SPRING 2017_PROMOTING THE EFFECTIVENESS OF PRINT MEDIA THROUGHOUT EUROPE
ALL IN THE MIND
THE REMARKABLE EFFECT READING PRINT HAS ON THE BRAIN A QUESTION OF TRUST Why print is the answer to fake news GENERATION TEXT The truth about millennials and print
BUT DOES IT WORK? Measuring the effectiveness of print SPECIAL DELIVERY How technology and smart thinking are driving direct mail
I am the power of print. When using the optimal media mix for FMCG campaigns, which involves increasing magazineâ&#x20AC;&#x2122;s share, return on investment (ROI) will increase from 1.64 to a ROI of 1.75. By optimizing your print investments in FMCG you can increase your ROI by 17%. Read the BrandScience analysis for w w w.printpower.eu more details on www.printpoweruk.co.uk
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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. — 12-13 Take 5 The world’s greatest print marketing, including an airline ad you can snack on, a movie pull-out you can make a hat with, and a wine bottle that doubles as a book. — 14-15 Thought Leaders Scott Manson, Director Of Content for OgilvyOne UK, explains how print offers the personal touch, while Tammy Willson, Sales Director for The Times argues why people trust print newspapers for their authority and insight. — 16-20 Fake news At a time when the public are quickly losing trust and respect for online news, people are turning to traditional media for their credibility and fact-checking systems. Discover why your brand is safe in the hands of print. — 22-25 Measuring print’s effectiveness Print is one of the world’s most effective mediums, but how do you go about measuring that effectiveness and what can you learn from the results? — 26-29 Lidl We speak exclusively to the retail giant’s Head of Media to discover why the UK’s fastest growing supermarket invests so heavily in print.
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100% RECYCLABLE Print Power is printed on 100% recyclable paper from sustainable managed forests. Printed using vegetable-based inks by an ISO 14001-accredited printer. PRINT POWER Published by Print Power www.printpower.eu Content by Soul Content www.soulcontent.co.uk Editor Sam Upton Deputy editor Johnny Sharp Design Ian Findlay Coordinators Martyn Eustace Jonathan Tame Tasneem Mahbub Print PCP, Celloglas Data management DST PrintPower UK iCon Centre, Eastern Way, Daventry, Northamptonshire, UK NN11 0QB +44 (0) 1327 262 920 www.printpower.eu #Printpower © 2017 Print Power Printing plates supplied by Fujifilm
30-34 The neuroscience of reading print Reading print improves the understanding and retention of advertising, as well as forging emotional bonds with customers. We delve deep into the mind to find out why. — 36-40 Door drop developments It may not have the glamour of TV, but door drop continues to be a very powerful and cost-effective way to get your brand into the hands of millions of consumers. Discover how improved targeting and new thinking is changing the industry. — 42-45 The creativity of direct mail Whether it’s new technology or a burst of creativity, these are exciting times for direct mail. Find out how you can harness the power of the mail-out. — 46-49 Millennials and print Put your preconceptions to one side – today’s young are just as likely to be reading a print publication as tapping on their phones. We investigate the multi-channel nature of the modern millennial. — 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 Frank Zuidweg, Marketing Coordinator of Nikon Professional Services, explains why print is ideal for the camera brand to communicate with its professional customers.
www.printpower.eu | PRINT POWER _ 03
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The latest news from the world of print
Readers are more engaged with print — Bauer Media have released a study into print advertising that’s found that readers are more engaged when reading a print magazine than consuming any other media. The global publishing company surveyed 600 of its US readers to learn more about their passions and how they engage with content, and discovered that more than three-quarters (84%) said they found themselves more engaged when reading a print magazine versus consuming other forms of
content, including digital and on television. The study also found that not only do readers become more involved with a magazine’s content, they also enjoy the adverts, with over half (55%) saying they enjoy ads more in magazines, compared to reading or viewing similar content on TV. What’s more, nearly as many (53%) readers of certain titles (First for Women and Woman’s World) said that the advertising was an important part of why they read those magazines.
“We invested a significant amount of time and resources into this study because we’ve long believed in our ability to connect with readers on a deeper level,” said Ian Scott, President of Advertising Sales at Bauer Media. “This study supports the idea that advertising matters in our magazine and people like it.” This follows a Nielsen study that found that magazines deliver the best return on ad spend of all media, with an average return of $3.94 per dollar spent. This figure is over
50% higher than its nearest rival, display advertising, which produced just $2.63. “In an overcrowded and everchanging media landscape, reader engagement matters more today than ever before,” added Steven Kotok, CEO of Bauer Media US. “Our study proves that newsstand is the clear winner here – and the truest measure of consumer demand.” + For more information about the Bauer Media study, go to http://bit.ly/2mj8r9A www.printpower.eu | PRINT POWER _ 05
Ad agencies launch their own magazines —
As more proof that magazine media is valued by the world’s top advertising agencies, JWT have created and published their own magazine. Late last year, JWT’s innovation think tank, JWT Intelligence, wanted to present some of its proprietary data on the habits of millennial and Gen Z women, and decided that they didn’t want to publish another study full of dry numbers and graphs. So instead they presented the information in a format brands and consumers could immediately understand: a women’s magazine. The magazine, titled Glass, presented current and potential clients with digestible stories – from the benefits of coworking spaces to the evolving luxury landscape – with the aim of helping brands and the agency create more effective marketing campaigns. “It gives brands tangible pointers and inspiration for things they could learn from, but it also communicates our
own insights,” said Lucie Greene, Worldwide Director of the Innovation Group at JWT. JWT aren’t the only agency to turn to magazine publishing. Digital agency Huge launched its own magazine called Magenta last year, while R/GA continues to invest resources into its own title, FutureVision. Originally created four years ago to inform employees and clients about the latest trends and technology, the print publication doubles as a tool that the agency can use in pitches and strategy meetings with clients. “It became something clients began to ask for more and more,” said R/GA Global CMO and FutureVision Editor in Chief Daniel Diez. “Eventually we started getting requests to do custom research, publications and briefings for our clients.”
Glass was created by global ad agency JWT to give their clients an accessible way to view data, while (below left) Magenta is produced by digital agency Huge
+ To read the latest issue of FutureVision, go to https://futurevision.rga.com/ magazines
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/ ENGAGE The world of print
The Mercedes F1 race team placed a job ad in Autosport magazine for a new driver after Nico Rosberg announced his retirement in November. “A vacancy has arisen for the position of race driver,” read the ad. “Ideally, you will have a proven track record in skills including steering, braking and, in particular, accelerating. Possession of an FIA Super Licence will be an advantage.” —
Private Eye hits highest ever circulation — Satirical magazine Private Eye has posted its highest every print circulation – up 9% year on year, according to the latest ABC results. Edited by Ian Hislop, the title also achieved the biggest sale of a single issue in its 55-year history with its Christmas 2016 issue, which sold 287,334 copies. “This is our biggest sale ever,” Hislop said, “which is quite something given that print is meant to be dead.” The increase in circulation comes during a period that followed the Brexit vote and Donald Trump’s inauguration as American President – both events that Hislop says were likely to be factors in the magazine’s success. “It’s obviously to do with Brexit and Trump,” he said, when asked for reasons for the circulation increase, “and people thinking where can I find something that might be true and something that might be funny. People say you can’t do satire any more because of Trump. I think people are saying: ‘Can we have some?’”
“Studies worldwide show that people are more engaged when reading a newspaper than they are when using social media, an important consideration for advertisers seeking consumers’ attention” Sir Martin Sorrell, CEO of WPP
THE TOTAL AMOUNT OF TIME CONSUMERS SPEND READING UK NEWSBRANDS IN PRINT, AS OPPOSED TO JUST 12% ONLINE NRS, COMSCORE, 2016
When popular US title The California Sunday Magazine created their recent ‘sound’ issue, they came up with an innovative way to add audio to the print experience by linking ‘sonic footnotes’ in the issue with the title’s website. As they flick through the magazine, readers are given prompts to play sounds such as the ocean, the forest and various instruments on their mobile phones, which makes the reading experience truly multi-sensory. — A series of posters made from marijuana have been created in Uruguay to warn the public of the dangers of driving while under the influence of the drug. With the tagline ‘If you have smoked, don’t drive’, the reason for using hemp in the production process was that it was the only way marijuana can be beneficial to someone behind the wheel. Oh, and the posters are actually called ‘potsters’. Of course. — While many brands have kept their heads down and made no comment about Donald Trump, Lebanese nut brand Al Rifai made its feelings clear about the US leader from the very first day of his presidency. Knowing that Lebanese daily newspaper The Daily Star would run a front-page story on the president’s inauguration, it ran an ad directly below that simply said: ‘The world has gone nuts.’
www.printpower.eu | PRINT POWER _ 07
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/ ENGAGE Event diary
21 September 2017 International Doordrop Media Congress Celebrating an industry that’s now worth over €3.8bn across Europe, the International Doordrop Media Congress is the ideal event to discover why unaddressed mail and leaflets are so effective at getting your brand into the homes and hearts of your customers. This year it’s Barcelona’s turn to host, promising a day of inspiration and a night of festivity. + Barcelona, Spain www.doordropmedia.nl 4-5 October 2017 Festival of Marketing The largest global event dedicated to brand marketers, the Festival of Marketing features more than 200 speakers, plus workshops, awards, experience rooms and training. Based on the spirit of strategy and creativity, the conference boasts an impressive line-up of experts, while the accompanying Masters of Marketing Awards is always a hotly contested event. + Tobacco Dock, London www.festivalofmarketing.com 11-13 October 2017 The Print Show With a focus on new technology, print’s enduring legacy and long-term prosperity, The Print Show features the latest print and finishing systems, as well as a comprehensive programme of events, seminars, presentations and masterclasses to help you get the most out of the modern print industry. + Telford, UK www.theprintshow.co.uk 24 October 2017 Power of Print Seminar The annual one-day conference organised by Print Power brings together some of the world’s leading experts on print, marketing and media to present and discuss their thoughts on the value of print. This event is a unique opportunity to understand the changing role of print in a rapidly developing media landscape. + London, UK http://powerofprint.info 31 October – 3 November 2017 IPEX One of the world’s largest shows dedicated to print returns to the UK, with over 400 exhibitors showcasing the latest print technology to over 20,000 buyers and senior decision-makers from the UK and rest of the world. This year, the theme of the event is print in action and promises “to open your eyes to new possibilities, products and applications that can make a real difference to your business.” + Birmingham, UK www.ipex.org
Direct mail delivers for charities — When it comes to persuading people to donate to charity, direct mail is the best medium, according to a new report by fast.MAP and the Institute of Fundraising. The report, titled Fundraising Media DNA 2016/17, found that the most donations are driven by direct mail as opposed to online channels such as email, social media and SMS. As well as concluding that direct mail’s strongest attributes are ‘retainable’ and ‘trustworthy’, the report also found that direct mail plays a key role in engaging a wide range of audiences, with engagement levels particularly
high among the over-55s. And while those in the 18-34 age range are less engaged, they still score above average on engagement levels. “More traditional media such as direct mail play a key role in engaging a wide range of audiences,” says David Cole, Managing Director of fast. MAP. “Research shows that this includes younger donors as well as the over 55s, which suggests that we have to move away from stereotypically assigning ‘old’ media with older age groups.” + To download the report, go to http://bit.ly/22Kks5vaspx
Free papers increase ROI by up to six times
Research by Newsworks has revealed that free newspapers such as Metro and Evening Standard deliver 3.5 times greater ROI for advertisers when included in their media plans. The two titles are read by 14.4 million people every year and four million every weekday. The newspapers believe the daily commute plays a big part in these findings as 77% of readers spend at least an hour commuting each day. During this time, 73% catch up on news while over a third research and plan future purchases. But in certain categories, the already impressive ROI can be greater. In the finance sector, campaigns work five times harder when free print is included, while this increases to six times in the travel and transport sector. “The time is right for free newspapers to shout about their power,” says Sophie Robinson, Creative Director for Metro. “It’s well known how valuable our young urban professional audiences are, but now we have the ROI figures to give the brands the confidence they need to grow their investment. It’s an exciting time to be in free print.” www.printpower.eu | PRINT POWER _ 09
People spend more time with print —
Apple goes analogue —
The world’s largest technology company made a surprising move just before Christmas and launched their brand new product: a book. Titled Designed by Apple in California, the luxurious hardbound publication features 450 images spread across 300 pages, chronicling the
company’s world-changing range of products, from the 1998 iMac to the 2015 Apple Pencil. “This archive is intended to be a gentle gathering of many of the products the team has designed over the years,” says Apple Chief Design Officer Jony Ive in the introduction. “We hope it brings some understanding to how and why they exist, while serving as
“ The print product remains the front door to our brand. It’s what people identify Forbes with. To be on the cover of Forbes is still an iconic measure of success” MIKE FEDERLE, COO OF FORBES
a resource for students of all design disciplines.” Printed on “specially milled, custom-dyed paper with gilded matte silver edges, using eight colour separations and lowghost ink” it comes in two sizes, with the small version costing $200 and the large $300. + For those with deep pockets, go to http://apple.co/2nm7DBZ
THE PERCENTAGE OF US MILLENNIALS THAT READ AT LEAST ONE PRINT MAGAZINE EVERY MONTH BUZZ MARKETING GROUP, 2016
A new report has concluded that readers of the national press spend 40 minutes on average with their favourite newspaper, compared to just 30 seconds with the online version. This is the first piece of research to comprehensively account for the time spent reading newspapers as opposed to mobile devices. Munich and City University academic Neil Thurman has analysed a number of studies to estimate the amount of time people read various newsbrands in print and online, and found that overall, 88.5% of total reading time is spent in print versus 11.5% online. “Although online editions have doubled or tripled the number of readers national newspapers reach,” says Thurman, “this increased exposure disguises the huge differences in attention paid by print and online readers. Scale those numbers up and you can see why newspapers still rely on print for the vast majority of the attention they receive.” This follows a report by the News Media Association, which found that the main UK national newspaper publishers made 88% of their revenue from print against 12% online. “It looks like revenues match audience attention closely,” said Thurman. “This would make sense – after all, as Benjamin Franklin said, ‘time is money.’” + To read the full report, go to http://neilthurman.com
FOR MORE NEWS ON THE PRINT MARKETING, ADVERTISING AND MEDIA INDUSTRIES, GO TO WWW.PRINTPOWER.EU
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A full-bodied read The Italian wine company Matteo Correggia have created a wine bottle that combines two of life’s greatest pleasures: drinking and reading. Knowing that wine and books go well together, the company introduced wine bottles that come wrapped in short stories, with each story written to complement the characteristics of the wine. So far the stories include ‘I Love You. Forget Me’ by Regina Nadaes Marques, which, according to the company, goes well with Nebbiolo Roero, a red wine with a full-bodied taste, while a comical murder mystery called ‘The Murder’ by the satirist Danilo Zanelli, blends easily with the fresh and light spirit of the white Roero Arneis.
JetBlue makes meal of an ad US airline JetBlue is proud of the fact that it offers all of its customers free and unlimited snacks on its flights; so proud that it wanted to run a print ad to promote this unique offer. But rather than go down the traditional ink-on-paper route, they decided the best way to remind people about their free snacks was to produce an ad that people could actually eat. The ad, which ran in the New York Post, was created using potato starch, water, vegetable oil and glycerin, and is entirely edible. “The unlimited snacks are a point of differentiation for us,” said Phil Ma, Manager of Brand Advertising and Content at JetBlue. “The ad is a great way to bring this on-board experience to life.”
Hats off to Swallows and Amazons To promote the film Swallows and Amazons, the makers STUDIOCANAL partnered with UK newspaper The Daily Telegraph to create a four-page pull-out that not only featured outdoor activity ideas for children but could be folded into a pirate hat. Readers were then invited to upload pictures of their children in their hats to an online competition page for the chance to win an exclusive prize. As well as exceeding the client’s expectations in both competition entries and box office return, the campaign recently won a prestigious Newsworks Planning Award for Best Newspaper Campaign.
Seeing double for fashion ad US fashion magazine W went all out for its recent ‘double’ issue with a collectible his-andhers approach that featured 11 different covers and ads that could only be fully seen using both versions. With Burberry announcing they would create mixed-gender fashion shows, the Condé Nast title wanted to illustrate this concept by printing half of Burberry’s advert on each magazine version to create a huge, four-page print ad. This unique approach saw a 15% rise in circulation and a positive reaction from the title’s advertising brands. “Advertisers want to be in a magazine that offers long-term value and inspiration,” said W publisher Lucy Kriz. “So standing out is more important than ever.”
This issue, we tuck into a tasty airline advert, go large with a fashion magazine, and stare for a long time at an ad with a equality message 2
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/ TAKE 5
The search for equality A poster and press ad campaign designed to highlight the lack of women in the Egyptian workforce has found its perfect home in print. Created by ad agency DDB for UN Women in Egypt, the Where’s Wally?style series of intricate images challenges the viewer to spot the sole woman in the crowds of workers and focuses on the three male-dominated industries of politics, science and technology. “Even though the percentage of women in the workforce is so low, the issue still goes largely unnoticed,” says Firas Medrows, Executive Creative Director of DDB Dubai. “By creating these elaborate ads that you really spend time looking at, we wanted to raise awareness for the cause.” Can you spot her?
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AVING WORKED ACROSS digital
and print channels, the main advantage print has within the media mix is that it feels personal. That’s one of the main qualities our clients look for when we consider using print in our campaigns. When you print something, it looks like you have gone to a lot of trouble to make it. There’s a feeling when you pick up a really well-produced print product that love and craftsmanship has gone into it, and you can see and feel the production values – that’s very important. It’s also why luxury brands are particularly attracted to print. When you produce a beautiful hardback book, advertisers still like it – particularly luxury advertisers, because you get that richness and lushness, and it’s a lovely, tactile experience. You can see there’s still a market for high-end magazines as well. If you look at GQ, it sells well and attracts a good deal of advertising. And when you look at a title
like Vogue,, it’s primarily a print brand, so there’s clearly an audience out there for that content and brands want to buy into it. With high-end magazines, they can offer the kind of detail you don’t often get in digital content. If you’re looking at a luxury watch, for instance, you’re not going to pick up all the detail of it on an iPhone screen. Kids also respond well to print. Children’s print titles continue to do well and my daughter subscribes to a really great independent title called Phoenix, which is a brilliant, well-written, well-illustrated
magazine for 7-10-year-old boys and girls. In the UK, we’re only a small island but we can support a relatively healthy newspaper industry and small print-run magazines can hold their own. If you want evidence to show people are engaging with print on a daily basis, you only have to get on the tube or a train carriage and see half the passengers reading Metro, the Evening Standard, or one of the ‘freemium’ magazines. Shortlist in particular seems to keep growing in circulation, and it’s full of ads too, because if you get the content right in any format, people will want to read it and the advertisers will follow. It doesn’t have to be free – Private Eye, for instance, sells 200,000 copies in print. I also like Viz, which I pick up every month as it gives me several really good laughs, and there aren’t many magazines or newspapers you can say that about. Digital has the obvious advantage of being able to feature moving images and multiple formats such as audio clips or interactive infographics. But with digital campaigns we still talk about ‘thumb-stopping moments’, and I think print can also provide that in its own way. It’s that point where you stop scrolling – or fl icking – through the pages and notice that piece of content you want to engage with. That can be on a tablet, a website or a print spread, and you go, ‘This looks great. I’m going to stick around here’. If you’re providing that, then brands will want to get on board.
“There’s a feeling when you pick up a really well-produced print product that love and craftsmanship has gone into it”
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Scott Manson, Director Of Content for OgilvyOne UK, explains why print can offer something advertisers covet – the personal touch – while Tammy Willson, Sales Director for The Times and The Sunday Times, argues that people trust print newsbrands for their authoritative insight
HEN YOU CONSIDER how many
data points people now have for getting news, trusted news sources are more relevant today than they have ever been. You can see how people value that from our print circulation for The Times,, which is bucking the downward trend seen elsewhere in the newspaper market, and the way our online subscriptions have also grown. We’ve found that it’s often around the time of the really big news stories that people come to trusted newsbrands. In the last nine months we’ve seen Brexit and the election of Donald Trump. These events saw a spike in our readership and audited circulation. However, we’re not primarily about breaking news. We’re also about the authority, insight and analysis. People come to us just after the event to fi nd out the different scenarios this big news story means for them, to consume all the different opinions on it and make their own judgement based on trusted professional journalism, rather than the myriad of untested sources vying for their attention. The success of our online paywall means that we’ve been able to keep investing in journalism in both our print and digital editions rather than cut costs. We still have a very strong team of foreign and political correspondents who are out there doing the job, unearthing the stories that we otherwise wouldn’t hear about. This offers a very clear benefit to advertisers. We do a lot of research about our readers and we know they come to us for that trusted environment. The danger with the way that some digital advertising is traded is that it’s random, so you don’t know where your ad might end up. As an advertising team we make sure that we curate the advertising that goes into each edition, whether in print or digital, working very hard with advertisers to ensure they’re in the right place in the right part of the newspaper
or magazine, talking to people at the right point, rather than just allowing people to decide where they place the advertising. It’s important that we are the guardians of the advertising that has the privilege of sitting alongside the editorial that our journalists produce. People often say that print newspapers make for an immersive experience, and that’s certainly true. But we are edition-led across all platforms, and that means people also read The Times from cover to cover on the mobile or tablet. They are spending a significant amount of time with the product in a number of different formats. As regards advertising, with our print product, readers often say to us in focus groups that they view the advertising as part of the reading experience. We also carried out some neuroscience research, which found that when you look at how people consume the news on the page, they spend as much time looking at the adverts as they do the printed word. We recently relaunched Luxx, our luxury high-end glossy magazine, as a four-timesa-year product, and we’ve found that within that environment, the advertising is as much a part of the product for the consumer as the advertising. And they have to fit together well for that experience to be at its best.
“Our neuroscience research found that people spend as much time looking at the adverts as they do the printed word”
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/ FAKE NEWS
At a time when online channels are losing credibility thanks to an onslaught of fake news, print is playing a vital role in restoring the public’s faith in the media and giving brands the elusive ‘trust’ factor — By Johnny Sharp www.printpower.eu | PRINT POWER _17
all it ‘alternative
facts ’, call it ‘post-truth’,
call it ‘fake news’ or just call it lies. However you choose to describe it, the rise of misleading, questionable or just plain false stories spread via digital media is having a growing impact on our lives. The phenomenon has been credited with swaying the UK’s Brexit vote last year and helping Donald Trump win the US election a few months later. The Netherlands has just re-elected Prime Minister Mark Rutte despite a number of dubious stories circulating on social media, while Germany, Italy, Norway, Hungary, Serbia and Slovenia all have elections scheduled in the coming 12 months. In each case, as those campaigns intensify, the internet
will inevitably be swamped with opinion and counter-opinion, backed up with ‘facts’ and ‘news’ stories, some of which on closer inspection may prove to be nothing of the sort. So why is this a problem for brands? Well, if your brand wants its communications to be taken seriously, do you really want to run the risk of being associated with dubious websites, discredited news stories and unsavoury propaganda? In March of this year, WPP’s Sir Martin Sorrell, writing in the UK’s Daily Telegraph, pointed out the opportunity this offers for traditional media: “As Google, Facebook, Twitter and others face accusations of giving a platform to hatred and fake news, and even of swinging elections, distrust in information shared on social media ought to increase public appetite for more traditional, reliable news providers.”
A Nielsen survey found that ads in magazines and newspapers were still trusted by more than 50% of those surveyed, compared to 38% for search engine ads and 34% for social network ads
The trust factor It may come as no surprise to discover that trust in the media has declined sharply over the past year. According to the recently published Edelman Trust Barometer1, trust in the media fell by 5% between their 2016 and 2017 surveys, more than any other institution. In Europe, only in The Netherlands did more than half the respondents express trust in the media. Nonetheless, the same survey still found that 57% trusted traditional media for ‘news and information’, compared to 51% trusting online-only media and just 41% social media. Elsewhere, other studies have shown that some forms of media are trusted more than others. A Europe-wide survey conducted last year by the European Broadcasting Union found that across the EU, 43% of those surveyed ‘tended to trust’ the printed press, compared to 35% for the internet and just 20% for social media. Furthermore, trust in the printing press was up by 1% over a five-year period, while faith in information gleaned from the internet and social media had decreased by eight points. 2 Not all publicity is good Disinformation has been shown to be effective in promoting certain agendas, particularly online and via social media, where a false or misleading story can ‘go viral’ and be repeated thousands of times without being challenged. Giovanni Zagni, a senior analyst at Pagella Politica, the Italian fact-checking website, believes that shrewd marketers will quickly wake up to the need to steer clear of any associations with disreputable information sources. “For a business there is nothing worse than bad publicity,” he says, “so they should act soon to be disassociated with dubious media outlets. I’m sure the advertising industry will be quick to comply.” When a string of unsubstantiated news stories appeared on the right-wing US news website Breitbart, Kellogg’s were among several brands to pull their advertising from the site after customers complained that they were effectively funding fake news. The brand explained that they wanted “to ensure our ads do not appear on sites that aren’t aligned with our values as a company”. But it’s not always that easy to avoid these associations. Samuel Laurent,
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/ FAKE NEWS
Fact not fiction (Above) Samuel Laurent, editor of fact-checking department Les Decodeurs at French newspaper Le Monde. (Left) Giovanni Zagni, senior analyst at Pagella Politica, an Italian factchecking website
editor of fact-checking department Les Decodeurs at French newspaper Le Monde, feels that the rise of ‘clickbait’ means unreliable online news sources are never very far away. There’s a big temptation for advertisers to jump on board with such eye-catching content and the impressive numbers of page views it can boast without considering the negative impact it can have. “With the internet, everyone is a publisher,” Laurent explains. “You just have to run your blog or Facebook account or YouTube content and you’re on there. Advertisers want clicks on their links but they might run alongside clickbait that’s actually fake news. You can’t expect people to trust you in the long term if you’re selling your credibility to just anyone.”
“ The limitation of space in a print publication is a guarantee that a minimum critical judgement is made in order to choose what goes in there” Giovanni Zagni, senior analyst at Pagella Politica
Slave to the algorithm One problem is that ads online are often placed by a computer algorithm, which looks for keywords when deciding where to place advertising. However, it doesn’t always have an eye for the all-important context of an ad, and that can sometimes make advertisers look insensitive or worse, plain ridiculous. British satirical magazine Private Eye now runs a regular column called ‘Malgorithms’, which points out examples where online ads have been placed in unfortunate and unadvantageous positions. Take this Yahoo News headline: “Business drivers risking safety by not taking breaks”. The ad placed next to it? “Brilliant funeral insurance sweeping the UK”. Or from Wales Online: “Two Men Killed In Microlight Aircraft Crash” next to an ad reading: “Fly Cardiff To Anglesey With Van Air Europe”. Innocent mistakes perhaps, but a recent investigation by UK newspaper The Times showed a more worrying trend. It found that ‘programmatic advertising’ software had led to major brands having adverts placed on politically extremist and pornographic sites3. On YouTube, for instance, an advert for the new Mercedes E-Class saloon runs next to a pro-Isis video that’s been viewed more than 115,000 times, while the luxury holiday brand Sandals Resorts is advertised next to a video promoting al-Shabaab, an African jihadist group linked to al-Qaeda. Increasingly, marketers are expressing concern with the lack of control or www.printpower.eu | PRINT POWER _19
transparency involved in online advertising. Procter & Gamble’s chief brand oﬃcer Marc Pritchard labelled the online media supply chain “murky at best and fraudulent at worst”. Do you know where your ads are? Of course, there have been calls for more controls over which stories and links are placed where online, but do the digital media giants really have the motivation to change anything while the revenue is still rolling in? “The people that really have the power to stop it are Facebook, Twitter and Google,” says Laurent. “But I’m not sure they really want to do much about it. They make some efforts but don’t touch the core of the business, the algorithm, which is putting blogs or opinions in the same place as you expect to fi nd news and presenting them as facts rather than opinions.” The result is that your commercial messages could end up anywhere. “Automated buys really chase the audience and not necessarily the context,” John Montgomery, Brand Safety Vice President at top US media buyer GroupM told Wired recently. “You have to be able to count on your ad tech partners to maintain some kind of marketplace quality,” AppNexus Communications VP Josh Zeitz said recently. “Because if it’s completely unregulated, your client’s ads could show up anywhere.” Of course, there are no guarantees that this can’t occasionally happen in print media, but in survey after survey, advertising in print is consistently shown to be more trusted by the public across the
globe than its digital equivalent. A Nielsen survey last year found that ads in magazines and newspapers in the UK were still trusted by more than 50% of those surveyed, whereas search engine ad results gained only 38% trust and social network ads only 34% 4. An even bigger difference was found in a German study for Gesellschaft Public Relations Agenturen (GPRA), who found that 54% trusted newspaper and magazine ads compared to just 16% for advertising on websites5. The opportunity for print With an avalanche of bad publicity surrounding fake news, herein lies an opportunity for print news outlets, believes Giovanni Zagni. “I work in digital media but I actually think there is an opportunity for the print media to re-establish themselves as a stronger and more reliable voice,” he says. “On the internet there is literally everything from the very best of information to the pure rubbish. The limitation of space in a print publication is a guarantee that a minimum critical judgement is made in order to choose what goes in there.” The checks and balances built into the print model of news publishing, particularly at the higher end of the market, means that a human – usually several – will always be on hand not only to factcheck but also proofread and oversee the fi nal product, meaning fake news and unsavoury views are much less likely to see the light of day. Meanwhile, the news they do publish still gets an infi nitely larger readership than it can command online. Chris Duncan, Chief
“Brands live in a world of accountability. And that’s a good thing. To see one respond so swiftly with an #AlternativeFact moment reminds us of that” Tham Khai Meng, Ogilvy and Mather Worldwide chief creative officer and co-chairman
Customer Oﬃcer at News UK, recently pointed out that, “A news story on Facebook typically peaks at around 60,000 readers, but 4.5 million people picked up The Sun to read about Theresa May becoming the new Prime Minister.” The facts of life At a time when fake news is a phrase on everybody’s lips, some brands have already been quick to associate themselves with the authentic side of the media. Cosmetics brand Dove recently mocked the Trump administration’s reliance on ‘alternative facts’ in a newspaper ad full of their own ‘alternative facts’, such as “New Dove antiperspirant increases your IQ by 40 points”. Then on the opposite page, their actual message ran: “New Dove antiperspirant cares for your underarm skin like never before. #RealFacts”. “Brands live in a world of accountability,” said Ogilvy and Mather Worldwide chief creative oﬃcer and co-chairman Tham Khai Meng. “And that’s a good thing. To see one respond so swiftly with an #AlternativeFact moment, done gently and with a smile, reminds us of that.” The Reuters Institute’s recently published study, Journalism, Media, and Technology Trends And Predictions 2017 found that 70% of them believe that the rise of fake news will strengthen the position of quality publishers6. For quality publishing, read print publishing. Because the motto of quality publishing is still ‘All the news that’s fit to print’. And if it’s unfit to print, it doesn’t just drift off into cyberspace to pollute the internet, it’s consigned to the waste paper basket of history – where it belongs. Sources 1 www.edelman.com/trust2017 2 www.ebu.ch/files/live/sites/ebu/files/ Publications/EBU-MIS%20-%20Trust%20in%20 Media%202016.pdf 3 www.pressgazette.co.uk/automated-advertsplace-big-brands-on-extremist-and-pornwebsites-times-investigation-reveals 4 http://www.nielsen.com/uk/en/press-room/2015/ consumer-trust-in-traditional-advertisingdeclines-in-uk-while-a-recommendation-fromfriends-remains-most-credible.html 5 https://www.emarketer.com/Article/Morethan-Half-of-German-Consumers-Trust-PrintAds/1014970#sthash.nfWZa6I5.dpuf 6 http://reutersinstitute.politics.ox.ac.uk/ publication/journalism-media-and-technologytrends-and-predictions-2017
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/ FAKE NEWS Dutch party leader demonstrated with radical Muslims Before the March elections in The Netherlands, Freedom Party MP Geert Wilders tweeted a photoshopped image of rival party leader Alexander Pechtold rallying with “Hamas terrorists” holding up signs saying, “Shariah for the Netherlands.” The photo was actually from the UK in 2009.
Merkel takes selfie with terrorist A Syrian refugee’s ‘selfie’ with Chancellor Angela Merkel in Berlin was spread via Facebook, wrongly claiming he was involved in terror attacks. He subsequently sued the social media network.
Here are just a few of the dubious stories that were widely shared online over the past year. Did you fall for any of them? Pope forbids Catholics from voting for Hillary Clinton The website Tell Me Now made this claim based on a 2004 letter from the previous Pope, Benedict XVI, which actually said Catholics could vote for who they saw fit, regardless of stance on issues such as abortion and euthanasia.
The USA is funding migrant traffickers to Italy The website TzeTze, funded by the populist Five Star movement and boasting 1.2 million followers on Facebook, made this claim before the Italian referendum on constitutional reform. Prime Minister Matteo Renzi was forced to resign after the vote went against him.
Man saws possessions in half to give to ex-wife In widely shared YouTube footage titled ‘For Laura’, a newly-divorced man, ‘Martin’, was filmed sawing a bicycle, a car and even a teddy bear in half to return her share of their possessions. It was later revealed to be an advert for a German legal company.
Islamic extremists set fire to Dortmund church In January, Breitbart News claimed that a mob chanting “Allahu akbar” had set fire to a Dortmund church on New Year’s Eve. In fact, a fire lasting just 12 minutes occurred after netting on scaffolding was set alight by a stray firecracker.
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Analyse this Whatever the platform, effective measurement is key to the success of any marketing activity. But while counting online clicks and views may be simple, measuring a print campaign is a little more complex — By David Benady
rom full-page ads in Sunday
colour supplements to coffee table catalogues, there’s little doubt print plays a vital and powerful role in promoting products in all sectors of industry. But how should the effectiveness of print advertising be measured and what does this analysis tell brands about how to spend their ad budgets? Digital players have carved out a huge share of the advertising market by claiming the high ground in measuring effectiveness. Now pressure is mounting on newspaper and magazine publishers and the producers of direct mail, catalogues and coupons to prove the medium’s worth through robust measurement methods. Compare and contrast Ever since the first advert ran in newsprint or the first piece of direct mail landed on a doormat, advertisers have questioned whether their investment was worth it. So now there are a wide variety of research techniques open to brands and publishers
looking to calculate the ROI from their print campaigns. Gavin Wheeler, Chief Executive of direct and digital agency WDMP, describes a few of the methods used for measuring the effectiveness of advertising mail. “Some brands put a unique phone number on mail-outs which customers can call so the company knows which of the recipients have responded,” he says. “Putting a specific URL on the mail-out to measure the response digitally is another common method, though sometimes fails because people tend to use Google as the gateway to online interactions rather than typing in URLs.” Another common measurement method for print is to create control groups and to ‘match back’ the behaviour of households that have received the mail against those that haven’t. “You’ve got the mailing file which you can match against the customer file to see whether they are now appearing in the customer and prospect file,” explains Wheeler. “What you should do is have a
fallow file of untreated people to make the comparison between mailed and nonmailed households and to work out the response from there.” Many brands are using direct mail to encourage customers to upload usergenerated content on to social media. The success of such campaigns provides clear evidence of whether a DM campaign has hit the mark. To promote pet insurance, Tesco Bank sent out a personalised pet birthday card to customers featuring a party hat and a £2.50 voucher for the pet aisle, and the owners were encouraged to share pictures of their pets wearing the hats on social media. The campaign, created by WDMP, led to customers sharing the images on Twitter, while voucher redemption was double what was expected. These results give a good indication of the high effectiveness of the campaign. Measure for measure For Dino Myers-Lamptey, Head of Strategy at European media agency the7stars, larger
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“The factors that are likely to affect a print campaign are the creative treatment, where the ad is placed in a publication, the amount of money spent, competitor activity and the reliability of measurement data” Dino Myers-Lamptey, Head of Strategy at the7stars
brands with big budgets should invest in an econometric study. “This looks at three years of historic data and analyses the impact of each communication,” he explains. “The study takes into account other factors such as price changes, competitor activity and even the weather.” Smaller brands can create their own control tests. This involves fi nding two like-for-like samples – regions or periodon-period sales figures, for example – then running a print campaign in one and nothing in the other. They can then use uplift analysis to attribute sales to print. However, Lamptey warns: “Just be aware that not all the effect will happen instantly. Branding campaigns have a longer tail return, so analyse sales both over the short term and a longer period of say three months.” Before running a measurement analysis, he advises brands to set their budget, gather their data and work out their normal expectations from the spend. “During measurement, brands need to keep a keen eye on competitor activity,” he
says. “Ask staff to get anecdotal feedback about the advertising from people who buy the product. And after the research, remember the time lag in print advertising – it can take weeks or months for the effects to show through as people keep magazines and catalogues on coffee tables and stick coupons on the fridge.” Lamptey adds that the factors that are likely to affect a print campaign are “the creative treatment, where the ad is placed in a publication, the amount of money spent, competitor activity and the reliability of measurement data.” The agency recently worked with Cockburn’s Port to position it as the antidote to a stressful Christmas. This has involved running content in The Daily Mail alongside relevant editorial that offers families the chance to win their ideal stress-free Christmas. The print campaign ran with a small amount of outdoor, yet generated 23% higher sales than the previous year. Simple linear tracking was used to compare like-for-like sales during the previous years of no print, versus these
years using print. The agency also tracked the effectiveness through monitoring competition entries, which rose to over 25,000 from 5,000 over a three-year period. The 360-degree view Digital platforms such as Google and Facebook have created metrics based on their own data that they collect in isolation from other media. This has helped them gain the upper hand in measurability, attracting marketers with the promise of accurate ROI scores. But Petri Parvinen, Professor of Sales Management at Aalto University in Finland, prefers to take a broader view. “What the digital world is doing is creating a false sense of comfort by tracking digital marketing inputs and outputs in isolation of the rest of the marketing spend,” he says. “The important thing you need to do is log your marketing investment in a similar way for all channels to be able to paint the entire picture.” Parvinen advocates a long-term study of the relationship between marketing and
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/ EFFECTIVENESS “It is so much easier to build the brand in print and to serve the brand digitally. How stupid it is to let print out of the equation” Staffan Hulten, cofounder of Swedish media measurement consultancy Research and Analysis Media (RAM)
sales, identifying where the marketing mix changes and how that affects sales. “These more continuous effectiveness measurement models are based on balancing learning and earning, simultaneously trying to optimise marketing spending but also trying to learn from what is not good,” he says. Parvinen says that creating variation in the budget and spending is important to be able to get enough data to make informed decisions. He has helped develop a tool for measuring the effectiveness of all forms of advertising called MediaMachine, which uses computer algorithms to suggest optimum changes to media spending to deliver the best returns on investment. Print builds brands Much of the research into the effectiveness of print tends to show that it plays a powerful role in telling the brand story. “It is so much easier to build the brand in print and serve the brand digitally,” says Staffan Hulten, co-founder of Swedish media measurement consultancy Research
Measure for measure (Far left) Cockburn’s Port ran a successful print and digital campaign in The Daily Mail, which saw a 23% increase in sales, while (left) Finnish newspaper Turun Sanomat worked with Swedish consultancy RAM to analyse how effective their adverts are
and Analysis Media (RAM). “How stupid it is to let print out of the equation.” RAM runs online panels with newspapers and magazines in 18 markets globally to measure how well people remember ads, inserts and other promotions in newspapers. Hulten argues that print is far more memorable than digital. “A full-page newspaper or magazine ad produces an interaction with the reader that lasts on average six seconds. So, when read at seven words per second, this gives time to tell a story in 42 words,” he explains. “Readers typically interact with online ads for between half and one and a half seconds, and you don’t have the chance to tell a story in one and a half seconds. So print is good for building brands while digital works best for short-term promotion.” Hulten also argues that the declining circulation of established newspapers has a silver lining since the remaining readers are those who engage most strongly with the content and advertising. In the UK, RAM has worked with The Guardian, The Daily Mirror and The Daily Express to look
at how effective their adverts are. While newspaper readership has gone down between 20% and 30% since 2010, it’s the least engaged readers who have deserted the papers, leaving behind the more loyal and committed readers. “If you look at the higher quality of the readers and ad recollection,” he says, “it’s no longer a 30% loss, but a 15% loss. You gain from having the possibility of dealing with more interested readers.” Collaborate to survive Looking at markets across Europe, newspapers in the UK produce strong ‘memory traces’ with readers, as do publications in Germany and Finland. But in Sweden and Norway, those traces are less strong as these readers have switched to digital consumption. Turun Sanomat, a newspaper in south west Finland, uses RAM’s multi-panel system to measure readers’ reactions to advertising and editorial across print, website, mobile and tablets. The newspaper’s research manager Salla Lehto says this has allowed the brand to measure the effectiveness of ad campaigns and changing media habits among print, digital and mobile content users. “This gives us and our advertisers more knowledge and understanding in the future about how to plan multi-media campaigns and editorial content,” she says. Above all, marketers need to collaborate with other players in the industry to establish common tools for measuring the effectiveness of print advertising. There needs to be plenty of case studies with learnings and results that can be used to persuade brands that investing in print marketing is effective. And the industry needs to show how print works in tandem with other media to deliver a powerful return on investment for marketers. Such an approach will give print the tools to fight back against the march of digital. www.printpower.eu | PRINT POWER _25
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German food retailer Lidl has been rapidly expanding across Europe, with an impressive 7.5% UK sales growth over the past year. And key to that growth, says their Head of Media, is print â&#x20AC;&#x201D; By Johnny Sharp
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i know that our customers
“We’re confident in what print is delivering for our sales and that counts for the full breadth of printed communications” Sam Gaunt, Head of Media, Lidl
respond well to print,” says Lidl’s Head of Media Sam Gaunt. “We use econometric modelling to measure different channels and it gives us the confidence to know the effect of our marketing on sales. It’s no accident that we’re investing to the levels we are in the print industry – we know it delivers for us.” Anyone who has kept a casual eye on the supermarket industry in recent years will struggle to argue with the man who oversees the German grocer’s advertising strategy. Over the past decade, Lidl has been rapidly gaining ground on the ‘big four’ of Tesco, Sainsbury’s, Asda and Morrisons. In the 12 weeks to 29 January, 2017, Lidl commanded 4.5% of the UK market, meaning their combined share of the UK market, along with fellow budget-conscious German retailer Aldi, has grown by 50% in three years. Last year, Lidl overtook Asda as the supermarket with the biggest traditional media ad spend, and last Christmas they upped their spend on newspapers alone by 14% year-on-year, according to Nielsen
figures. Their competitors are starting to take heed too. As Campaign magazine editor Maisie McCabe noted in January, “Some of the biggest retailers returned spend to press advertising in the final months of the year.” The facts bear that out: in the same period Tesco and Waitrose’s press spend was also up, while Aldi and Morrison’s both devoted over a quarter of their Christmas budget to print advertising. And while British supermarkets enjoyed a record festive period in sales terms, Lidl saw handsome sales growth of 7.5% compared to Christmas 2015. Paper gains So what does Gaunt, whose role requires him to “deliver competitive advantage through media, technology and insight”, think about the role print has to play in the marketing mix for an ambitious, upwardly mobile retailer such as Lidl, whose public image has evolved in recent years from, as Gaunt frankly puts it, “a badge of shame to a badge of pride”? “Our audience isn’t as downmarket as it’s been portrayed,” he says, “and that’s
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/ LIDL demonstrated by our recent partnerships with The Mail titles and the Metro. There was a time when you would have only expected to see us in the tabloids, but increasingly we’ve seen a great response from a more upmarket readership for some of our communications. The Times called some of our customers ‘The Lidl classes’, and this is absolutely the case. When you look in our car parks now you see quite a few prestige models and you may be surprised at the affluent areas we’re expanding into.” Clearly Lidl’s competitive pricing, allied with a strong marketing message surrounding the quality of their products, has been a key factor in their growth. But in reaching the British public with that message, they have consistently found that print channels are the most effective. “Printed communication is particularly important,” says Gaunt. “We distribute millions of leaflets every week and our business has been built around that communication channel in the UK. Along with point of sale, our media builds out from the leaflet. Leaflets in store, in local areas and national press advertising have been the foundations of our media strategy.”
Digital – a false dawn? This is not to say that Lidl haven’t diversified their marketing approach to include digital channels alongside more traditional formats, but Gaunt feels that brands have got too carried away with the futuristic promise of digital. “There’s absolutely no doubt in my mind that the marketing industry has become distracted by digital and it’s high time a lot of advertisers woke up to the true performance of different media channels,” he says. “There are some basic principles we adopt in interrogating different communication formats. The great selling point of digital is the targeting it offers, but a lot of brands have got distracted by that. We also have to look at impact – the digital space is very cluttered and all the formats just add to the clutter and the negative user experience of that channel. “I think a lot of brands focus on the theoretical reach you’re getting to an audience,” he continues, “and when you couple that with the targeting and the data it offers, it all sounds like this perfect wonderland. But then you examine what that user experience is: is it a little banner
Check it out Lidl increased their spend on newspaper advertising by 14% last Christmas, which helped them achieve a sales growth of 14.5% over the festive period
amongst hundreds of thousands of other little banners? “Meanwhile, you look at a newspaper ad, particularly the full-page, which is a really key format for us, and it offers that attention-grabbing quality – however short that period is. It may only be a couple of seconds but you’ve got that reader’s attention. And with a powerful creative it can be a very effective form of communication.” The direct approach Meanwhile, although they have spread their marketing spend more widely in recent years, Lidl’s continued reliance on direct mail and door drop is a lesson for other grocery brands considering abandoning these supposedly oldfashioned marketing channels. “There’s a negative perception of door drop and direct mail, but it gives you that quality of time with the consumer,” says Gaunt. “In the busy world in which we live, there are certain media that can talk to customers in that moment of downtime, and when a well-designed piece of communication comes through the letterbox, it can persuade people to spend an important bit of time with your brand. It only needs to be a few seconds, but it’s enough for a brand to connect with a potential customer.” The Lidl approach “There’s something uniquely Lidl about our media strategy,” says Gaunt, and you get a feel for that Lidl character when you walk in their stores – a refreshingly unpretentious approach to shopping where quality and value are what matters. You might find your fruit and veg next to an offer on dustpans and brushes, but surveys have repeatedly found that they beat the big four on quality as well as price, while last year Good Housekeeping named them UK Supermarket of theYear. Meanwhile, the abundance of catalogues at the checkouts again remind us that print plays a key role in every stage of Lidl’s customer experience. “We’re confident in what print is delivering for our sales,” says Gaunt, “and that counts for the full breadth of printed communications, from point of sale to the leaflets we give out, through to the newspaper advertising. It’s all played a very important role in driving our growth and it will continue to do so.” www.printpower.eu | PRINT POWER _29
Reading this will make you smarter Whether it’s the permanence of the text or the physical sense of touch, neurological studies have shown that print improves the absorption and understanding of knowledge, and forges a deeper connection with the reader. Read on – your mind will thank you — By Paul Simpson
he headlines were startling: “Social websites harm children’s brains,” shouted one British newspaper. “Facebook and Bebo risk ‘infantilising human minds’” warned another. The facts behind the hype were less dramatic but no less significant. A neurological study led by British scientist Susan Greenfield, Professor of Pharmacology at Oxford University, monitored a group of people experiencing social and personal problems related to their internet use – they were typically online six hours per day. It found that their brain wave responses to faces (compared to, say a table or chair) were diminished, suggesting that, “for these users, faces were of no more importance than everyday inanimate objects,” which made them less likely to read the non-verbal clues essential to human communication. >
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Thoughts for the day (Left) Nick Southgate, an expert in applied behavioural thinking, says print is a flattering medium, while (above) Sebastian Haupt says the sense of touch is the key to print’s success
Given the fact that long before the first smiling face appeared on an advertising billboard, brands have attempted to engage potential customers by provoking an emotional response, this is well worth bearing in mind for anyone wanting to understand how consumers respond to media messages. Thankfully, since that 2009 study, there has been some more encouraging news. A later experiment conducted at UCLA in California in 2014, also led by Professor Greenfield, showed it’s easy to rewire the brain. “Removing screens from pre-teens for five days significantly improved their ability to read the emotions in human faces,” she says. All of which strongly suggests that print, which is kinder on our eyes, brains and sleep patterns, could be an effective cure for those being emotionally numbed and possibly dumbed down, by the internet. And furthermore, could be the best format for anyone keen to make an emotional connection with the reader. These findings back up scores of studies since the 1990s that have found that readers have a more lasting emotional engagement with printed material than its digital equivalent. A major neurological
study by Millward Brown in 2009, for instance, found that printed material left a deeper footprint on the brain, involved more emotional processing (which helps with memory and brand associations) and produces more brain responses connected to our internal feelings, suggesting we ‘internalise’ adverts, giving them greater resonance. It also found that physical materials produced more activity in the medial prefrontal cortex and cingulate cortex – the parts of the brain associated with emotional engagement. Memories are made of this Emotional responses to written material are one thing, but for marketers, making a simple message stick in the mind of the consumer can be the name of the game. And no less a figure than Eric Schmidt, chairman of Google, voiced concerns about the superficial effect of digitally transmitted information: “I worry that the overwhelming rapidity of information is affecting cognition and deeper thinking,” he said in 2009. His fears are understandable, because when it comes to absorbing and understanding information – as opposed to
remembering it by rote – neurological studies show that print has the edge. For example, a 2012 Stavanger University study of school students concluded that, “Students who read texts in print scored significantly better on the reading comprehension test than students who read the texts digitally.” Other studies have found that those reading on screen also found the experience more stressful and draining than those reading paper. Anecdotal evidence backs this up. Writing in Wired magazine last year, science writer Brandon Keim observed: “What I’ve read on screen seems slippery. When I recall it, the text is translucent in my mind’s eye. Pixels don’t seem to stick.” While neurological factors may partly explain this, other studies have suggested that psychological and sociological factors are also at work, reflecting a cultural prejudice against reading online (we are, after all, all native paper readers). Others say our learning is inhibited because websites struggle to present long texts in an intuitive and satisfying way. And as any regular online reader can attest, when ads are popping-up at regular intervals, concentration levels are not easy for anyone to maintain.
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Brain training Five examples of mind-expanding print from around the world Flow Celebrating its founders’ love of paper, feelgood psychology magazine Flow was launched in the Netherlands in 2008. The idea soon caught on – it now publishes eight editions a year plus four in English, while editions are published by Gruner & Jahr in Germany and Prisma Media in France. A recent issue of the Dutch issue came with its own DIY stamping booklet.
Monocle With a UK circulation of over 80,000, Tyler Brûlé’s flagship magazine uses brilliant illustrations, thick matt paper and a unique format to stand out. The strategy has been so successful it’s inspired an annual spinoff, The Forecast. Other titles to have pursued this approach include slow news journal Delayed Gratification and film title Little White Lies.
Smith Journal Ethel King’s paintings of a golden-crowned snake, published on paper stock so heavy it almost feels marbled, are a tactile highlight of Volume 21 of Smith Journal. This Australian quarterly that publishes “interesting, funny and sometimes complicated stories” is a joy to hold – you pick up a copy carefully, afraid that one careless motion will ruin this flawless artefact.
Vogue Published in 21 countries, the glossy fashion magazine makes a point of letting readers see themselves reflected in the paper as if they are part of the glamorous life they’re reading – and fantasising – about. The formula obviously works: 101 years after the first title went on sale in the UK, the publisher has just launched its latest foreign edition, Vogue Arabia.
La Gazzetta dello Sport First published over a century ago, Italy’s La Gazzetta dello Sport is a tactile pleasure, using its traditional broadsheet format and authoritative shade of pink to reinforce the gravitas, variety and extent of its editorial content. The printed product is in a class of its own – as both a statement of identity and Italy’s least expensive fashion accessory.
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\ Fashion statements Vogue magazine draws its millions of readers into a world of glamour and style, while Italy’s La Gazzetta dello Sport uses bold colours and newsprint to reflect the gravitas of its subject
“I worry that the overwhelming rapidity of information is affecting cognition and deeper thinking” Eric Schmidt, Executive Chairman of Google’s parent company Alphabet Inc
The feel-good factor Some experts argue that the simple act of turning pages helps the brain remember. The neurological effect of print’s physicality and tangibility has been measured with a marketing focus in mind. Sebastian Haupt, co-author of the book Touch! Der Haptik-Eﬀekt im multisensorischen Marketing and an expert on sensory marketing, found that, in layman’s terms, physical contact (haptics) effectively wakes the brain, whereas the purely visual experience of reading online doesn’t. “Messages backed up by haptics will be noticed,” he explains. “They appeal to people’s curiosity and playfulness.” When we touch something, our hands act as transducers, converting mechanical energy into electrical energy so it can be sent as impulses to fi re the neurons in our brain. A study by paper group Sappi suggests that print benefits from what psychologists call the endowment effect – our tendency to value things more because we own them. Haupt says: “The endowment effect works even if you don’t own the object. It can be triggered just by physical contact and we even get a similar effect if we see someone nearby holding a magazine or a newspaper.”
So, although we don’t own a piece of direct mail, we are more likely to value it than content on screen, which we feel less ownership of. When Sappi invited people to assess brands purely on the way they were being promoted (high quality coated versus cheaper uncoated paper and online), they found they were three times more likely to recall the name of the brand on quality, coated paper and were more impressed by that company.
5,000 years ago, so our brains haven’t had time to evolve a process to deal with it. That means our brains have to improvise when we read – different regions of the brain chip in and some of them specialise in object recognition. This means we distinguish A from B much as we distinguish between an apple and a banana. The fi rst letters were often based on physical objects – S is probably derived from the snake – so the physicality of characters in print makes recognition easier.”
Object of the exercise Applied behavioural thinking expert Nick Southgate is not surprised by these fi ndings. There is, he says, something inherently flattering about print. “The pre-paid payment card from Monzo, a new online bank, comes in the thickest blue laid envelope and the card is smooth and silky,” he says. “It looks and feels lovely. For digital brands, investing in the few physical contacts they have makes sense.” Letters on a page also have an instinctive connection to the physical world. “Homo sapiens probably started talking about 150,000 years ago,” Southgate explains, “so our brains have evolved to process speech. Yet the earliest known writing is from
The smart solution All this suggests that the capacity for printed communications to connect with the human brain will mean it remains the go-to format for anyone wanting their words to have a deep and lasting impact. Keim’s article for Wired concluded that “the smart reading device of the future may be paper” because print is superbly designed to help us understand messages too complex to be contained in 140 characters or a 30-second soundbite. So when Axel Springer’s marketers, searching for a slogan for their intelligent bi-monthly Horzu Wissen, came up with “The magazine that makes you smarter”, they were saying more than they realised.
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/ DOOR DROP
Some say it’s not the sexiest marketing medium, but door drop is one of the most effective channels available to a brand. With improved targeting and tracking data, it’s time to fall in love again with one of the most reliable formats in the industry — By Johnny Sharp www.printpower.eu | PRINT POWER _37
as a marketing channel ,
door drop is one of the least sexy.” That’s the admission of Mark Davies, Managing Director of Whistl’s Doordrop Media Division and President of The European Letterbox Marketing Association (ELMA). But, he adds, “But that means that when people invest in it, it’s driven by just one thing. No one’s using us out of love, nostalgia or vanity. It’s just about the results and the performance.” Not so long ago, the idea of posting leaflets through every door to promote your products seemed like a very 20th Century method of marketing – inefficient, unfocused and unfashionable. As soon as customers could be reached via their inbox rather than their letterbox for a fraction of the cost, it seemed like a no-brainer for marketers to switch their attentions to online channels. But predictions of door drop’s demise have proved unfounded. “People still feel value in the immediacy of something they pick up that you don’t have to search for,” says Istvan Denes, CEO of Helsinki-based direct mail agency SSM. “It’s not disturbing you at the wrong moment and there’s a lot of value in this media. It works and it functions well.”
“It’s pretty resilient,” Davies agrees. “Across Europe we’ve seen a 2.4% volume decline but a growth in media spend of 1.3%. So it’s very a stable medium and has been for several years.” Improved targeting If those figures suggest that marketers are slowly putting money back into door drop but focusing on quality rather than quantity, it confirms a trend many in the industry have pointed to, a trend where mailouts are more closely targeted and so less volume is required. And the key to the resurgence of door drop is ever-improving tracking information that the industry has gleaned digitally. “We’re constantly fine-tuning our ability to support clients with research,” says Denes, “trying to match buyers with a map of distribution and research on how people remember products. For instance, in Finland we break our own network into small pieces that we call runner areas, which are made up of maybe 350 households. For each geographical areas we can work out other values based on other databases and then provide targets such as type of household and level of socioeconomic status.” “We’ve really honed our game in recent
“ No one’s using us out of love, nostalgia or vanity. It’s just about the results and the performance” Mark Davies, Managing Director of Whistl’s Doordrop Media Division and President of ELMA
years to help track the online to offline story,” Davies adds. The result is that online brands are increasingly using this offline channel to win customers. “In 2016, we began to see some really significant investment into door drop from purely digital brands such as Ocado and Amazon,” says Davies, “and they are beginning to use door drop as an acquisition channel. We see significant growth in the future from that.” One thing that door drop and direct mail can also do is put the product in the hand of the consumer. “Product samples are always an option,” says Denes. “Sometimes we deliver products such as dog biscuits or perfume for consumers to try, and it’s always interesting.” Rethinking door drop Denes points out that one of door drop’s strengths is its reach and admits that “the bulk of the business is people who are interested in reaching out to everybody.” But increasingly, door drop is being used more selectively, with a less-is-more approach becoming more viable thanks to improved market information and new technology. One man who is helping advance that process is Roel Schoemaker. He’s a senior
“ If you respect the consumer and have a better idea of what each of them wants through their letterbox, they will be open to it” Roel Schoemaker, senior consultant with Motivaction International
38_ PRINT POWER | www.printpower.eu
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Kings of the letterbox A selection of door drop leaflets, ranging from targeted messaging from German pet brand Shecker and Norwegian
travel brand Color Line, to mini-catalogues from Italy’s In’s Mercato supermarket and leaflet inserts from Amazon
“People still feel value in the immediacy of something they pick up that you don’t have to search for” Istvan Denes, CEO of Finnish direct mail agency SSM
www.printpower.eu | PRINT POWER _39
consultant with Amsterdam market researchers and consultants Motivaction International, who have worked with brands such as Grolsch, Danone and Ben & Jerry’s. For him, quality is always more important than quantity. “There’s a lot of potential for door drop, even among people who right now do not want to receive it. But the days when you just dropped a lot of media in letterboxes and hoped they would be read are over. “Mostly when people don’t want to receive door drop it’s because there’s an enormous amount of information on the leaflet,” he continues, “and they don’t want to go through all that data. They want to have a more tailored leaflet in their hand. In the age of the internet you can fi nd out much more information about your customer, and so segmentation becomes very important. “We also have the technology to know what designs customers will fi nd attractive. With modern techniques such as eye-tracking and facial coding we have found out some simple rules about where to put what kind of information in an advertisement. So if you respect the consumer and have a better idea of what each of them wants through their letterbox, they will be open to it.” Other research backs up his claim that
the door drop channel is well regarded by customers compared to other forms of advertising. In 2016, a five-year study conducted by consumer insight specialists Toluna found that 60% of consumers in Europe prefer to receive retail oﬀers via door drop media – more than any other channel, including newspaper adverts and online oﬀers. New approaches Elsewhere, we have already seen radical developments in the door drop industry. The Danish national mail service PostNord Dansk introduced a ‘reversed targeting’ system in 2012, where consumers would be given the option to go online to opt in or out of commercial mailouts, or only receive those from sectors of the market that interest them. On the one hand it limits the reach of door drop, but on the other it means marketers have part of their job done for them – they are automatically only targeting potential customers rather than bombarding uninterested parties with messages destined for the recycling bin. Meanwhile, another channel within a channel has opened up in the past decade, which consumers are increasingly getting used to across Europe – leaflet inserts.
Online retail giant Amazon has been oﬀering commercial partners the chance to have their leaflets or voucher oﬀers inserted into their postal packages for over a decade, but in the past five years the practice has grown and specialist companies such as Germany-based companies DiMaBay and PaketPLUS continue to grow. “This form of marketing has been around for around for 10 years, but it’s really grown in the last five,” says DiMaBay’s Managing Director Martin Ehrentreich. “The beauty of leaflet inserts is that they benefit both host and guest brands. It’s win-win. For advertisers it’s a good opportunity to get new customers with attractive CPAs, and for the companies who put the leaflets in their packages it’s a good way to create more turnover.” Ehrentreich sees huge potential for growth in this side of the industry. “If you consider AVIS, they have nearly one million shipments,” he says. “You could put up to three inserts per parcel and they could put three million inserts a month, 36 million inserts a year. And €320 per thousand adds up to a million! That’s a huge source of revenue for them and a huge opportunity for advertisers to reach a highly desirable customer base.”
“The beauty of leaflet inserts is that they benefit both host and guest brands. It’s win-win” Martin Ehrentreich, Managing Director of DiMaBay
40_ PRINT POWER | www.printpower.eu
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Cutting-edge technology and sophisticated targeting is making direct mail an unstoppable force in the world of print marketing, with impressive results matching creative innovation. Prepare to be inspired â&#x20AC;&#x201D; By Simon Creasey
42_ PRINT POWER | www.printpower.eu
/ DIRECT MAIL
WITH A UK SPEND of over ÂŁ1.8bn
and US spend of a staggering $46bn, direct mail is a huge force in marketing. Defying the rise of digital media, the traditional format is growing in both volume and value as companies and agencies are using data and targeting more effectively, while devising incredibly creative, highly targeted, shortrun campaigns that have a greater chance of delivering a much better ROI for their clients. Whatâ&#x20AC;&#x2122;s more, they are using some of the most cutting-edge technology and print techniques available. You need examples? Here are just a few. >
www.printpower.eu | PRINT POWER _43
Music to German CFOs’ ears
Financial and HR enterprise cloud application provider Workday wanted to invite Chief Financial Officers from Germany’s largest companies to a classical music concert, but didn’t just want to send a boring paper invite. Advertising agency Saint Elmo’s Munich came up with an innovative alternative in the form of a music box created by AudioLogo. The box has a black sleeve that bears the words ‘Where does the music play in your human resources department?’ written in gold foil. The sleeve reveals a box covered in colourful graffiti and inside is a conductor’s baton. “When opening the box, one hears tones of various instruments warming up – the orchestra of the Munich Philharmonic,” explains Christopher Bardin, Owner and Managing Director of AudioLogo. “Then, when you pick up the baton, the music suddenly changes. The orchestra warming up turns into classical music. Then the volume of the music becomes full and dynamic. The classic sound of the Munich Philharmonic, under the direction of Chief Conductor Kevin John Edusei, turns into rap music by the band EINSHOCH6.” To create the full effect of a loudspeaker AudioLogo used a transducer, which effectively turned the box’s carton material into a speaker, creating a multisensory delight and effective mail-out.
One of the biggest challenges facing brands today is getting highly targeted and responsive DM messages out to customers. Although brands have the ability to capture data, they can’t fire out communications quickly enough since they have to design the creative then get their print partner to produce and mail out packs – a process that, compared to digital media, takes a long time. However, if a new ‘programmatic’ DM service offered by Paperplanes takes off, this issue could be a thing of the past. The idea is the brainchild of Daniel Dunn, formerly of Dunnhumby and now founder of Paperplanes. “We are taking the best aspects of digital delivery – the ability to move at speed and automate – and combining that with the effectiveness of the DM channel,” he explains. So if a retailer wants to run a campaign targeted at people who abandon their shopping basket, Paperplanes takes the retailer’s customer lists, product assets and creative, and sends them a piece of direct mail in the post. The company is currently setting up trials with customers, but it’s already achieved impressive results. It ran an abandoned basket campaign in the UK for plus-size clothing retailer JD Williams and saw a 14% increase in sales recovery and an 8% increase in average order value.
Inserting one video screen into a DM pack is a complicated process. So imagine the problems UK-based Talking Print faced when it was tasked with producing a three-screen personalised video brochure for business software company SAP to showcase the company’s digital boardroom technology. As well as personalising the pack, there was also a personalised envelope, as well as those three screens that played a video interacting across them to reflect the boardroom scenario that SAP’s technology is typically used in. “As you can imagine, there were a few challenges to ensure the mailing was foolproof and 100% successful,” says David Hyams, Founder of Talking Print. “Linking the three screens so they activated in unison when the brochure was opened was the biggest challenge, but we worked with the factory that provides the modules to find the best solution.” The packs, which were sent to senior directors in large organisations across Europe countries, were deemed highly successful. “The physical piece was very impactful and resulted in enquiries from a number of its senior-level recipients,” says Andrew Baillie of marketing agency Anderson Baillie. Baillie also says that follow up calls from SAP account managers resulted in “multiple new business opportunities”.
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/ DIRECT MAIL
Where next for direct mail?
The lightbulb moment
As the trade body for the DM industry, it’s imperative that any information sent out by the Direct Mail Association (DMA) is as impactful as possible – especially when it comes to communications sent out around their prestigious annual awards. “Because the recipients are marketers from brands and agencies,” explains Marcelo Bustamante, Managing Director of Amstore Innovation, “any messaging has to be creative, stimulating and hit home.” It’s fair to say the judging packs sent out to judges for the 2016 DMA Awards were worthy of being award winners themselves. Produced by Amstore, 400 video packs were sent to judges containing small screens that played an introductory video to the judging process. The fully personalised packs also contained a DMA-branded lightbulb USB that, when plugged into a computer, contained further information about judging. “The USB lightbulb lights up when you plug it in,” explains Bustamante. “So the concept was that lightbulb moment when you’re planning a campaign for a client and you hit upon an idea.”
The email that’s not an email
Global furniture giant IKEA came up with a challenging brief for its advertising agency LIDA, to “send an email without an email address” to members of IKEA Family – the retailers’ loyalty scheme in the UK. These individuals had been identified as high-value customers, but the company didn’t have an email address for them. As it wasn’t possible to send a digital email, LIDA hit upon the idea of sending a physical email with a twist. The agency created the prototype of an email window carrying marketing messages that was sewn onto hessian fabric. This was then sent to a manufacturer in China who produced 40,000 stitched ‘emails’ to be mailed out to IKEA customers. Recipients were told that if they provided an email address they would instantly receive a money-off voucher, as well as useful or relevant communications from the brand in the future. “In line with IKEA’s reputation for craft and design, the approach was inspired by cross stitch design,” says Vaughan Townsend, Creative Director at LIDA and the creative lead for the project. “To send an ‘email’ in this way was intriguing and exciting for the recipient.” The approach worked, with 13.5% of people receiving the pack going on to provide their email address and opt in to email communications with the furniture store.
The DM packs sent out today are radically different from the ones sent out a decade ago, when the boundaries of innovation were being pushed by greater levels of personalisation. However, in the future, DM packs are likely to rely even more heavily on technology. “There’s just so much noise out there,” says Marcelo Bustamante, Managing Director of Amstore Innovation. “People are getting bombarded with marketing messages every day from many different brands and it’s only the ones that are memorable, engaging, or innovative that cause people to remember them. By fusing print technology and packaging together it creates a high impact, multi-sensory product that people can interact with. As a result you have a much higher response rate.” Hence the next generation of DM packs that Amstore is about to unleash on the market. First is a pack called ‘Live Beacon’ that’s about to go into production. Beacons are small electronic transmitters that send information to smartphones and tablets. “The beacon technology is fused into the print and packaging, and transmits branded web content to recipients,” explains Bustamante. Next off the production line is a ‘Wi-Fi Pack’ that’s still in the ‘tech oven’. Amstore has created a way of embedding a wi-fi hotspot into print and packaging that broadcasts a signal that can be picked up by smartphones, tablets and laptops. “Say it’s a campaign for Nike,” explains Bustamante. “The customer would be sent a Nikebranded pack and when they open it up, it starts broadcasting a Wi-Fi signal. The end user then searches for ‘Nike Wi-Fi’ in their Wi-Fi settings and they can connect and receive the content.”
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the young and the restless 46_ PRINT POWER | www.printpower.eu
You may think the average millennial is glued to their smartphone, but they are just as likely to be reading a print magazine or newspaper. And when it comes to marketing, they still love the printed page, reports confirmed millennial Rebecca Waller-Davies www.printpower.eu | PRINT POWER _47
each generation is criticised
by the one that came before it, then today’s millennials are in an unenviable position. According to a plethora of pundits, this generation is addicted to their smartphones and unable to read anything but a social media feed for more than 30 seconds. It’s easy to assume that digital natives have failed to pick up non-digital habits, but this assumption is flawed.
“While globally they spend less time with traditional media, Gen Z is consistently more positive about ad formats such as outdoor, print ads and cinema than standard digital alternatives” Jane Ostler, UK Managing Director for Media & Digital, Kantar Millward Brown
Facts not myths Millennials, like the rest of the population, may always seem glued to their phones, but evidence suggests that they are increasingly taking a self-imposed break from the internet. Ofcom found that, of the 1,861 teenagers and adults it surveyed in 2016, those 24 years old or younger were the most likely to embark on a digital detox, with just over 40% saying they had purposely switched off from the internet. And across Europe, 72% of millennials say that they read a print product on a typical day. That’s around the same proportion as their parents (73% of GenXers do the same) and their grandparents (71% of Boomers), showing that printreading habits are alive and well1. Put these two statistics together and a very different idea to the smartphoneaddicted millennial emerges. Instead, this generation pick and choose and mix and match across media, crafting the information age to their own agenda. Newsworks CEO Vanessa Clifford dismisses the idea that millennials don’t read print. “It is a myth that young people are not engaged in print media,” she says. “They are very similar to other generations in what they read and the platforms they read it on. They just tend to use online media more than other demographics.” Clifford also supports the idea that millennials mix and match across different media, pointing to a study by Newsworks and the University of Bath that found that in every generation, readers consumed content in five different modes: Fix, Track, Fill, Indulge and Invest. Fix (accessing content constantly), Track (keeping up to date with a breaking story) and Fill (accessing content to pass the time) were digital-centric activities. But Indulge (content as a break) and Invest (getting an in-depth perspective on a specific issue) were print-centric.
These findings strike a chord with marketing leadership expert Thomas Barta. The former partner at global management consultancy firm McKinsey is the author of bestseller The 12 Powers of a Marketing Leader and coaches Chief Marketing Officers around the world. “To me, it’s not about being a millennial or not being a millennial,” he says. “Everyone wants new, fast and short from online. For print it’s the other way around. It’s a break from all that. It is to digest, to iterate, and
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“Across Europe, 72% of millennials say that they read a print product on a typical day” GlobalWebIndex, 2016 that counts for young people too.” He adds that, because print functions more slowly, readers are more exposed to messages from advertisers and marketers. “You spend more timing reading a magazine,” he says. “It’s a slower medium and your message may be visible for longer.” The science bit All this is good news for those hoping to communicate with millennials via print and the advertising within print products. And the data is backed up by compelling scientific evidence. In 2007, Royal Mail wanted to assess if direct mail was still effective, so commissioned Kantar Millward Brown to work with scientists from the Centre of Experimental Psychology at Bangor University. The results were astounding. Participants were shown a number of adverts already in the market, both on screen and printed onto cards, to assess how they reacted to visual and physical stimuli. Again and again, the scientists found that the physical, tangible material left a “deeper footprint” in the brain. Physical material was found to be more “real”, generating more emotionally vivid memories and provoking a greater internal emotional response to outside stimuli. Essentially, the adverts on cards were more internalised by the subjects – gold dust to any brand or marketer – and happily for those marketing via Style icon print, this innate German fashion power coincides etailer Zalando, with a self-selected which uses its own preference for print print magazine advertising over to target the digital. millennial market
Another Kantar Millward Brown study surveyed 23,000 consumers across 39 different countries. When asked which advertising format they liked better, millennials preferred print. Globally, 51% and 55% of generations Z and Y said they responded well to magazine display advertising, but this plummeted to 30% and 34% for mobile display advertising. “Despite their digitally dominated media consumption, Gen Z can still be impressed by traditional media,” says Jane Ostler, Kantar Millward Brown UK Managing Director for Media & Digital. “While globally they spend less time with traditional media, Gen Z is consistently more positive about ad formats such as outdoor, print, cinema, TV and radio than standard digital alternatives.” So millennials are primed to respond to print advertising. But capitalising on that is where it gets tricky. The next challenge Millennials are known to value brand authenticity and dislike a hard sell. In the US, Boston Consulting Group found that, for millennials, brands being ‘authentic’ was second only to loyalty discounts. The brands that are most successful with millennials know this. German etailer Zalando is a case in point. In addition to its own print magazine, cochief executive Rubin Ritter highlighted Zalando’s decision to raise awareness in its burgeoning UK market via print advertising last autumn. And Zalando is now choosing to target the millenial market much more aggressively, choosing rapper A$AP Rocky as the mainstay of its spring/summer 2017 campaign. Fashion etailer ASOS also targets millennials with a laser focus, with ASOS magazine high on its list of priorities. Launched in 2006, it now has a circulation of 450,000 and features A-list cover stars such as Taylor Swift. “We want to be more than just a shop,” ASOS’s Head of Commercial Kate Whitelock said recently. “We want to offer great products to our customers but also inspire them with content across fashion and beauty as well as entertainment and lifestyle.” With print, you already have the attention of the millennial. The next battle is connecting with them. Sources 1 GlobalWebIndex on European internet users from Q1 2014 – Q1 2015, 2016
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Redefining print as personal
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Knowledge Over the next five pages, we’ll be giving you the latest research, information and insight into the five key mediums covered by Print Power. Each one has their individual strengths and advantages, but used in combination with each other, they offer a powerful solution to any marketing challenge 52_Newspaper advertising Newspapers are still the number one medium for shaping public opinion. Their credibility, knowledge and values remain a formidable force. — 53_Magazine advertising With over 50,000 magazine titles currently published in Europe, they are an ideal way to get your brand in front of a key target audience. — 54_Direct mail With an ROI of up to 40% and an industry value of £25bn in the UK, direct mail is still one of the most effective marketing channels. — 55_Customer magazines One of modern marketing’s true success stories, customer publishing has swelled to a £10bn global industry thanks to the huge levels of engagement it offers brands. — 56_Door drop The door drop market is rising in both volume and revenue, and is ideal for getting a great level of response from the most amount of people. — 57_Catalogues One of the oldest forms of marketing, catalogues are still a highly effective sales driver, generating over £16bn of sales in the UK every year. If you would like further information on the vital role print plays in marketing, plus the latest news on print media from around the world, go to www.printpower.eu
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7 reasons_Newspaper advertising
1_ Reach and reliability Not only do newspapers reach a lot of people, these people span a wide age range (60% of German 14-29 year-olds are reading), while different sections and supplements allow advertisers to tap into specific groups and backgrounds. 2_ People read newspapers For many, newspapers are the most reliable form of news and information, backing up this factual accuracy with credible opinion and insight. This level of trust leads to readers spending a huge amount of time reading their newspaper – 69 minutes on average. 3_ Emotional connection Neuroscience has demonstrated the power of newspaper advertising to drive a strong response. Tracking of in-market campaigns has reinforced this, with 20 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 for a brand to fit into. 5_Versatility Newspapers are the only medium 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.
“Newsbrands are like getting a trusted opinion from an old friend. We connect emotionally with the brand personality that most appeals to us and they have an amazing power to persuade us to take action” Katrina Lowes, Head of Marketing, Vodafone Global Enterprise
The BFG eOne Film, TV and music production company eOne wanted to make Steven Spielberg’s The BFG the biggest film of summer 2016, so turned to The Daily Telegraph to deliver a huge print and digital campaign to reflect the scale and creativity of the film, as well as build awareness and anticipation. So the national broadsheet launched a standalone magazine to be distributed with its Saturday edition to achieve both circulation and reach to its target market of parents and grandparents. Titled Welcome To Dream Country, the publication
comprised an eight-page broadsheet pull-out, with content including character introductions and exclusive content and activities related to the film. The response was as impressive as the movie, with readers and client equally delighted with the result. “The Telegraph reflects the heritage and quality of The BFG,” said Lauren Hockings, Marketing Manager at eOne, “and Welcome To Dream Country delivered the scale and magic of Roald Dahl’s book through the rich and interactive content. The ‘giant’-sized broadsheet nature of The Telegraph only added to the partnership being a perfect fit.”
The amount of time an average person spends reading a print newspaper every day IPA Touchpoints, 2016
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7 reasons_Magazine advertising
1_ Fantastic reach With over 50,000 titles published in Europe, selling in excess of 20bn copies per month, magazines are one of the most widely distributed forms of media in the world. 2_Fine-tuned targeting Each magazine title is specialist in some way, reaching a certain demographic or interest group that will engage with relevant advertising or featured brands. 3_Focused activity Reading a magazine requires high levels of concentration, the same levels of concentration that will be devoted to advertising as well as editorial content. 4_The trust factor Magazines are a trusted friend to their loyal readership, and any brand that places themselves in that magazine can capitalise on that trust and use it to foster a new relationship. 5_Integration On average, more than half of all readers take action on magazine ads, a response that can be optimised when the ad is used as part of a wider campaign. Brand awareness, for example, can be doubled. 6_Awareness generation Research shows that awareness generated by magazines and TV is roughly the same, but given that the expense of advertising in magazines is lower, they offer a more cost-effective solution. 7_Driving sales Research shows that magazines are a powerful tool in driving sales. A PPA study showed that 63% of readers were driven to action after exposure to magazine advertising.
“Print is one of the last mediums, whether it’s books or magazines, that people actually devote 100% of their attention to” Steven Kotok, CEO, Bauer Media Group USA
Clarks Time Inc UK Concerned that people regarded Clarks as frumpy, the shoe brand wanted to change this perception to stylish, targeting a female audience who want their footwear to be both fashionable and comfortable. But while they wanted to build aspiration and desirability, Clarks also wanted to retain their existing customers, ensuring consistent brand behaviour and experience. So the brand turned to Time Inc UK, the publishers of Look, Marie Claire and InStyle, who created a fully immersive campaign with a focus on ‘effortless style’. As well as a virtual square featuring eight online stores, including the Marie
Claire Beauty Room and a Clarks boutique, each title ran three spreads and an advertorial in their print editions, showing real-life consumers shopping in key cities across the UK. Taken with areas in key Clarks stores styled by editorial teams and a style academy held at Clarks’ HQ in Somerset, the multiplatform campaign was a huge success. Awareness was raised, with consumers 41% more likely to remember seeing Clarks advertising after the campaign, while three in five said the campaign made them feel more positively about Clarks. The campaign’s success also translated into sales, with Clarks going from the second most purchased shoe brand to number one.
The average return for every dollar spent on magazine advertising in print, the highest of all marketing media Nielsen, 2016
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7 reasons_Direct mail
1_ The mail moment Direct mail enters an individual’s home and is consumed on a oneto-one basis. This gives you much more time with your customer, time you can use 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 a 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.
“Direct mail is the ultimate in personalisation and has a very strong role to play” Pippa Glucklich, CEO, Starcom
Golden Ticket The Print Show The Print Show is one of the UK’s premier events for the print industry, attracting international brands such as Konica Minolta and Duplo to exhibit their equipment and services to almost 6,000 delegates. But while the 2015 show was undoubtedly a success, the organisers wanted to reach out to even more industry professionals and so created a unique personalised DM campaign. Twenty versions of a letter were printed to suit the type of company the mail was being sent to, while accompanying the letter was a detachable ‘Golden Ticket’ that visitors could take with them to the show and
be entered into daily draws to win a number of prizes. Once at the show, visitors handed their ticket to staff on the door, had it scanned then entered the hall, listening out for their name to be called in the prize draws. Golden tickets featured a unique ID that when scanned married up to a visitor’s pre-registration record, which then gave organisers their contact details so they could identify prize-winners. Of the 20,000 pieces of direct mail sent, more than 2,000 visitors brought their golden ticket to the show. Reflecting on this response rate, Event Director Chris Davies said the return represented a “phenomenal” achievement for an event in only its second year.
The increase in ROI when direct mail is included in a multiplatform campaign Royal Mail Marketreach, 2016
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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 is likely to be the best option.
“Content marketing separates the successful marketers from those that simply annoy” Duncan Southgate, Global Brand Director, Millward Brown
Scouting Immediate Media The Scouts Association is the UK’s largest youth organisation and works with over 450,000 young people aged between six and 25. The Association aims to give its members the opportunity to reach their full potential by enjoying adventure, interacting with others and gaining confidence, with cubs and scouts coming from all backgrounds and cultures, and groups active in all areas of the country. Scouting magazine is created every two months for the organisation’s adult volunteers and leaders, supporting
and inspiring them with activity ideas and the latest Association news. With content divided into three sections, The Briefing, Features and Activities, the magazine focuses on being useful to the reader, packed with practical advice and activities that work towards achievement badges for the young people they inspire. The magazine has gone down extremely well with its readers, who see it as useful, relevant and interesting. A recent survey has shown that the majority of readers say it provides them with inspiration and ideas, as well as making them feel like a valued member of the organisation.
Estimated global spend on content marketing in 2019 PQ Media, 2015
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7 reasons_Door drop
1_ It delivers ROI Door drop drives rapid and measurable response that shows an impressive ROI – and it’s growing. A recent ELMA study shows the door drop industry has grown 4.8% in media spend and 3.8% in volume over a five-year period. 2_Mass-market medium Door drop is the only truly national mass media available to marketers, with a satisfying 100% reach. Despite the advances in other media, door drop is still the only way of delivering a document into the hands of millions of households. 3_Right environment The fact that the consumer receives your material in their own home is crucial. They can absorb and respond to the messages in their own time, never being forced or coerced. 4_Targeted when required Using geomarketing, you can pick and choose which demographic you’re after, gathering vital data along the way. With this data, your campaigns can become more and more sophisticated. 5_It’s creative A lot of brands take advantage of the creative potential of door drop, with many using innovations such as holograms, scented paper, 3D techniques and pop-ups to grab attention. 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.
“Better targeted door drops is how we need to move the game on. That’s the future and it’s a promising one” David Beale, Managing Director, MediaCom Response
Boecker Public Health JWT Dubai In the United Arab Emirates, business cards slipped under apartment doors are a common feature of daily life. So, unfortunately, are cockroaches. So when pest control company Boecker Public Health wanted a low-cost, innovative way to push their way through a crowded market to get the attention of their potential customers, JWT Dubai created a door drop solution that combined the two. What they came up with was a unique business card, one that folded out
into a small replica of a kitchen that would not only tell the customer that they had a cockroach problem but give them the number to call to remove them. If they left the piece of card in their kitchen overnight, any cockroaches would be attracted to the card by its edible ink, which they would eat to reveal a hotline number for the customer to call. And it worked: by targeting and distributing cards in towers known to be pest hotspots, this unique piece of door drop achieved a response rate of 11%, which was 9% higher than standard business cards in the market.
The proportion of people who say they can remember some mail sent to them in the last four weeks Royal Mail Marketreach, 2016
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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.
Everything for you and your baby
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 way 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 are reaching the right prospect. Whatever demographic you are after, you can reach them in a matter of hours. 6_Brand loyalty A well-produced catalogue that stays true to the brand will foster large amounts of brand loyalty, with the customer satisfied that their custom is worth the effort and cost involved in its production. 7_Effectiveness Working alongside direct mail, online and digital media, the catalogue’s ability to have its results measured quickly and accurately is a significant advantage for the marketer.
Newborn essentials Shop in store, online and by mobile
“Catalogues may seem old school, but their increased capabilities and brand-building potential suggest they will remain a staple in retailers’ toolboxes and consumers’ mailboxes” Denise Lee Yohn, Harvard Business Review
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John Lewis Baby Sunday With a brief to develop an inspiring nursery catalogue, showcasing the breadth of John Lewis’s range of baby products, content marketing agency Sunday set about creating a complete print and digital solution that reflected both the John Lewis brand and the increasing demands of the millennial mother. Key to the success of the catalogue was the
imagery, with stylish, gender-neutral room sets providing the backdrop to the most important feature of all: the babies. With clever casting and plenty of patience, the team captured an assortment of beautiful and natural shots, which were so good that they were not only used in the print catalogue, but across a wide number of John Lewis’s digital, social and video channels. The content was so successful that John Lewis used the images at point of sale around their nursery departments, while the videos have had more than 335,000 views to date. As for the catalogue itself, it continues to play a huge part in engaging new parents and driving sales, contributing to a 40% uplift. “Our Baby publication is a brilliantly useful, engaging shopping tool for mums and mumsto-be,” said Craig Inglis, Customer Director for John Lewis, “which supports John Lewis continuing to be seen as a trusted, authoritative retailer in this category.”
The proportion of consumers that have at least one catalogue in their home Touchpoints, 2016
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Which ways do Nikon Europe use print for their professional market? For our professional audience we continue to use direct mail and product leaflets for instore and exhibitions. Most importantly however, we continue with our customer magazine, Nikon Pro, which we produce in four languages and ship to 29 countries worldwide. — Why do you use these print channels? For some purposes, digital communications are perfect, but digital is a very volatile medium. Photographers still operate mainly in the print format and they strongly appreciate printed images, so the best way to connect with them is by showing off the stunning results that can be achieved by using Nikon equipment. High quality print has a strong ability to show fi ne details, richness in color, fi ne tonal nuances and much more. Also, readers of the magazine fi nd it aspirational, so they want to try to take those kind of images themselves, which obviously leads to sales. — Why does the print version of Nikon Pro remain more popular than the digital? In addition to the power of printed images, I think it’s the longevity, collectability, and portability of the magazine. Photographers really love the print magazine. Although it’s
The Marketing Coordinator of Nikon Professional Services at Nikon Europe explains why print is ideal to communicate with its customers – professional users of Nikon camera equipment
“High quality print has a strong ability to show fine details, richness in colour, fine tonal nuances and much more”
fundamentally a marketing tool, the magazine speaks to the customer in such a way that they never feel like they’re being sold something. That’s very difficult to do with digital. — What role does print have in the internet age? Although the internet is perceived as very customer friendly, I cannot imagine a higher level of convenience than receiving a magazine to your door automatically. You can do so much with tablets, phones and digital devices, but there’s only one thing you can do with a printed magazine, and that’s read it. There are no distractions.
For our professional users, digital media has a very strong connection to their daily work. Many spend long days behind their screens, editing images, replying to email, and much more. In comparison, a wellmade magazine with quality content can be an excellent reason to sit down, relax and enjoy the content. Another possible reason, especially for photographers, is that print pays more. If you’re a fashion or wildlife photographer, you can make more money in print through magazines, calendars, exhibitions, books and fi ne art. If you look at David Yarrow’s work, for example, it demands to be printed in large scale to be fully appreciated. — Is print the natural way for Nikon to communicate with its customers? Our products are used for producing both digital and printed output, so I think both of those mediums have a place. However, a lot of digital advertising can only be as big as a tablet screen and most is dismissed as an annoyance. Even if such communication contains quality images, the chances are that you will lose your readers’ attention instantly. But if you have something in print and you’re reading it, you have already made an investment in it. Printed media may currently be undervalued, but people will soon realise the benefits of print again.
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