Evening News and the

Daily Record. In each newspaper there was a mix of advertorial and editorial content, raising awareness of child poverty then getting readers to actively participate in the cause by helping out with local breakfast clubs.

The results were impressive, with over two million breakfasts donated, 40% of readers considering purchasing a Kellogg’s product and a 140% sales increase as a result of the campaign.

“People are faithful to their newspaper. They’d no more change their newspaper than their football team” Alfredo Marcantonio, partner at advertising agency HHM

82%

BELIEVE THAT NEWSPAPERS HAVE POWER AND INFLUENCE OVER THEIR READERS YOUGOV, 2012

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7 reasons_Magazine advertising

1. FANTASTIC REACH With over 50,000 titles published in Europe selling in excess of 20bn copies per month, magazines are one of the most widely distributed forms of media in the world.

— 2.FINE-TUNED TARGETING Each magazine title is specialist in some way, reaching a certain demographic or interest group that will engage with relevant advertising or featured brands.

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

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

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

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

— 7. DRIVING SALES Research shows that magazines are a powerful tool in driving sales. A PPA study showed that 63% of readers were driven to action after exposure to magazine advertising.

MAGIC MIKE XXL NOW MAGAZINE Film companies are looking for more and more inventive ways to advertise their movies and celebrity gossip title Now magazine came up with a great way to promote Magic Mike XXL. The Time Inc title partnered with Warner Bros to create a secret special edition cover for their July 2015 issue, which featured a perforated strip that, when pulled by the reader, revealed a secret cover packed with images of the film’s stars.

Then, inside the issue, there were 16 pages promoting the sequel to male-stripper thriller Magic Mike, including an image gallery of behindthe-scenes pictures, an

“Consuming print media provides a relaxing, deeply meaningful and utterly delicious experience. It’s the time away from the daily screen that we all need and crave” Maria Rodale, CEO of Rodale Inc

interview with the star, Channing Tatum, plus a number of steamy pull-out posters of the cast.

“As the most hotly anticipated summer movie, Now readers will be thrilled to rip open our cover to see the hot cast underneath,” said Caroline Millington, editor of the Magic Mike XXL special. “There’s more flesh packed into those 16 pages than on Miami Beach!”

81%

OF PEOPLE HAVE BOUGHT AN ITEM OR VISITED A PLACE AFTER READING ABOUT IT IN A MAGAZINE MAGNETIC, 2015

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7 reasons_Direct mail

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

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

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

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

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

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

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

BE CLEAR ON CANCER M&C SAATCHI The anxieties surrounding cancer often prevent people from seeking medical help, so Public Health England decided to be more upfront with people with its ‘Be Clear on Cancer’ campaign. The campaign was an initiative designed to influence those with possible cancer symptoms to seek help faster and was rolled out in print as well as radio to reach as many of the target audience as possible.

Since the campaign,

there has been a 62% and 29% increase in patients aged over 50 visiting their GP about the symptoms highlighted in the lung and bowel cancer campaigns respectively, whilst during the same time the rise of visits to GPs with symptoms not directly featured in the campaign rose by a maximum of 4%.

“This was a real opportunity to make a difference to people’s lives,” says Sheila Mitchell, Marketing Director of Public Health England. “For the first time we were proposing to use mass media to encourage people to go and see their doctor about cancer symptoms.”

“Print is interesting because it actually provokes people to read it. Just buying it or getting it in the mail provokes the reader to engage in a way that digital doesn’t” Britt Fero, executive vice president and head of strategy, Publicis New York

83%

OF PEOPLE FIND DIRECT MAIL EASIER TO ABSORB THAN EMAIL CMS LTD, 2015

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7 reasons_Customer magazines

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

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

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

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

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

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

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

— 7. COMPLEX CONTENT Print works fantastically well at getting across complex content or marketing messages. So if you need to explain something in detail, a customer magazine may well be the best option.

COMPLETELY LONDON KINLEIGH, FOLKARD & HAYWARD Estate agents don’t immediately spring to mind when it comes to print creativity, but the Londonbased Kinleigh, Folkard & Hayward have turned the theory on its head with Completely London. The quarterly print title aims to showcase the company as the leading expert in citywide property matters and experts in the capital, its people and places.

Each issue begins with a theme – previous themes have included ‘Secrets’,

‘Rebels’ and ‘Power’ – and expands on that theme using travel guides, celebrity interviews and opinion pieces from the capital’s leading writers. The style is clearly working: since its launch in 2009, the print run has increased by 50%, while a reader survey found that 98% read more than half the magazine and more than one in three searched for KFH-listed properties after reading an issue.

66%

OF PEOPLE ARE MORE RELAXED AND RECEPTIVE WHEN READING A MAGAZINE IN PRINT “There’s nothing better COMPARED TO 18% ON than physically flicking A MOBILE DEVICE

through the pages of a good magazine” Celebrity chef Jamie Oliver, who launched his Food Tube magazine earlier this year

TWO SIDES, 2015

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7 reasons_Door drop

1. IT DELIVERS ROI Door drop drives rapid and measurable response. That response shows an impressive ROI – and it’s growing. In a study by ELMA, the door drop industry grew by 0.5% in volume and 1.5% in revenue over a 12-month period (ELMA).

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

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

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

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

— 6.SAMPLE DISTRIBUTION Getting your product directly into the kitchen of your prospects is a fantastic way of raising awareness of your brand, as well as getting your customer to try it.

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

EVEREST MBA/MEDIACOM Everest are the number one brand in the UK for windows and doors, but being the market leader can often make changing things hard. Faced with declining appointments, sharper competition and more demanding customers, Everest wanted to halt the decline, raise appointment numbers and initiate a longterm growth trend.

MBA and Mediacom formulated a strategy that concentrated on doing lots of things a little bit better, everything from what Everest did on TV to a national door drop campaign. Out of all these

“On your 100th birthday, you’d be disappointed if the Queen only sent you an email” Nik Roope, Founder, Poke

‘one per cents’ a growth trend was produced, contributing £1.8m in incremental margin, improving ROI by 15% and winning a Silver Award at the 2014 IPA Awards.

38 days

THE AVERAGE TIME DOOR DROP MAIL IS KEPT IN A HOUSEHOLD MARKETREACH, 2015

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7 reasons_Catalogues

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

— 2.INFORMATION-PACKED The catalogue is a lightweight and readily available source of information, with most questions answered within its pages.

Price, look, colour, size, quality and performance can all be communicated quickly.

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

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

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

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

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

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

HOUSE JOHN LEWIS The famous British department store is renowned for its fine range of print catalogues and strong brand direction, so when content agency Sunday were asked to produce a catalogue for their affordable range of furniture targeted at the younger customer, they created ‘House’.

The products needed to be presented in a helpful and inspiring way, with a boldness and wit that would surprise and engage the audience. So the editorial team pulled together a series of room sets that

came alive with colour and quirkiness. The cover was also carefully created, with the table, chair and crockery painted in a striking yellow to get the effect of being bathed in light.

The result was that imagery from the print catalogue was used across the range of John Lewis marketing platforms, including the brand’s app and store windows across the UK.

49%

BELIEVE CATALOGUES ARE THE BEST SOURCE FOR GROCERIES, COMPARED TO 20% WHO FAVOUR ONLINE

“Its popularity surprises me. I’m happy to see it because it’s unique to Argos” John Walden, CEO of Home Retail Group, on the enduring appeal of the Argos print catalogue

ROY MORGAN RESEARCH, 2014

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FINAL WORD

\

Joanna Manning-Cooper The Director of Marketing for the Rugby World Cup 2015 explains the vital role of print in promoting the event to an international audience

What does your role involve?

My role is to market and promote the Rugby World Cup, including selling at least 2.3 million tickets and engaging and inspiring the world to celebrate rugby and play and support the game. This involves designing and delivering a range of integrated marketing and communications campaigns for ticket sales, the Festival of Rugby and general tournament promotion, as well as delivering an international and domestic Trophy Tour and managing a busy press office for the 3,000 accredited media who will cover the tournament.

How much print marketing have you produced for the tournament?

Although we have embraced digital media, we are big believers in print media and our ticket marketing campaign has involved print and outdoor advertising, particularly newspaper supplements in national and regional titles. We have also produced a range of print publications, from the spectator guide, which we issue with all our tickets, through to a handbook for our 6,000 volunteers.

What are the specific advantages of print for such a huge event as the Rugby World Cup? The RWC is one of the biggest sporting events in the world and we have a lot of information to provide, not just to the 2.3 million ticket holders but to the millions of people who want to be part of the tournament by visiting our Fan Zones and seeing the Trophy Tour. Print is one of many ways to reach our audiences – not the only way, but an important way given the amount of information we have to convey.

What roles will print perform for you?

Brand-building, getting across information, the souvenir element…

All of the above. Brand building via print

“The Rugby World Cup is one of the biggest sporting events in the world and we have a lot of information to provide”

advertising and ditto spectator information.

The licensing programme involves producing a match programme – still a very important part of the spectator experience.

How important is print within the industry of sports marketing?

It still has a big role to play. For big tournaments, you still can’t beat the cut-out-and-keep World Cup wall charts!

Souvenirs and collectibles are also a big part of sports marketing and memorabilia. I’m a big fan of the impact of print advertising and newspaper supplements in particular.

What key pieces of advice would you give to a sports marketer?

Don’t underestimate the power and reach of traditional newspaper supplements, which provide a lot of information in a clear and easy to understand way. Also, think carefully about ticket design – every major event has to print millions of tickets, which can be a great souvenir and memento. We spent a lot of time creating tickets which fans would want to keep – our design features four Rugby World Cup-winning captains, with a special gold design for the fi nal featuring Jonny Wilkinson.

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