Cross-Media: Das Marketing der Zukunft!

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1 realbusiness Frühjahr 2011 Das Xerox Magazin für noch bessere Geschäftsergebnisse Cross-Media: Das Marketing der Zukunft! Besuchen Sie Virtual Hunkeler: Die interaktive Kampagne von DME ein Gewinn für die New York Jets Der echo -Effekt bringt frischen Wind in das Capitol College Farbdruck mit variablen Daten in hohen Auflagen eröffnet neue Möglichkeiten für die MBA Group Bachar Aintaoui Chairman MBA Group

2 Willkommen bei der Frühjahrsausgabe des RealBusiness Magazine. Angeregt durch Ihre zahlreichen Beiträge widmen wir uns in diesem Jahr besonders den vier strategischen Bereichen, die für Sie als Druckdienstleister am wichtigsten sind: Kosten zu senken, Ihre Kunden zufriedenzustellen, mehr Aufträge zu bewältigen und natürlich Ihr Unternehmen auszubauen. Zusammen können wir unsere Branche immer wieder neu definieren und den Kunden echten Mehrwert bieten. Dabei unterstützen wir Sie gerne bei jedem Schritt. In dieser Ausgabe beschäftigen wir uns besonders mit dem Einfluss, den Cross-Media und soziale Medien auf unsere Branche haben sowie die Veränderungen, die im Marketingbereich stattfinden. Der Boom bei der Verwendung von mobilen, sozialen, online-basierten und interaktiven Medien zwingt die Marketingexperten dazu, Botschaften auf alle möglichen Schnittstellen abzustimmen - und die Printmedien stehen dabei im Mittelpunkt. Bei uns erfahren Sie Fakten und Trends. Zudem erläutern wir Ihnen den kompletten Prozess - von der Strategie über die Parameter bis zur Bemessung, wie Sie ein integriertes Programm entwickeln. Dabei winken überzeugende Ergebnisse: neue Einnahmequellen durch das Internet, soziale Medien und Mobiltelefone aber auch eine Steigerung des Druckaufkommens. Zum neunten Mal versammeln sich die weltweit führenden Druckdienstleister und Papieranbieter im schönen Luzern in der Schweiz zu einem viertägigen Branchentreffen mit dem Thema Hochleistungs- und Transaktionsdruck. Dabei werden viele Innovationen vorgestellt, darunter die Xerox Production Inkjet Technology mit neuartiger wasserfreier Tinte und Druckkopftechnologie, das durch zuverlässigen, schnellen und kostengünstigen Qualitätsfarbdruck Ihre Kunden begeistern wird. Wenn Sie nicht persönlich auf den Hunkeler Innovationdays dabei sein können, ermöglichen wir Ihnen unter einen virtuellen Besuch. Zum Schluss möchte ich mich bei Ihnen noch für Ihre Unterstützung und die geschäftliche Zusammenarbeit bedanken. Wir wissen: Je mehr wir Sie dabei unterstützen können, auf den für Sie wichtigen Gebieten erfolgreich zu sein, desto besser können Sie sich auf Ihr Geschäft konzentrieren. Wir freuen uns darauf, Ihr Unternehmen in der gesamten Wertschöpfungskette erfolgreicher zu machen. Und dafür bieten wir Ihnen weit mehr als hochwertige Technologie. Mit freundlichen Grüßen, Ursula M. Burns Chairman and Chief Executive Officer Xerox Corporation 2 realbusiness Frühjahr 2011

3 realbusiness Inhalt Sonderinformation 02 Ein Brief von Ursula Burns CEO der Xerox Corporation 06 Die MBA Group präsentiert die Zukunft der Printmedien eine Zeitschrift mit vollständig variablem Inhalt PrintMedia Management stellt die erste personalisierte Zeitschrift vor und hilft so einer Londoner Druckerei dabei, sich mit variablem Hochleistungsfarbdruck zu etablieren. Von Scott Russell 08 Die bisher größten Hunkeler Innovationdays beginnen in Luzern Zu den Highlights des Branchentreffens gehört die Vorstellung der innovativen Xerox Production Inkjet Technology. Von Tracy Yelencsics Wachstum durch Digitaldruck 12 DME punktet mit einer interaktiven Kampagne für die New York Jets 22 Druckdienstleister aus Dänemark findet optimale Anwendungen für digitalen Buchdruck LaserTryk lockt 15 der 20 führenden Buchverlage mit der digitalen Buchfertigung bei Kleinauflagen und schafft somit eine zweistellige Wachstumsrate. Von Jo Oliphant 26 Großes echo bei Bewerbungen am Capitol College Dank einer medienübergreifenden Kampagne verzeichnet ein College in Maryland viermal mehr Bewerbungen und doppelt so viele Erstsemester wie zuvor, während echo strategisch wächst. Von Karin Stroh 30 Die Druckszene

4 Inhalt Brandaktuelle Anwendungen Innovation und Automatisierung 17 Sonderbeilage: Bringen Sie Ihr Druckgeschäft auf Touren 28 Cathedral Corporation baut preisgekrönte Kundennähe auf Langjähriger Marktführer für datenbetriebene Kommunikation steigert sein Wachstum mit innovativen TransPromo- und Direktmarketinganwendungen. Von Gina Testa 10 Vorhang auf für ein Innovatives High- Speed Inkjet System Die bei den Hunkeler Innovationdays vorgestellte neue Technologie liefert höchste Druckqualität selbst bei preisgünstigen Papieren reduziert, Druckproduktionskosten und verbesserten Bearbeitungszeiten für neue Expansionschancen. Von Kevin Horey 14 InfoTrends: Medienübergreifende Kommunikation ist die Zukunft der Branche Cross-Media etabliert sich, setzt auf neue elektronische Medien und verändert die Marketinglandschaft für immer. von Barb Pellow und Chris Bondy 24 Angstrom Graphics ändert seinen digitalen Kurs mit großem Erfolg Ein anfänglicher Rückschlag weist Druckdienstleister den Weg zu erfolgreicher Digitaldruckstrategie Von Susan Weiss Ihre Meinung ist uns wichtig! Bitte beteiligen Sie sich an unserer Leserumfrage und helfen Sie uns dabei, RealBusiness Magazine für Sie noch besser zu machen. Gehen Sie auf oder lesen Sie diesen QR-Code mit Ihrem Smartphone. Vielen Dank für Ihre Beteiligung. RealBusiness richtet sich an Führungskräfte in der Grafik- und IT-Branche, an unternehmensinterne Druckspezialisten sowie Führungskräfte in den Bereichen Marketing und Finanzwesen. Ziel ist es, diese Fachleute über die Leistungsstärke und den Wert zu informieren und zu unterrichten, die sich durch vernetzte, digital gedruckte Dokumente erzielen lassen Xerox Corporation. Alle Rechte vorbehalten. XEROX und XEROX and Design sind Marken der Xerox Corporation in den USA und anderen Ländern.

5 Real Business Live Kommt auch in Ihre Nähe: Über 100 eintägige Strategieschulungen werden Druckanbieter im Jahr 2011 weltweit dabei unterstützen, ihr Unternehmen nach vorne zu bringen. Erfahren Sie mehr über die Veranstaltungen und registrieren Sie sich auf: Auch 2011 geht es bei Real Business Live wieder um Ihre digitalen Herausforderungen auf mehr als 100 Veranstaltungen weltweit, präsentiert von Xerox und unseren Partnern. Die Veranstaltungen sind eine Kombination aus Vorträgen von Fachexperten und der Ausstellung von Unternehmensressourcen und Technologien. So wollen wir Ihnen Hilfestellung bei den geschäftlichen Problemen bieten, denen Druckdienstleister Tag für Tag gegenüberstehen. Real Business Live kommt auch in Ihre Nähe, verspricht John R. Ahlman, Leiter von Xerox Global Events Marketing und Integrated Collaterals. Wir wissen, dass die meisten Druckanbieter selten die Zeit und die finanziellen Mittel für ausgiebige Geschäftsreisen haben. Deshalb kommen wir mit attraktiven Veranstaltungen zu ihnen. So können wir sie dabei unterstützen, das Meiste aus ihren Investitionen herauszuholen, ihre Geschäftsabläufe zu optimieren und neue Strategien zu entwickeln, um ihr Unternehmen voranzubringen. Wir unterstützen die Druckanbieter bei jedem Schritt auf ihrem Weg zum Erfolg. Beim Thema der Veranstaltungen stehen die vier wichtigsten Herausforderungen für Druckanbieter im Mittelpunkt: Mehr Aufträge bewältigen Das Unternehmen ausbauen Die Kosten senken Die Kunden zufriedenstellen Die Veranstaltungen bieten eine hervorragende Plattform, um Kontakte mit Branchenkollegen zu knüpfen. Suchen Sie nach der passenden Veranstaltung von Real Business Live vor Ort, weltweit, live oder online auf Xerox Corporation. Alle Rechte vorbehalten. XEROX und XEROX and Design sind Marken der Xerox Corporation in den USA und anderen Ländern.

6 MBA Group präsentiert die Zukunft der Printmedien eine Zeitschrift mit vollständig variablem Inhalt PrintMedia Management stellt die erste individualisierte Zeitschrift vor und hilft so einer Londoner Druckerei dabei, sich mit variablem Hochleistungsfarbdruck zu etablieren... von Scott Russell PrintMedia Management vom Oktober 2009 war zwar nicht die erste Ausgabe eines Magazins, die vollständig auf einer Digitaldruckmaschine entstand. Doch es war wohl die erste digital gedruckte Publikation mit einer bestehenden Abonnenten-Datenbank, die eine vollständige Personalisierung bei Artikeln und Werbung ermöglichte. Für den damaligen Herausgeber Andy Knaggs war es dabei nicht entscheidend, der Erste zu sein. Der springende Punkt ist doch, dass personalisierte und dadurch relevante Inhalte die Zukunft 6 realbusiness Frühjahr 2011 der Druckindustrie darstellen, schrieb er im Vorwort der Ausgabe. Theorie in die Praxis umzusetzen ist in jeder Branche ein entscheidender Faktor, wenn es um die Einnahmequellen der Zukunft geht. Für Bachar Aintaoui, Chairman der in Nordlondon ansässigen MBA Group Ltd., die den Druck der Ausgabe übernahm, waren aber auch die aktuellen Einnahmen ein wichtiger Punkt. Graham Smith, der Marketingmanager des Unternehmens, hatte die Idee für das Projekt, um das noch in den Kinderschuhen steckende Geschäft für variablen digitalen Hochleistungsfarbdruck anzuschieben, nachdem die MBA Group als erstes britisches Unternehmen die Xerox 980 Color CF, das Farbdrucksystem für den Endlosdruck verwendete. Durch den Druck des Magazins konnten sich zukünftige Zielkunden (die Abonnenten) hervorragend von der Druckqualität und den Möglichkeiten individualisierbarer Inhalte überzeugen, so Aintanoui. Diese Aktion hat dem Unternehmen viele neue Aufträge beschert, sie lieferte eines der immer noch besten Musterdrucke und ermöglichte es der MBA Group, wertvolle Erfahrungen auf den neuen Märkten für variablen Hochleistungsdruck zu sammeln, auf denen sie sich etablieren wollte. Aintaoui meint dazu: Das Projekt hat die Stärken der Druckmaschine gezeigt, und wir profitieren bis heute davon. Alles in allem war es also ein voller Erfolg! Hier kommt Abwechslung ins Spiel Die Mitarbeiter von PrintMedia Management waren begeistert, als Smith sich mit dem Projekt an sie wandte. Sie waren gerade dabei, eine neue Messe zu organisieren: die mediapro. Da kam ihnen die Gelegenheit, die zu diesem Anlass verteilte Ausgabe als Muster für neue Drucktechnologie zu nutzen, gerade recht. Ihr Angebot: Die MBA Group würde das Magazin gratis drucken und dafür kostenlose Werbefläche erhalten. Dabei war es für die MBA Group die erste Erfahrung mit einer Publikation dieser Art. Das Unternehmen war 1984 als Fulfillment-Dienstleister gegründet worden und hat heute ein Jahreseinkommen von 31,2 Millionen. 60 Prozent davon stammen aus Transaktionsaufträgen, die übrigen 40 Prozent aus dem Direktmarketing. Für diese neue Anwendung, so Aintaoui, lieferte Xerox das technische Knowhow. Während des Projekts waren ihre Mitarbeiter quasi rund um die Uhr bei uns vor Ort. Es war vorgesehen, vier verschiedene Versionen des Magazins für vier Zielgruppen zu drucken, die innerhalb der Abonnenten-Datenbank leicht zu identifizieren waren: Herausgeber, Werbeagenturen, örtliche Behörden und Marketingmitarbeiter. Die 60-seitige Ausgabe enthielt sieben Seiten, deren Inhalt je nach Zielgruppe

7 Frühjahr 2011 realbusiness 7 Google provides books for on demand print NEWS: Page 4 Vio builds soft proofing into AdSend Product News: Page 20 Only the best will do for Jess MacDermot of Creative Review Interview: Page 32 The latest OS X, Snow Leopard, goes under the PMM microscope Mac OS X: Page 52 October The magazine for creators of print content production procurement distribution ManageMent PrintMedia Strategic Direct Mail Pauline this time it s more than personal This month, John, PMM has written an issue just for you. Inside, you will find articles tailored specifically to your role as an agency professional some uniquely personalised, others relevant to readers in your sector. This has been made possible by printing entirely digitally on a Xerox press and finishing on a Duplo at MBA Group in North London. The implications of digital print are potentially huge. Agencies are now able to tailor marketing messages for clients according to a defined audience, ensuring the maximum possible impact and response from their campaigns. On top of obvious benefits in direct mail, variable data and personalisation can bring huge potential for targeting in all print media campaigns. In magazines, for example, agencies can customise ads for particular readers alongside relevant content all while saving their clients money Continued on back page Public sector in-plant 38 October it in the he print room at South Lanarkshire Council used to be a black hole. Work would be checked in and eight weeks could pass before it was spat out again. Not surprisingly this was not popular and work being handled internally began to dry up as clients voted with their budgets. It was touch and go whether the unit could survive. Enter Angie Moakler as design and production manager, corporate communications and public affairs, who was tasked with turning the unit around. Fortunately the public service ethos runs deep in Scotland. Communication was a core function of what we did as a council, she says. But even with this attitude, this was a steep challenge, not least because everybody had lost confidence in the internal service. None of the nine people in the design team for example would place work with their colleagues. Likewise all print for education services was outsourced. In speaking to a number of other organisations, it seemed that people generally didn t rate their inhouse print rooms, Moakler adds. So the first question was whether to keep the facility or recommend outsourcing it. To get anything printed, a council department would need to fill the correct one of the five forms available; there were three different booking-in systems in place; storage held thousands and thousands of printed items, some ten years old, because nobody had ever thought to throw them out; there were 50 items of production equipment, many of which no longer worked. To go visiting was to step back in time. She says: For both staff and customers it was a horrible walk along the corridor to the basement facility with your hard copy or files. As you approached the print room, it felt like you crossed over a time line back to the 1970s. Walls, both literal and metaphorical, needed knocking down. The design team and print were brought together, while the walls that partitioned up the dungeon were removed. Investment funds were released, the print team bidding for additional litho presses. But we needed to change, the unit was not making its income target, it was not sustainable, and waste was too high, she recalls. We asked customers about what they wanted from the service and were judged against other government organisations. The customers confirmed the Marmite theory about the unit. And we south lanarkshire council s printing in-plant is a very different place to days gone by, writes Gareth Ward, after a change of culture and much needed investment in new equipment T knew a lot of print spend by-passed the print room completely. Nevertheless, change was coming, although most suppliers were more interested in replacing kit that was already in place rather than helping with the change, she explains. We wanted to focus on business development. Canon emerged as the supplier able to provide the changed equipment, and the training and hand holding to go along with that. The C7000VP colour digital press had the immediate impact of cutting an eight hour production time to two hours; black and white productivity gains were just as great. We changed the working environment, knocking down walls and letting the technology start to move us forwards. The team needed also to reconnect with the vision of helping to improve the lives of the people that live in Strathclyde. Lean thinking projects, necessarily excluding managers, were set up. The results were staggering: 50 days of faxing a year were eliminated; the 74 steps that were needed to complete a job were slashed to just three in some cases, and the eight week turnaround time for one job became three hours, 42 minutes thanks to automating systems and introducing a web to print ordering system. Changes a l s o improved communication with external suppliers who no longer needed to fill in separate forms for every type of job tendered out. Instead they needed to complete a pricing matrix which saved them time and began to instil a better relationship so that some printers are now happy to use the in-plant for occasional trade jobs. Customers, not surprisingly, are happy with the new look department. The operation now looks to go out to customers and meet their requirements, rather than being focused on its internal procedures. The multiple forms have been redesigned to become multi function forms that are far more user friendly. The web is being used to submit work and online proofing used to approve work. The education sector is being won over, sparking ideas of print among parents as well as teachers, some of whom are asking for help in producing large format artwork that can be submitted for exams. Parent Teacher Associations are asking for calendars, year books, greetings cards and banners to be produced to earn them the Keeping Council The in-house print room team at South Lanarkshire Council has a much more customer-focused outlook Production 38 October t s the big media debate of the day: how do publishers make online pay? They have the capability to provide a wealth of rich media experiences for readers and subscribers through many new media channels, but there has to be a revenue stream, and in a society where consumers are already accustomed to getting free content on the internet, how can that revenue stream be realised? No-one has yet cracked the answer to that one it seems, but what is certain is that publishing as a sector, and each individual company within it, is undergoing massive change as the anwers are sought, and as digital channels are harnessed and integrated alongside traditional print media. In the meantime, content still has to be produced, and quality standards can t be allowed to slip. Given those facts, and the rise of digital, what will be the future role for the traditional print-based production department? How can these people s skills be utilised by publishers in this environment, if at all? These were the questions that PMM put to a gathering of print production directors from across the publishing sector who attended a roundtable discussion, hosted and sponsored by digital, print and video creative and production agency FMG. Book publishing was represented by Michelle Thomas, head of Creative & Content Technology for Penguin UK; Stephen Irving, Mirror Group s head of advertising production, spoke up for newspapers; and magazines were represented by Richard Mason of Future Publishing (consumer magazines), while Matt Jolly and Peter Davies of John Brown and Forward Publishing respectively saw things from a contract publishing viewpoint. The discussion began with an overview of how production of digital content was currently managed in each of the participants organisations, and the degree to which this impacted or crossed over with traditional print media production. From the magazine side of PMM and production agency FMG recently sat down with a panel of publishing production heads to discuss the challenges of their roles. in the first of two articles, Andy Knaggs hears how the rise of digital channels is impacting on traditional print production departments I things, the picture was quite consistent: a separate digital department exists to carry out this specialist work, and there was little cross-over so far. Peter Davies of Forward Publishing summed it up: We ve got a digital team who produce websites and things like e-zines, and within the agency we ve got a creative department that s being merged together for traditional and digital media but in terms of delivery, that s firmly within the digital department; not within the print production department that I m responsible for. Penguin UK s Michelle Thomas related that so far it s growing organically. She said: Small production teams dealing with digital media are springing up in different areas of the business and for different requirements. So if we re doing an illustrated e-pdf delivery, at the moment it s coming out of the archive picture library, because they ve actually got the content, the files, images etc. They are creating an e-pdf for sales delivery from the picture library. We ve also got a post production team dealing with e-publishing on the mono books. We ve got a separate XML team, creating XML up front in a different area, and then there s marketing creating digital content for publicity, and they have their own production team. It s a bit of a concern at the moment because they are just growing organically in different areas, as to need. It remains a question for the organisation whether boundaries New media, new production The production roundtable took place at digital, print and video creative and production agency FMG and was chaired by PMM editor Andy Knaggs (centre) A mix of books magazines and newspapers was represented. From left: Michelle Thomas (Penguin), Richard Mason (Future) Peter Davies (Foward), Stephen Irving (Mirror Group) and Matt Jolly (JohnBrown) Tab M uch has been said and written about the concept of merging transactional and promotional data streams within a single printed document the now more familiar term of transpromo. For a period of time, it seemed that there was significantly more being said than actually being done, but with press manufacturers bringing serious technology to the print supply market that can handle the demands of such work that is, the data processing and the quality colour at high speed and with a gradual flow of clients (of which BT is but the latest in the UK) seemingly keen on the promised benefits of this method of customer communication, perhaps the hype is in the process of being vindicated. One of the converted customers is Tesco, whose Clubcard is a perfect opportunity for transpromo applications, as offers can be tailored to purchasing patterns and the supermarket can reward big spending customers, while showing them how many points they have accumulated. It wants to take the product to the next stage, making full use of the technology that is available. The incumbent producer is Polestar, where the investment in the new Océ JetStream 2200 inkjet web would seem perfectly timed for the contract. Other retailers have similar loyalty schemes, but have not as yet followed Tesco s path. This is the cautious approach, as marketers and purchasing departments have been hard to convince that the move is worth the money. In Transpromo 38 October joins the search for the pages of PMM previously, Polestar CEO Barry Hibbert has made reference to the wide discrepancy between those companies that have grasped the idea, and those who have not, saying: I find it astonishing that mail order companies, retail companies and even publishers with access to data are still way behind. There s a huge difference between the market leaders and the rest. That view is confirmed by another UK printer, Patrick Headley of GI Direct, whose company installed a Screen Truepress Jet520 inkjet press last year with such applications in mind. Headley says: It has been a slow burn, although people are now talking about it. In theory it is a very compelling sales argument, but it does take people a bit of time to get their heads around it, especially when there s an initial increase in costs. The press manufacturers are certainly doing their best to make transpromo into a strong market, and to evangelise that this way of communicating transactional information to customers, with white space used to carry targeted colour marketing messages, should be the standard way. The technology is developing quickly and now BT can be added to the list of companies experimenting with transpromo documents, after the telecoms operator made it a central demand of its relationship with RR Donnelley One of those manufacturers is Ricoh InfoPrint, the joint venture including IBM, which therefore has the heritage in transactional print that most of the more graphic arts based manufacturers cannot claim. From the InfoPrint point of view, transpromo is a more sophisticated form of white space management, where areas around the numbers on the statement or bill can be used for promotional messaging. It s a persuasive story, moving inserts to onserts, says UK sales manager, Clive Stringer. And the applications are out there, he continues. It is no longer just a theory: it works. BT now seems set to investigate exactly how well transpromo does work, with this kind of print explicit in the details so far revealed of the new several hundred million dollar contract the telecoms giant has awarded to RR Donnelley Global Document Solutions. BT Retail s director of billing, Ian Duerden says: Individualized communications are a vital component of our relationship with our customers. The contract encompasses colour transpromo capabilities, multi-channel delivery and enhanced personalisation to help BT maximize the value of its customer communications. Data processing, printing, fulfillment and postal optimisation for bills, letters and statements are all within the terms of the agreement, which is an extension of an eight year relationship between BT and RR Donnelley. Donnelley took over BT s printing facilities in Milton Keynes and Gateshead better ways to talk Leo s logic Coffee table direct mail you read it, keep it and act on it when you feel comfortable. These are the words of Noel Warner, whose Inc Direct outfit produces just such pieces of DM, using a smart combination of innovative digital and printing technology together with a strategic approach to delivering campaign needs. The company has produced a wide range of such work, with Carphone Warehouse, Nissan and e-sure among those that have benefited from Inc Direct s strategic approach. Warner adds: We adopt an added value strategy and understand the touch points, the cross-sell opportunities. Turn to page 40 for more. Leo Burnett is using Adstream to bring a good deal more logic to its processes, paving the way for the agency to devote more of its time to the magic that clients pay for, while becoming more business focused. Andrew Edwards, group CEO for Leo Burnett UK, says the system will help the agency s staff to add to their skills, and gives him a fantastic backbone to the agency that guarantees timeliness, cost effectiveness and quality of output. Turn to page 38 for more. I m going to mediapro expo because... With Ipex taking place only once every four years and time being precious for everyone, the mediapro event is a perfect exhibition for show casing all aspects of print and really has to be visited. That s why I registered straight away. Gary Bridge, Production Manager, Kitcatt Nohr Alexander Shaw Google provides books for on demand print NEWS: Page 4 Vio builds soft proofing into AdSend Product News: Page 20 Only the best will do for Jess MacDermot of Creative Review Interview: Page 32 The latest OS X, Snow Leopard, goes under the PMM microscope Mac OS X: Page 52 October The magazine for creators of print content production procurement distribution ManageMent PrintMedia John this time it s more than personal I m going to mediapro expo because... DM that pays Talking Transpromo The first time Inc Direct did a variable data campaign trial for Carphone Warehouse, the result was an extra 8 revenue from each customer. Carphone then committed to 1.5 million mailings a year, and a host of other blue chip companies, such as Nissan, VW and e-sure have since followed. Using image personalisation and the latest print techniques, allied to a strategic approach, Inc Direct has made a name for itself in producing coffee table direct mail - you read it, keep it and act on it when you feel comfortable, says MD Noel Warner. Turn to page 42 for more. This month, John, PMM has written an issue just for you. Inside, you will find articles tailored specifically to your role in a corporate environment some uniquely personalised, others relevant to readers in your sector. This has been made possible by printing entirely digitally on a Xerox press and finished on a Duplo at MBA Group in North London. The implications of digital print are potentially huge. Brands and their agency partners are now able to tailor marketing messages to a defined audience, ensuring the maximum possible impact and response from their campaigns. On top of obvious benefits in direct mail, variable data and personalisation can bring huge potential for targeting in all print media campaigns. In magazines, brands can customise ads for particular readers alongside relevant content all in a cost-effective way. Continued on back page Transpromo merging transactional and promotional data is now a reality, according to those developing the technology to produce it. BT has become the latest major institution to explore its possibilities through a renewed contract for its supplier, RR Donnelley GDS. BT Retail s Ian Duerden observes that individualized communications are a vital component of our relationship with our customers - a realisation that many corporate organisations are coming to, with transpromo a key factor. Turn to page 38 for more. I m looking forward to the mediapro exhibition, because I like to explore what I can t get time to do in the office - focusing on the latest sales, production and manufacturing developments. Our industry is very much driven by technology at a very fast pace and I want to keep up with it. I also enjoy networking with other buyers and attend as many seminars as I can. Elaine Pooke, Production Manager, English Heritage Running a successful ad agency is a question of balance between creativity and business focus, and while acknowledging the importance of rigour and accountability, Andrew Edwards, group chief executive officer for Leo Burnett in the UK, believes the division of emphasis needs to be more heavily in favour of creativity and planning. This doesn t mean that Edwards thumbs his nose at the tenets of Magic and Logic, which call for close relationships and understanding between agencies and their client-side marketing and procurement contacts; it s more a reflection of his appraisal of what clients really want to pay for, and a tip of the hat towards the impact that technology has already made to Leo Burnett s working practices on the Logic side, including in a production department that is still highly valued. Edwards assumed his current role towards the end of 2007, and has implemented considerable and ongoing internal change. He tells PMM: Most agencies are 40% creative and planning and 60% all other aspects, and I think it should be the reverse. I would say that s what we are working towards. We re not quite there yet, but we are at least 50/50, and maybe 55/45 towards creative and planning. The group is formed from five constituents: Leo Burnett London, retail and promotions agency Arc, luxury and style agency Atelier, LeoSports a dedicated sponsorship consultancy, and experiential agency Lime. Structurally, Edwards has brought them all closer together literally closer, that is, with a single executive management board, and all of the disparate creative, planning and other departments that form an agency combined into just one of each, serving clients for the entire group. Aside from the structure of the agency group, Edwards has also looked to shape and clarify Leo Burnett s ethos, based on its own interpretation of the four Ps of marketing. We have reinvented those four Ps, and we hang everything on it, Edwards continues. In the first place our business is about People, and when we re talking about brands, what lies behind that is people as well. A brand also has to meet a fundamental human need, so our second P is Purpose; that a brand must play a part in someone s life. Third is participation: to be a source of actions, not just words; and how that delivers against the purpose. Lastly, Populism we believe in it. Any brand has to be popular, and even a niche brand can have a populist approach to its advertising. These fundamental beliefs run deep within all the briefings, planning and templates that Leo Burnett works upon, and go a l o n g s i d e continuing heavy investment in planning and creative. It s because Edwards has a clear focus, not just on what will make the agency successful, but also what, in terms of systems and processes, must also underpin winning creativity. Edwards says: Clients want to pay for the Magic, and while they recognise that they need to, they don t necessarily want to pay for the process of delivery. It s an area of the business that s under the microscope. What does underpin the creative and planning efforts at the agency, and will increasingly do so, is the technology and services of Adstream. While it s an important asset for the production department agency interview 38 October Being Leo Burnett UK has become an agency where creativity is underpinned by the latest technology, giving it a good balance of magic and logic. group ceo andrew edwards tells andy Knaggs how he has taken the agency in this direction logical atleo s if i can have all of my traffic and production people, all of my account servicing people and my studio facility, using the same system, then all of a sudden i ve got a fantastic backbone to the agency that guarantees timeliness, cost effectiveness and quality of output. Public sector in-plant 38 October it in the he print room at South Lanarkshire Council used to be a black hole. Work would be checked in and eight weeks could pass before it was spat out again. Not surprisingly this was not popular and work being handled internally began to dry up as clients voted with their budgets. It was touch and go whether the unit could survive. Enter Angie Moakler as design and production manager, corporate communications and public affairs, who was tasked with turning the unit around. Fortunately the public service ethos runs deep in Scotland. Communication was a core function of what we did as a council, she says. But even with this attitude, this was a steep challenge, not least because everybody had lost confidence in the internal service. None of the nine people in the design team for example would place work with their colleagues. Likewise all print for education services was outsourced. In speaking to a number of other organisations, it seemed that people generally didn t rate their inhouse print rooms, Moakler adds. So the first question was whether to keep the facility or recommend outsourcing it. To get anything printed, a council department would need to fill the correct one of the five forms available; there were three different booking-in systems in place; storage held thousands and thousands of printed items, some ten years old, because nobody had ever thought to throw them out; there were 50 items of production equipment, many of which no longer worked. To go visiting was to step back in time. She says: For both staff and customers it was a horrible walk along the corridor to the basement facility with your hard copy or files. As you approached the print room, it felt like you crossed over a time line back to the 1970s. Walls, both literal and metaphorical, needed knocking down. The design team and print were brought together, while the walls that partitioned up the dungeon were removed. Investment funds were released, the print team bidding for additional litho presses. But we needed to change, the unit was not making its income target, it was not sustainable, and waste was too high, she recalls. We asked customers about what they wanted from the service and were judged against other government organisations. The customers confirmed the Marmite theory about the unit. And we south lanarkshire council s printing in-plant is a very different place to days gone by, writes Gareth Ward, after a change of culture and much needed investment in new equipment T knew a lot of print spend by-passed the print room completely. Nevertheless, change was coming, although most suppliers were more interested in replacing kit that was already in place rather than helping with the change, she explains. We wanted to focus on business development. Canon emerged as the supplier able to provide the changed equipment, and the training and hand holding to go along with that. The C7000VP colour digital press had the immediate impact of cutting an eight hour production time to two hours; black and white productivity gains were just as great. We changed the working environment, knocking down walls and letting the technology start to move us forwards. The team needed also to reconnect with the vision of helping to improve the lives of the people that live in Strathclyde. Lean thinking projects, necessarily excluding managers, were set up. The results were staggering: 50 days of faxing a year were eliminated; the 74 steps that were needed to complete a job were slashed to just three in some cases, and the eight week turnaround time for one job became three hours, 42 minutes thanks to automating systems and introducing a web to print ordering system. Changes a l s o improved communication with external suppliers who no longer needed to fill in separate forms for every type of job tendered out. Instead they needed to complete a pricing matrix which saved them time and began to instil a better relationship so that some printers are now happy to use the in-plant for occasional trade jobs. Customers, not surprisingly, are happy with the new look department. The operation now looks to go out to customers and meet their requirements, rather than being focused on its internal procedures. The multiple forms have been redesigned to become multi function forms that are far more user friendly. The web is being used to submit work and online proofing used to approve work. The education sector is being won over, sparking ideas of print among parents as well as teachers, some of whom are asking for help in producing large format artwork that can be submitted for exams. Parent Teacher Associations are asking for calendars, year books, greetings cards and banners to be produced to earn them the Keeping Council The in-house print room team at South Lanarkshire Council has a much more customer-focused outlook Production 38 October t s the big media debate of the day: how do publishers make online pay? They have the capability to provide a wealth of rich media experiences for readers and subscribers through many new media channels, but there has to be a revenue stream, and in a society where consumers are already accustomed to getting free content on the internet, how can that revenue stream be realised? No-one has yet cracked the answer to that one it seems, but what is certain is that publishing as a sector, and each individual company within it, is undergoing massive change as the anwers are sought, and as digital channels are harnessed and integrated alongside traditional print media. In the meantime, content still has to be produced, and quality standards can t be allowed to slip. Given those facts, and the rise of digital, what will be the future role for the traditional print-based production department? How can these people s skills be utilised by publishers in this environment, if at all? These were the questions that PMM put to a gathering of print production directors from across the publishing sector who attended a roundtable discussion, hosted and sponsored by digital, print and video creative and production agency FMG. Book publishing was represented by Michelle Thomas, head of Creative & Content Technology for Penguin UK; Stephen Irving, Mirror Group s head of advertising production, spoke up for newspapers; and magazines were represented by Richard Mason of Future Publishing (consumer magazines), while Matt Jolly and Peter Davies of John Brown and Forward Publishing respectively saw things from a contract publishing viewpoint. The discussion began with an overview of how production of digital content was currently managed in each of the participants organisations, and the degree to which this impacted or crossed over with traditional print media production. From the magazine side of PMM and production agency FMG recently sat down with a panel of publishing production heads to discuss the challenges of their roles. in the first of two articles, Andy Knaggs hears how the rise of digital channels is impacting on traditional print production departments I things, the picture was quite consistent: a separate digital department exists to carry out this specialist work, and there was little cross-over so far. Peter Davies of Forward Publishing summed it up: We ve got a digital team who produce websites and things like e-zines, and within the agency we ve got a creative department that s being merged together for traditional and digital media but in terms of delivery, that s firmly within the digital department; not within the print production department that I m responsible for. Penguin UK s Michelle Thomas related that so far it s growing organically. She said: Small production teams dealing with digital media are springing up in different areas of the business and for different requirements. So if we re doing an illustrated e-pdf delivery, at the moment it s coming out of the archive picture library, because they ve actually got the content, the files, images etc. They are creating an e-pdf for sales delivery from the picture library. We ve also got a post production team dealing with e-publishing on the mono books. We ve got a separate XML team, creating XML up front in a different area, and then there s marketing creating digital content for publicity, and they have their own production team. It s a bit of a concern at the moment because they are just growing organically in different areas, as to need. It remains a question for the organisation whether boundaries New media, new production The production roundtable took place at digital, print and video creative and production agency FMG and was chaired by PMM editor Andy Knaggs (centre) A mix of books magazines and newspapers was represented. From left: Michelle Thomas (Penguin), Richard Mason (Future) Peter Davies (Foward), Stephen Irving (Mirror Group) and Matt Jolly (JohnBrown) Google provides books for on demand print NEWS: Page 4 Vio builds soft proofing into AdSend Product News: Page 20 Only the best will do for Jess MacDermot of Creative Review Interview: Page 32 The latest OS X, Snow Leopard, goes under the PMM microscope Mac OS X: Page 52 October The magazine for creators of print content production procurement distribution ManageMent PrintMedia Mail with Mac Future view Sally this time it s more than personal Where do you go for an extensive publication mailing service, a track record of experience, and one of the largest polywrapping capacities in the UK? MacDonald Mailing is where, with the Kent firm offering machine and hand envelope enclosing, polywrapping, data services, laser and inkjet personalisation and print management for magazines, catalogues, brochures and mailers. MacDonald Mailing can liaise with Royal Mail or Downstream Access postal providers, and also help with database management, response handling, order processing and contact centre services all part of a service based, it says, on experience, reliability, flexibility and value. Turn to page 40 for more. This month, Sally, PMM has written an issue just for you. Inside, you will find articles tailored specifically to your role as a publishing professional some uniquely personalised, others relevant to readers in your industry. This has been made possible by printing entirely digitally on a Xerox press and finished on a Duplo at MBA Group in North London. The implications of digital print are potentially huge. Publishers are now able to tailor their titles according to what they know about the circulation, making editorial more relevant and appealing to individual readers. Ad pages can also be varied according to markets and individuals, giving advertisers value for money and presenting publishers with endless possibilities to earn revenue. It could make the difference between the future and the failure of print publishing. Continued on back page The impact of digital media upon publishing production departments remains unclear, as many organisations currently have separate teams for digital and for print. Will this situation change? How will that affect print production departments? These are key questions for all publishing companies, and the production staff within them. PMM and our partner crossmedia production agency FMG brought five leading production heads together, from books, magazines and newspapers, to discuss what happens next. Turn to page 38 for more. I m going to mediapro expo because... Production 38 October t s the big media debate of the day: how do publishers make online pay? They have the capability to provide a wealth of rich media experiences for readers and subscribers through many new media channels, but there has to be a revenue stream, and in a society where consumers are already accustomed to getting free content on the internet, how can that revenue stream be realised? No-one has yet cracked the answer to that one it seems, but what is certain is that publishing as a sector, and each individual company within it, is undergoing massive change as the anwers are sought, and as digital channels are harnessed and integrated alongside traditional print media. In the meantime, content still has to be produced, and quality standards can t be allowed to slip. Given those facts, and the rise of digital, what will be the future role for the traditional print-based production department? How can these people s skills be utilised by publishers in this environment, if at all? These were the questions that PMM put to a gathering of print production directors from across the publishing sector who attended a roundtable discussion, hosted and sponsored by digital, print and video creative and production agency FMG. Book publishing was represented by Michelle Thomas, head of Creative & Content Technology for Penguin UK; Stephen Irving, Mirror Group s head of advertising production, spoke up for newspapers; and magazines were represented by Richard Mason of Future Publishing (consumer magazines), while Matt Jolly and Peter Davies of John Brown and Forward Publishing respectively saw things from a contract publishing viewpoint. The discussion began with an overview of how production of digital content was currently managed in each of the participants organisations, and the degree to which this impacted or crossed over with traditional print media production. From the magazine side of PMM and production agency FMG recently sat down with a panel of publishing production heads to discuss the challenges of their roles. in the first of two articles, Andy Knaggs hears how the rise of digital channels is impacting on traditional print production departments I things, the picture was quite consistent: a separate digital department exists to carry out this specialist work, and there was little cross-over so far. Peter Davies of Forward Publishing summed it up: We ve got a digital team who produce websites and things like e-zines, and within the agency we ve got a creative department that s being merged together for traditional and digital media but in terms of delivery, that s firmly within the digital department; not within the print production department that I m responsible for. Penguin UK s Michelle Thomas related that so far it s growing organically. She said: Small production teams dealing with digital media are springing up in different areas of the business and for different requirements. So if we re doing an illustrated e-pdf delivery, at the moment it s coming out of the archive picture library, because they ve actually got the content, the files, images etc. They are creating an e-pdf for sales delivery from the picture library. We ve also got a post production team dealing with e-publishing on the mono books. We ve got a separate XML team, creating XML up front in a different area, and then there s marketing creating digital content for publicity, and they have their own production team. It s a bit of a concern at the moment because they are just growing organically in different areas, as to need. It remains a question for the organisation whether boundaries New media, new production The production roundtable took place at digital, print and video creative and production agency FMG and was chaired by PMM editor Andy Knaggs (centre) A mix of books magazines and newspapers was represented. From left: Michelle Thomas (Penguin), Richard Mason (Future) Peter Davies (Foward), Stephen Irving (Mirror Group) and Matt Jolly (JohnBrown) Running a successful ad agency is a question of balance between creativity and business focus, and while acknowledging the importance of rigour and accountability, Andrew Edwards, group chief executive officer for Leo Burnett in the UK, believes the division of emphasis needs to be more heavily in favour of creativity and planning. This doesn t mean that Edwards thumbs his nose at the tenets of Magic and Logic, which call for close relationships and understanding between agencies and their client-side marketing and procurement contacts; it s more a reflection of his appraisal of what clients really want to pay for, and a tip of the hat towards the impact that technology has already made to Leo Burnett s working practices on the Logic side, including in a production department that is still highly valued. Edwards assumed his current role towards the end of 2007, and has implemented considerable and ongoing internal change. He tells PMM: Most agencies are 40% creative and planning and 60% all other aspects, and I think it should be the reverse. I would say that s what we are working towards. We re not quite there yet, but we are at least 50/50, and maybe 55/45 towards creative and planning. The group is formed from five constituents: Leo Burnett London, retail and promotions agency Arc, luxury and style agency Atelier, LeoSports a dedicated sponsorship consultancy, and experiential agency Lime. Structurally, Edwards has brought them all closer together literally closer, that is, with a single executive management board, and all of the disparate creative, planning and other departments that form an agency combined into just one of each, serving clients for the entire group. Aside from the structure of the agency group, Edwards has also looked to shape and clarify Leo Burnett s ethos, based on its own interpretation of the four Ps of marketing. We have reinvented those four Ps, and we hang everything on it, Edwards continues. In the first place our business is about People, and when we re talking about brands, what lies behind that is people as well. A brand also has to meet a fundamental human need, so our second P is Purpose; that a brand must play a part in someone s life. Third is participation: to be a source of actions, not just words; and how that delivers against the purpose. Lastly, Populism we believe in it. Any brand has to be popular, and even a niche brand can have a populist approach to its advertising. These fundamental beliefs run deep within all the briefings, planning and templates that Leo Burnett works upon, and go a l o n g s i d e continuing heavy investment in planning and creative. It s because Edwards has a clear focus, not just on what will make the agency successful, but also what, in terms of systems and processes, must also underpin winning creativity. Edwards says: Clients want to pay for the Magic, and while they recognise that they need to, they don t necessarily want to pay for the process of delivery. It s an area of the business that s under the microscope. What does underpin the creative and planning efforts at the agency, and will increasingly do so, is the technology and services of Adstream. While it s an important asset for the production department agency interview 38 October Being Leo Burnett UK has become an agency where creativity is underpinned by the latest technology, giving it a good balance of magic and logic. group ceo andrew edwards tells andy Knaggs how he has taken the agency in this direction logical atleo s if i can have all of my traffic and production people, all of my account servicing people and my studio facility, using the same system, then all of a sudden i ve got a fantastic backbone to the agency that guarantees timeliness, cost effectiveness and quality of output. Tab M uch has been said and written about the concept of merging transactional and promotional data streams within a single printed document the now more familiar term of transpromo. For a period of time, it seemed that there was significantly more being said than actually being done, but with press manufacturers bringing serious technology to the print supply market that can handle the demands of such work that is, the data processing and the quality colour at high speed and with a gradual flow of clients (of which BT is but the latest in the UK) seemingly keen on the promised benefits of this method of customer communication, perhaps the hype is in the process of being vindicated. One of the converted customers is Tesco, whose Clubcard is a perfect opportunity for transpromo applications, as offers can be tailored to purchasing patterns and the supermarket can reward big spending customers, while showing them how many points they have accumulated. It wants to take the product to the next stage, making full use of the technology that is available. The incumbent producer is Polestar, where the investment in the new Océ JetStream 2200 inkjet web would seem perfectly timed for the contract. Other retailers have similar loyalty schemes, but have not as yet followed Tesco s path. This is the cautious approach, as marketers and purchasing departments have been hard to convince that the move is worth the money. In Transpromo 38 October joins the search for the pages of PMM previously, Polestar CEO Barry Hibbert has made reference to the wide discrepancy between those companies that have grasped the idea, and those who have not, saying: I find it astonishing that mail order companies, retail companies and even publishers with access to data are still way behind. There s a huge difference between the market leaders and the rest. That view is confirmed by another UK printer, Patrick Headley of GI Direct, whose company installed a Screen Truepress Jet520 inkjet press last year with such applications in mind. Headley says: It has been a slow burn, although people are now talking about it. In theory it is a very compelling sales argument, but it does take people a bit of time to get their heads around it, especially when there s an initial increase in costs. The press manufacturers are certainly doing their best to make transpromo into a strong market, and to evangelise that this way of communicating transactional information to customers, with white space used to carry targeted colour marketing messages, should be the standard way. The technology is developing quickly and now BT can be added to the list of companies experimenting with transpromo documents, after the telecoms operator made it a central demand of its relationship with RR Donnelley One of those manufacturers is Ricoh InfoPrint, the joint venture including IBM, which therefore has the heritage in transactional print that most of the more graphic arts based manufacturers cannot claim. From the InfoPrint point of view, transpromo is a more sophisticated form of white space management, where areas around the numbers on the statement or bill can be used for promotional messaging. It s a persuasive story, moving inserts to onserts, says UK sales manager, Clive Stringer. And the applications are out there, he continues. It is no longer just a theory: it works. BT now seems set to investigate exactly how well transpromo does work, with this kind of print explicit in the details so far revealed of the new several hundred million dollar contract the telecoms giant has awarded to RR Donnelley Global Document Solutions. BT Retail s director of billing, Ian Duerden says: Individualized communications are a vital component of our relationship with our customers. The contract encompasses colour transpromo capabilities, multi-channel delivery and enhanced personalisation to help BT maximize the value of its customer communications. Data processing, printing, fulfillment and postal optimisation for bills, letters and statements are all within the terms of the agreement, which is an extension of an eight year relationship between BT and RR Donnelley. Donnelley took over BT s printing facilities in Milton Keynes and Gateshead better ways to talk I always try to attend any event ran or sponsored by PrintMedia Management, simply because they always strike the perfect balance around issues that are of interest to my core role at Bauer Media and there is always the presence of relevant suppliers and industry colleagues. Its also always a good chance to catch up with everyone and, this year, the added bonus is Mark Tamsett, Group Production Pre-Media Manager, Bauer Media that the Digital Ad Lab will be meeting there as well. unterschiedlich war. Auch die Anzeigen konnten angepasst werden. Dieses Projekt hatte viele Herausforderungen. Die Redaktion musste mehr Texte schreiben als normal, weshalb einige Termine verschoben werden mussten. Um die optimale Qualität zu erreichen, musste die Schwarzdichte in den Bilddateien reduziert werden, was viel Zeit in Anspruch nahm. Und ausgerechnet als die Zeitschrift ausgeliefert werden sollte, streikte die britische Post. Dennoch konnte die MBA Group alle wichtigen Termine einhalten. Begeisterte Reaktionen Die Geschäftsleitung des Magazins war mit dem Ergebnis äußerst zufrieden und die MBA Group profitierte laut Bachar Aintanoui gleich mehrfach: Sie waren auf der Messe präsent und dort weit erfolgreicher als erwartet. Aus einer Begegnung ergab sich ein Auftrag, der die Kosten der Messeaktivität mehr als deckte. Die MBA Group hatte in den Magazinen auch unterschiedliche Anzeigen gedruckt, die jeweils auf die vier Zielgruppen zugeschnitten waren. Sie bekam zweieinhalb mal mehr Rücklauf als bei den statischen Anzeigen, die früher geschaltet worden waren und das nur aufgrund der Tatsache, dass wir verschiedene Anzeigen für verschiedene Leser hatten, so Aintanoui. Zusätzlich hat sich das Magazin als wertvoller Dauerbrenner unter den Druckbeispielen der MBA Group erwiesen. Es veranschaulicht die Qualität, den variablen Inhalt und die Tatsache, dass wir diese Möglichkeiten kreativ anwenden konnten, zählt Bachar Aintanoui auf. Die Xerox 980 Color CF verhalf der MBA Group außerdem zu einer lukrativen Geschäftsbeziehung mit dem Finanzdienstleister und Versicherer Legal & General. Statt einer schlichten schwarzweißen Anleihenerklärung erhalten die bedeutenden Investoren des Unternehmens jetzt eine 16-seitige farbige Broschüre mit Tabellen und Grafiken für verbesserte Lesbarkeit und Attraktivität sowie einen höheren Werteindruck gewann die MBA Group dafür sogar den Digital Printer Added Value Award für den größten Wertzuwachs. Unsere Investition in das Xerox Drucksystem hat sich wirklich gelohnt, sagt Aintanoui rückblickend. Mit ihm haben sich uns ganz neue Projektbereiche und Kundenfelder eröffnet." PrintMedia Management-Magazine Gewinner eines Xerox Best of the Best Award 2010 in der Kategorie Bücher und Anleitungen Bei der weltweit ersten vollständig individualisierten Publikation wurde XMPie verwendet, um die vielen variablen Elemente zu verwalten. Dazu gehörten auch spezielle Anzeigen für vier verschiedene Zielgruppen und eine umfassende Personalisierung mit den Namen der Empfänger sowie auf ihr Marktsegment abgestimmten Informationen. Die gezielten Anzeigen führten zu 256% mehr Kundenkontakten und schonten im Vergleich zu vorherigen Kampagnen sogar die Umwelt. Return to sender Return on investment Get the right return on your Print & Direct Mail Direct Mail is all about return on investment. Poorly targeted or incorrectly addressed mail, insufficiently personalised or a failure to individualise the message, can all result in return to sender. MBA have over 25 years experience in Direct Mail and have grown to become a leader in multi-channel communication combining print with electronic media. We service clients across the UK in both direct marketing and transactional mail. Traditional litho is complemented by digital/laser print (including the UK s first Xerox 980 Colour Continuous Press), and can be combined with , SMS or personalised web pages. For our FREE guide on How to get the right return, simply complete the coupon. Alternatively, call Kevin Stewart on or kstewart@mba-group.com. You can also visit us on stand 126 at mediapro 09. MBA Group Limited MBA House Garman Road London N17 0HW T: W: FREE guide on How to get the right return in Print & Direct Marketing NAME: POSITION: COMPANY: ADDRESS: POSTCODE: TELEPHONE: Send to: Kevin Stewart, MBA Group Ltd, MBA House, Garman Road, London N17 0HW 2009 MBA Group Limited. Ref: return on investment:layout 1 22/09/ :36 Page 1 MBA erhielt für den Druck kostenlose Werbefläche. Mit ihren variablen Anzeigen steigerten sie die Reaktionsrate gegenüber früheren statischen Anzeigen um 250%.