What's Next - Issue 6 - TOUCH

7/28/2019 What's Next - Issue 6 - TOUCH

1/68

pickmeup

i ix summer 2013 6/5

68pages to leaf

through

5different pap

to experien

8features on

subjects rangingfrom wiredmagazine

to AR APPs andcatalogues

3brand case

studies:

Boden

moshi monsters

red bull

19publications

discussed fromnumerous

angles

touch


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whats next_the touch issueIt is perhaps the most taken-for-granted of the senses,but where would we be without touch? If its throughreaching out and making contact that we really connect

with the world, then the ability to touch and be touchedis at the heart of how we make sense of who we are and

what we want. And, as this issue explores, this is as trueof brands through brand engagement (turn to the casestudies on pages 14, 47 and 61) as it is of magazines (findout how the likes of Wiredin the UK, p52, and GQandMarie Clairein Russia, the US, China and France, p29,adapt to their readers demands) and those trying tomake a whole new impression altogether (were talking

AR apps, p20, and touchscreen texts, p38). Elsewhere,experts examine the role of research in staying closeto the market (p6), and six individuals appear throughoutthe pages to tell us about the one printed publicationthey feel like picking up more than any other

www.whatsnextmagazine.net

Sappi is the worlds leading producer o coated ne papers recognised or innovation and quality. Graphic designers, brand

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6-13 David Hepworth

Responsible or launching some o theUKs best-known magazines, writer

and broadcaster Hepworth has won

accolades including the prestigious

Mark Boxer Award rom the British

Society o Magazine Editors.

20-27 Ciara Phelan

Illustrator and paper-crat artist

Phelan has built a reputation or her

distinctive illustrative style on the back

o an enjoyment o collecting vintage

ephemera and cutting things out.

28 Paul Hansen

A visceral image o a uneralprocession or three members o the

same amily ollowing an air strike

in Gaza won the most recent World

Press Photo o the Year award or this

Swedish photojournalist.

29-37 Michael Idov

Beore taking on the role o editor-

in-chie at GQ Russia, Idov was

a contributing editor at New York

magazine and a regular contributor

to the US edition oGQ.

29-37 Joyce Liu

Having worked in media or more than10 years, Liu is now general manager

o publishing at Hearst China, with

responsibility or Marie Claire,

Marie Claire Beauty, Psychologies

and Womens Day.

38-45 Adam Greenfeld

An author who describes himsel as

a passionate advocate or the human-

centred design o technological

systems, Greeneld is also ounder o

New York design practice Urbanscale.

This magazine is printed onpaper produced from sustainablemanaged forests.

Whats Nextis published by John Brown,136-142 Bramley Road,London W10 6SR.Tel 020 7565 3000, Fax 020 7565 [email protected] Brown is a carbon-neutral company.

No part of this magazine may bereproduced without permissionfrom the publisher. The viewsexpressed in this publication arenot necessarily those of Sappi.

Editor-in-chiefDavid Roberts

Creative director Chris Parker

Editor Alex Elliott

Sub editorKerrie-Anne Love

Picture editor Sally Ryall

Group account director

Jerey Bird

Group production manager

Carole Marz

For Sappi Fine Paper Europe

Henrik Damn

Kirsty Hector Duncan

Sari Mattila

Marjolein Vil

For details o your nearest Sappi sales

ofce, please visit www.sappi.com

contributors


3/68

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the nextpapers(pp3-18]

06Why research?

Three experts investigate

the implications o placing

print under the microscope

14Case study #1: Boden

When winning brand

engagement is delivered in

the pages o a catalogue

20Who is going to win the

AR app war?

Hovering above the page,

theres a battle going on orthe attention o readers

29What is Chinese for

glossy feel?

First-hand accounts o how

global magazine brands

adapt to national markets

38Feeling our way forward

Why our sense o touch isbecoming ever-more crucial

to the way we read

47Case study #2:

Moshi Monsters

How online success bred

a print explosion or one

leading childrens brand

52Its thinking about your

brand and how it can extendbeyond the page

How UK Wiredis zealously

reinventing what it means

to be a magazine

61Case study #3: Red Bull

Why inventing a liestyle

to sell fzzy drinks has

spawned a global magazine

5-65on papersx l wthth fg th ul f 2013m th tublct f tht y thth m bggm thy th

CoverSappi | GalerieArt silk 250g/m2

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4 _ t h e i s s u e i n w o r d s

engagementpromotional coll aboration

o n l i n e d e v e l o p m e n t s o f f l i n e

investment

giving

return

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pushing all kinds of

b o u n d a r i e s

^p51

^

^p37^p44

^p62

^p24

tracking peoples behaviour^p 11content

marketing

isabout

feel

t a c t i l e

^p16

^p55


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pp _

ax von bendrothThe content in German monthly business magazine brand eins is always

surrising, fresh and different from other business magazines. I learn a lot

while I am being entertained, and the layout is great, too. The magazine hasbecome my friend, whose arrival I await with imatience every month.

Max von Abendroth is executive director of the European MagazineMedia Association (EMMA)


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edito

businessmodelsarein

transition

r e s e a

why

0 6w h a t s n e x t _ t o u c h


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are more than ever good listeners

Three experts take a close lookat what role research should playin todays fast-changingprint environment

its becomean advanced area

r c h ?


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h at s n e xt What is the pointo research today, in the context

o print?

M a r i u s Ten years ago, we had healthycirculations and very little competition.

Publishers limited their research to

measuring their audience, with a view to

using that as currency to sell against

advertising. Once people had a lot o

choice, with the advent o broadband

internet, publishers needed to start

understanding their audiences better.

So, research has become quite an

advanced area: people are doing a lot

more brand work, segmentation studies,

and studies o media understanding,

using things such as econometrics to

validate why publications exist or theconsumer and advertiser as well.

D e b r a h A lot o givens have changed. Forpublishers, the whole business model is

in transition, and its a bit like a seesaw

i you go too ar one way, and turn o

your print and go to digital, you will

alienate one part o the audience; and i

you stay in print and dont go to digital,

youre potentially not engaging with

another. Research is essential because

youve got all these dierent push andpull actors, and i you dont understand

them you could make big decisions that

are quite wrong or your publication.

Dav iD Most o my involvement withresearch has been to do with launching

new magazines trying to come up with

some kind o basis or suggesting that an

idea was something more than a hunch,

and helping sharpen up somebodys

editorial idea about what might make a

magazine. Ive always ound with that

kind o research and I think it probablyapplies more with magazines than with

any other product category that you

cant go on what people say, because they

are terrible liars. Getting somebody to sit

down and tell you about a magazine is

like getting people to tell you how

sophisticated they are theyll all tell

you how sophisticated they are.

D e b r a h There is a tendency or people tothink, Well, research is about asking

questions. I can ask questions. And

actually, its a real skill. To nd out whats

really going on you need somebody who

is experienced in that eld and knows,

quite rankly, when somebodys lying;

who knows, i someones starting to

contradict themselves, how to unpick it.

Its like all things i you want good

research you have to pay or it. But it is

worth it. Saying, I want some research

thats going to tell me this, is the wrong

way to go about it. You need to be puttingorward hypotheses. For example, is

there a need or a magazine? A good

researcher might actually say, No, this is

not going to work. As a business, you

have to have the condence to do that.

M a r i u s One o my bosses used a cleverquote about research: He uses research

like a lamppost, or support rather than

or illumination. Using research or

support is always a bad, bad idea, because

research will never give you the answers.It will quantiy hypotheses, it will give

you proper guidance, but it will never

give you the complete and solid answer

to anything or any situation.

wh at s n e xt In the past, research wascustomarily carried out pre-launch.

When should you be nding out what

your audience is thinking and what they

like today?

D e b r a h You should be researching your

market all the time. The speed o changeis such that i you say, Well do it once a

year, youre missing out on so much. I

you are not nding out what is going on

not only with the people who read your

D e b r a h h a r D i n g

is chief operating officer of theUKs Market Research Societyand vice-president of theEuropean Federation ofMarket, Social andOpinion Research

publication but also the ones who dont

read it you are potentially assisting in

the death o your publication. I you wan

to be able to plug into the new generation

o readers, you need to be making sure

that youre in their ace that they know

who you are. The seesaw between print

and digital isnt really the discussion. Its

about whats going on in between. Its

about not being closed o, and instead

investing in research in a proper way so

that you have the insight all the time to

help keep on top o what is going on.

M a r i u s I think theres always useulnessin research, but you dont see people

wanting to rene their oering until

theyre in trouble. One o the best

projects Ive ever worked on was the

Evening Standardin London. Twenty

years ago, central London wasnt a very

happy place to be. People were streaminout into the suburbs, and theEvening

Standardconstantly reafrmed, with

negative editorial, that they were making

the right choice. Then the city started

changing, regenerating, and the

newspaper didnt keep up with it. That

coincided with the introduction o

mobile phones and the internet, and the

newspaper went into steep circulation

decline. Then the ree newspapers

moved in and showed that people wanted

something positive and reafrming abou

the capital. We did research identiyingthese problems, but the owners werent

willing to budge. It was only when new

owners came in that they took that

strategy seriously. Geordie Greig, the

if you want toplug into a new

generation ofreaders, you needto be in their face

M a r i u s C l o e t e

is head of research forthe Professional PublishersAssociation (PPA). Hepreviously worked forAssociated Newspapers asinsight manager for Londons

Evening Standardnewspaper

D a v i D h e p w o r t h

is a veteran broadcaster,journa li st and edi tor who haslaunched some of t he UKsbest-known magazines, fromJust S eve nte en and Mojo toEmpire and Heat

w

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a lot of givens have changed

youcant

goon

whatpeople

say they are

terribleliars

it willnevergiveyou the

complete answer


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researchtodayhasmoreof abraverole

opportunitiesare there

solid numbers are essential


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need to predict. When Ive been involved

in magazines recently, Ive engaged with

more readers than in all the other

magazines Ive worked on put together

just because the opportunities are

there to do it, and people expect it. They

are not necessarily going to provide a

statistically reliable sampling, because

most readers dont engage in that way,

but theyre going to give you a lot o the

stu that you get rom a ocus group 20

times a day.

D e b r a h Quantitative metrics andbenchmarking having some solid

numbers about whats going on in certain

areas is also essential, because that will

start to give you ideas about where things

seem to be moving. I dont think that tothrow our arms up in the air and say,

Everything is so unpredictable and

research is not going to help us, is the

right way. We have to accept, though, that

this means we might be in a situation

where research is saying: this business is

not going to happen. Research today is

having more o a brave role.

M a r i u s You can get a certain amount omileage out o proactively asking people,

Does this appeal to you? But the morecritical application o research is

tracking peoples behaviour and

interpreting the trends. That rees you

rom individual perceptions. And with

people being more inclined to have smart

phones or tablets with them, you have

the acility to interact with them and

track what theyre doing. Applying

research skills to interpreting that data

can be a very reliable predictor o what

people will or will not consume.

W h at s N e xt Marius implied that editorshave not traditionally engaged with

research. Has the media landscape

changed in that respect?

Dav iD The publishing industry andeditors have come to realise their

business is not just about what they say

Its not whatwe say but

what we do

If research often used tobe about opinions andpossibilities (qualitative), todayit is much more to do with hardstatistical facts [quantitative] which is where somethingcalled econometrics comes in.This type of research usesstatistics and economic theoryto examine the relationshipsconsumers have with a givenproduct. In an age of easy-to-interrogate digital media,robust research measuring the

impact of print as a productcan be invaluable asdemonstrated by two studiescarried out last year by globalmedia network Mindshare.Magonomics, commissioned bythe PPA in the UK, analysedeconometric data from 77advertising campaigns withspends of up to 6 million;

whileAdValue, launched by IPCMedia, combined econometrics

with a panel-based approach.Key findings included:

Magazine advertising givesa higher return on investment(ROI) than any other mediachannel 11 per cent higherthan television and 22 per centabove online (Magonomics)

Magazine budgets had to be atleast doubled before magazineROI dropped to the same level astelevision (Magonomics)

Every 1 invested in magazineadvertising for six householdbrands generated an averageROI of 1.40 (AdValue)

Advertising in magazinesled to an average increase of8 per cent in householdspend (AdValue)

incoming editor, was the rst newspaper

editor Id worked with who took a keen

interest in research. The newspaper

went ree, and three years on, its

protable or the rst time in decades.

Dav iD We had some experience o thatwith The Word. We were a small

magazine that eventually had to close

last year but not without putting a

certain eort and agony into doing a

tablet version. Everybody always tells

you that they want those things, but not

that many o them actually do. People

have unlimited choice, and their major

response is to just drop their habit

totally. Ive never seen any research that

reliably told me anything about how that

shit rom paper to other things works.

W h at s N e xt So how do you make surethat research is reliable? How do you

dierentiate between what people say

theyre going to do and what they

actually do?

M a r i u s Its very difcult. As Debrahpointed out, you need a acilitator who

can read people extremely well. You have

to be quite skilled in navigating what

people put orward as a logical reason,

and try to establish what the actual

reasons are or why they want X, Y and Z.

Dav iD My natural assumption is that itdoesnt matter what people tell you they

are going to do most o them wont do

it, because inertia will win. And huge

numbers o choices will win. But you

could also say that nowadays, with digital

relationships, its never been easier to

see what readers are thinking you dont

tracking peoplesbehaviour frees

you from individualperception

w o r d s : a l e x e l l i o t t



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to their readers. Those readers need to

be part o a community, and social media

has been driving that quite aggressively.

Today, editors are keenly aware o what

their readers want through Twitter eeds,

and Facebook pages. Crowdsourcing is

becoming important, too: obviously

there are thousands o voices and you

cant listen to them all, but you can pick

out strands.

D e b r a h Research communities canbe created by a publisher in order to

co-create things they ll say, Were

thinking o doing this, what do you

think? How would you do it? It is much

more o a two-way communication. Its

about ownership making people eel

the closeness that they used to eel withtheir daily newspaper.

Dav iD The image I use is that the mediaused to stand in ront o a curtain, and

behind it were all the secrets o the

world. Then they reached behind the

curtain and passed them out, one at a

time, with a drum roll, saying, This is

more important than that thing. All that

has gone. The new image o the media is

a party, and all youre doing is handing

round the canaps. You have a licence to

move among those people and they will

engage with you according to whether

they think youre an interesting person

to talk to. Theyre not approaching yourcurtain any more.

A lot o research used to be: Heres a

big idea. I cant aord to do the big idea

until you tell me youre all going to buy

the big idea. Nowadays, its more: Lets

listen to what youre telling us about

what youre doing, and lets observe how

youre changing habits, and then lets run

behind and fnd a way to acilitate that.

Wh at s N e xt Is there no longer any roomor doing things on a hunch?

Dav iD Im sure there is, but I think thatgood editors are, more than ever, good

listeners. Theyre watching what people

are doing and theyre involved in their

conversations. They still have to have

good ideas and really good executions,

but its no longer: Follow me to the

promised land and I will tell you how

things are going to be.

M a r i u s Ive known some people whohave persisted, whatever the research

said. They had an idea and that idea wasgoing to happen, even i I said the

research said its screwed. And, by God,

theyve made it happen. Persistence is

a great thing. Steve Jobs was a prime

example o somebody who didnt believe

in research. He believed in his own

vision. And i you look at Apple at the

moment, that drive and vision is gone

everything is being done by committee

and theyre not innovating any more.

So, research has a very important role

to play, but having brave people withgood ideas is still the most important

thing in all o this. And i you fnd one

o those people who can actually use

and flter research eectively, I think

thats where success will continue to

come rom.

Wh at s N e xt What do you think is theuture or research?

M a r i u s Research evolves a lot asterthan people give it credit or, picking up

technology very quickly and thinkingabout how to use it. We were having

conversations about how to use mobile

phones or research 10 years ago, and

today theyre an absolutely critical tool.

Dav iD Every prediction by a major mediacompany or advertising agency in the

past 20 years has been wrong. But

I accept that there are increasingly

sophisticated ways o reading what

people are actually doing but not what

they say they are going to be doing in two

years time, because nobody knows that.

D e b r a h The lack o ability to predict theuture goes beyond publishing, beyond

research. But technology has enabled

things such as online ethnography,

where you are recording what youre

doing as youre doing it youve got live

data showing people engaging with

products or magazines.

M a r i u s The next big challenge orpublishers is that we are going to be

drowning in data, because every singledigital interaction that people make can

now be tracked. We need to start

understanding how we take this data tha

we have on peoples behaviour and marr

it with the personalities we used to see

in research. People with traditional

research experience may lack the skills

to incorporate these new streams o data

into business, but today there are a huge

number o people working in advertising

agencies who have studied economics or

statistics and who can evaluate the valueand impact o campaigns. Its critical tha

publishers understand the process too,

because theres a lot more research

happening now than ever beore and

its not so much at the ront end, in

product development, as at the back end

understanding how we can serve

consumers and advertisers better.

Dav iD But youve got to continue to havemagazines that have charisma and that

people are attracted to, while making as

much as you possibly can with whateverreaders youve got.

Wh at s N e xt And whats the best way todo that?

Dav iD Editors have got to reinvent whatmakes a great magazine^

every predictionby a major mediacompany hasbeen wrong

pho

to

g

raphs:m

ic

hael

clem

ent

go to www.whatsnextmagazine.net to download the podcast of th is

conversation, and to receive copies of the research discussed#

12 w h a t s n e x t _ t o u c h


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it is

much moreof atwo-waycommunication

editors have to reinventthe magazine

youve got live data


14/68

66

20MnuMber of

catalogues

Mailed to uK hoMes

each year


15/68

66w h a t s n e x t _ t o u c h

#

The pasT 20 years have seen UKclothing company Boden become a legend inits domestic market and, more recently, inGermany and the US, too. The brands bright,distinctive, casual clothing only available bymail order, online or telephone sales isworn by people o all ages, and by of-dutypoliticians, pop stars and actresses alike.Central to Bodens success is the quarterly

catalogue a publication that has become anindustry byword or efective direct mail anda respected example o aspirational liestylemarketing and customer-brand bonding.Boden CRM manager Neil Warburtonreveals the reasons or his brands calculatedaith in people plus print and paper

becauseclick, click

worksbetter withflick, flick

C a s e s t u d y # 1

w

o

rds:

alex

ellio

tt


16/68

6

The caTalogue is ourshopfronT. We dont haveshops and we dont do wholesale particularly either, so it is the

prime method by which we can introduce our new range to

existing customers. It is at the heart o all our communications.

The entire organisation is based around the catalogue drop

it is eectively a campaign in itsel that lasts or three or our

weeks. Each catalogue includes a set o stories, typically three.

They are photo stories with a theme that makes everything hang

together in a way that adds up to something more than just clothes

on a page. Each story has a start, a middle and an end, and is

distinctively dierent rom other parts o the catalogue. Whateverthe story happens to be, we shoot around that, and all our marketing

campaigns our emails, iPad edition, website will reerence it.

For example, one o our stories might be modern elegance, an

indoor shoot in a careully selected location where the mood,

lighting and outfts all ft with that photo story.

So much o our brand is built around making our customers look

and eel great, having wonderul abrics and fnishes and we want

that to be embodied in the catalogue. When we have production

meetings, its not about, How cheap can the paper be and how little

can we get away with? Its the exact opposite: How can we make

the most o our budget to give the greatest tactile eel to ourcustomers, so that when the catalogue lands on the doormat it

genuinely stands out as being dierent?We have production

people on press when the catalogue is going through, which not a lot

o other direct mailers do. And we have the expectation that it will

be as close to perect as it can be, so that when the customer picks it

up, that eeling o quality is immediately conveyed.

We want reading the catalogue to be an upliting experience, and

great photography is also central to that. It embodies the Boden

values were showing colour photography in print that is classy

and aspirational.

I anything, the catalogue has become stronger over time as a

selling tool. It allows you space to create a curated experience or

the customer. The catalogue can stay on the kitchen table; it lasts

much longer than an email. Even the iPad edition, which uses much

o the catalogue photography and stories, is used in a dierent way.

Our customers tell us that they look orward to the catalogue

landing on the doormat they sit down, have a cup o tea and read it

They might spend on average eight seconds reading an email,

and fve minutes looking at our iPad app i were lucky. But they

6


#

6

6

8number of

items that

boden

launched

with in 1991


17/68

6326

number of

pages insummer 2013

catalogue

6


245m/18mcompany turnover/profits

can spend 15, 20 minutes however long it takes to drink a cup

of tea reading the catalogue. Our very best customers will reach

or it two or three times per month. Thats invaluable.

The web is a selling tool, a place where customers transact. When

our customers are shopping online, they are shopping with the

catalogue alongside them. The pattern o behaviour online or

somebody who is speculatively browsing, or has come through an

email, is markedly dierent rom somebody who is using the

catalogue. Catalogue shoppers are using product codes more oten

and using our search bar to fnd products.

We spend an awul lot o time and energy researching whatcustomers think, and how they are using the catalogue they are

involved in the selection o stories, cover images and messages. We

send out surveys to ask or detailed eedback and, at the start o

every season, we run ocus groups or the catalogue with customers

in the UK, US and Germany. The designers, art directors, marketing

and research people will all be there to get early eedback about

what customers like and dont like. Well talk to our best customers,

ones that havent shopped or a while, and customers that are new to

the brand. And well try to ensure that we listen, so that when it does

come to making a decision, we have as much eedback as we can

gather. The desire to reinvent, while retaining our uniqueness,ensures that we dont become complacent.

We experiment with ways to add value to the catalogue,

and make the inevitable journey to the recycling box slower,

or prevent it altogether. Well include stickers and colouring-in,

die-cut covers, git tags at Christmas, personalised messaging on the

cover and bingo cards. They are interruptive inserts designed to

catch the customers interest, encourage them to sit down with the

catalogue and at least decide not to recycle it just yet. Post-it notes

that allow customers to mark up their catalogue have worked

particularly well because they oer practical beneft. We asked

people to bring their catalogues to ocus groups and, when they did,

the catalogues were ull o Post-it notes. It didnt take a marketing

genius to work out that i we put our own ones in there, it would

help customers to shop.

The whole point about putting in surprises or unexpected brand

pieces is to bring a smile to the customers ace so as to get them

interested and engaged with the catalogue. As long as we manage to

capture their attention, remain distinctively dierent and embody

our values in the catalogue then, hopeully, customers will continue

6


18/68

to use it. We certainly dont see the average age o our direct mailcustomers increasing, so its not a bunch o old ladies who arereading it.

Around the time o the catalogue drop, we send other printedmaterial, depending on the prole o the customer and what

behaviour were trying to encourage. For example, to lapsedcustomers who have not been to Boden or a season or more, wellsend postcards showcasing elements o the range and highlighting

key aspects o stories. They might also get personalised letters,typically alongside promotions to encourage them to purchaserom the range with a current ofer.

I a customer who hasnt purchased rom us or a while goes onto our website and requests a catalogue, we want to make sure thatthe experience they have while reading that catalogue carriesthrough online, and to any subsequent printed mailings included

with a parcel, or other ollow-up mailings that we might sendthem while that campaign is still live.It all has to be part o thesame experience and reinorce the themes that are in the

current catalogue.

Were always looking or opportunities to work with partnersthat have a brand synergy with us. Anybody who uses [internetgrocery retailer] Ocado will have seen a Boden catalogue theyhave a very similar demographic prole, and to be able to appear ina customers kitchen is very useul. I we nd a company with thatkind o a similar prole, but enough o a diference between us ora partnership to be o benet to both parties, we will cooperateon marketing.

Increasingly, customers will go online and consume Boden viaother marketing communications. We have a mobile site, and moreand more customers are opening our emails and visiting our websiteusing non-desktop devices. Our iPad app, launched 18 months ago,is going rom strength to strength though that is still a relativelylinear experience, not unlike the catalogue but with someinteractive elements. Ultimately, we have to ensure that however

people choose to consume the brand, we are ofering them an

experience that remains careully crated, tailored and

distinctively Boden. And the catalogue is part o that. It willremain at the heart o what we do. I we dont send thema catalogue, they dont shop as much. Its as simple as that^

6

30%proportion of

Boden purchasesnow made in

the us

67

numBer of shotsfeaturing modelsposing with quirky

Bicycles incurrent catalogue

100average customer spend

per order in the uk


66

6


19/68

Sappi | Galerie fsilk 80g/m2

Sappi | Galerie ne

is the gold standarwhen it comes to pthat brings vibrangraphics to life,and is the obviouschoice for high-enpublications andparticularly populwith fashion, interand food titles.

Silk papers sitsomewhere betweematt and gloss thdont have the samlevel of shine as a

gloss nish, but thoffer more texturethan a matt. Thisgives them what isdescribed as a higgloss contrast aalmost 3-D effect. Ysee these qualitiesthrough their elegpaces in the featurthat follow: Who isgoing to win the ARapp war? and, rathaptly, the early paof What is Chinese

for glossy feel?.

Go to www.whatsnextmagazine

to order samples of thpapers used in this is

the nextpapers(pp19-34]

AR _ R TW

Kai rachIve always been a big fan of compact, book-like magazines, and when I came

across underscore in a book store in Australia, it just felt instantly right.

The subtle colour palette printed on high-quality unken rint Cream paper

gives the stories an almost dreamy atmosphere that is solidied through the useof custom-made typography. I have to admit, the beauty of this publication often

distracts me from properly engaging with its content. It might be my designer

eye, but hey, there are no rules for how to enjoy a magazine. Call me supercial

on this one Im in love nevertheless.

Kai Brach is founder/editor/art director of Offscreen magazine a print

magazine for digital creatives that explores the real-world inspirations

of digital lives


20/68



21/68

Suddenly, augmented reality (AR) content is everywhere inprint, as magazines and newspapers explore new digital

avenues to reach out to readers and monetise theresults. But the question remains

appwho is going to win the aR waR ?


22/68

ha th atl vaT b Laa t lf, pl1) Dwlad th laa app f Add Ph2) Hld ph v th pa3) Wath th dtal l a atatall appa

ugmented reality might sound like a kind

o surgically-enhanced TV show, but it

is, o course, a technology with the

potential to get magazine readers more

involved in and excited about the content

they are looking at and provide more

eyeballs to publishers.

The technology o augmented reality(AR) is delivered by a smartphone app

created by one o several competing

companies including Blippar, Aurasma

and Zappar (see p24). When a printed

page is AR-enabled, readers can launch

the app by holding their phone over the

content, automatically triggering moving

images or video to appear on the handset.

One area where bridging the gap

between print and digital in this way

could be especially useul is in childrens

publishing. Copenhagen-based publisher

Egmont launched its rst interactive

magazine or children this year. The

February issue o UK boys title Toxic

included 10 AR-enabled pages eaturing

brands including Lego, Monsters Inc and

Guinness World Records, which linkedto video content through Aurasma.

Video consumption or ve- to

12-year-olds has overtaken TV viewing

and looks set to be an increasing trend,

says publisher Siobhan Galvin. Allowing

access to video clips through a magazine

is what they want to be doing. Egmont is

using AR in eforts to build a committed

community, and hopes to bolster uture

magazine sales as a result o it.

w o r d s : l u c y h a n d l e y

A using A LessWeLL-knoWnTecHnoLogycAn AnnoyconsumersWHo resenTDoWnLoADingAnoTHer APP



23/68

Meanwhile, The Tokyo Shimbun

newspaper in Japan is also using

Aurasma to reach children although in

this case as part o an eort to use print

and digital in tandem to build a wider,

shared readership among children and

their parents together (see right).

The choice o AR app will beparticular to each publisher, and tends to

be governed by what readers are amiliar

with or how using the technology will

work commercially. In the race to fnd

out which apps ultimately win over

consumers and publishers alike,

however, there is still all to play or.

Aurasma is one o the main players,

and has been used all over the world to

help enhance magazine content. In the

UK, however, Blippar is hot on its heels,

having turned premium ree title

ShortListmagazines cover into a game o

Chuckie Egg, and having produced an

interactive special with sister titleStylist

during the 2012 Olympic Games.

According to Alex Pell, a ormer

technology editor at The Sunday Times,publishers have to be careul about who

they partner with, as using a less

well-known technology can annoy

consumers, who may resent having to

download another app. Re-skinning

a white label application under a

magazines brand name may also have

the same eect.

Pell, who now runs Dashboard

Media, a company advising marketeers

A new generAtion

of newspAper

reAders?

Japanese paperThe Toyko

Shimbun wanted to create a

future for newspapers, based

on the idea that, if children

could be encouraged to read

them, it would increase

communication in families

and contribute to education.

It used AR app Aurasma to

change articles for adults into

ones that children could

understand, making difcult

subjects such as nance,

business or politics easilyaccessible. Kids can hold their

favourite toy a smartphone

over the printed paper to

provoke the appearance of

pop-up headlines, easy-to-read

text and commentaries by

animated characters.

When dealing with the

latest technology, the

temptation is to do something

glamorous, says Hirofumi

Hayashi, creative director ofDentsu Toyko, which worked on

the initiative. But for this

campaign we decided to go

back to basics to incorporate

new technology to focus on

trying to lessen the level of

information disparity between

adults and children.

The newspaper claims that,

of those who read it at home,

37 per cent used the app to

read with their children.

Signicantly, brandsincluding Kirin beer, Meiji

yoghurt and bus company

Hato also placed ads targeting

both parent and child.

Hirofumi says more ideas

are now under consideration

to further the newspapers

reach, including producing

versions of the paper in other

languages such as English.

37%ProPortion of readers who used the tokyoshimbunaPP to read with their children

Documents

What's Next - Issue 6 - TOUCH