Our ethos

Marketing – Back to basics

6 June 2021 Stuart Nimmo

Marketing is all about educating your customer about a product or service.

Ask any educational professional about key learning styles or methods and they will talk about Visual Auditory and Kinaesthetic (or VAK).

Over the last decade, we have seen a rush to engage digital technologies for the ease and convenience they bring. However, the rush has made us forget the key premise of how we learn. The engagement from touch, reality, which builds trust, through physically being there is missing.

The need throughout the COVID-19 pandemic to be still connected heightened the advancement of digital meetings, through zoom, teams and other platforms. We all read each other’s non-verbal language without even realising it, which has been devoid from digital platforms due to only seeing bust upwards of most participants. However, are we missing other communication receptors in this digital advancement? I know from people I have had conversations with, some have experienced zoom-burn-out, with back to back meetings, taxing the individual’s concentration to the max, through constantly staring at a small screen.

Working only with visual and auditory senses, it’s challenged us. When you think that sight is more than a small screen, hearing is more than the immediate speaker on a call. It leaves touch, which when we pick up something, a book, a pen or even a digital device, they are all crafted to evoke reactions. When we meet people we are aroused by the smell from perfume or aftershave or even fabric conditioner, the typical business meeting we’d meet for coffee or something else and we’d remember the taste and flavour of the coffee or the environment we were in. We build a picture of that moment and automatically attach it to the individual, this forming a mental picture and memories, whether favourable or not.

So are we missing a trick? Is now the time to return to being physical, leading the waive in positively creating memories? Of course, I am biased, I feed of tactile engagements, through my own experiences in print and design. Is it time to arouse the senses?

I am fortunate that I can do things differently, that I am accountable to myself. We have even before the pandemic did engagements via traditional mail, which evoked the senses. Our 2nd birthday being one example, where we partnered with CHIPP Coffee to deliver a cupping experience for our guests. The invitations featured physical real coffee beans inside a tactile (Linen textured board) gatefold (opening out from the centre) invitation. This raised a significant level of interest. Plus, once Royal Mail had processed the mail, they had also gently ground the beans to release some coffee aromas. Over the years we’ve inserted enveloped tea bags, chocolate bars and many other things to play on the wealth of sensory receptors of your audience.

The thinking overall is to think about the total experience, not just the design or the visual. In a world where marketing messages swamp us, the need to be different and pronounced and clear is paramount to achieving better results.

Cutting corners doesn’t pay…

18 April 2021 Stuart Nimmo

I know I’ve written blogs around the topics of design, useful tips and quality of reproduction before. But this seems to raise its head frequently and needless to say, things don’t change. The adage of what goes in is what comes out. Whether it be mail merge data, which hasn’t been prepared correctly, or the consistency is random; flyers that are produced without any thought to the target audience or how they will be engaged with are just a few of the many challenges to great results. The small nuances are the finer detail which is all part of what we do. Some might say it’s the 80/20 rule, but of course, it’s the last 20% that makes the difference.

So here are a few thoughts regardless of what your project is…

Planning

Failing to plan is planning to fail as the adage goes. Print is a pivotal point in a marketing cycle, being scattergun with it doesn’t help you. Having a production plan, including textual copy reviews, branding coherence, ensuring imagery is spot on, now’t worse than text saying one thing and your imagery speaking the opposite.

Know your audience

Absolutely critical, mapping this out will provide you with the key approaches to ensuring you successfully engage your decision-makers. This pen portrait will ensure you know who you are “talking to”

Use your budget wisely

This is where your 80/20 rule shows the most. Cutting corners can do more damage than the difference in the saving. Good design artwork doesn’t have to cost the earth. Good printers have experienced designers in-house. If part of something more critical, a graphic designer will add more flair to a larger project. Rule of thumb, design/artwork studio time within a print house will be £25-£35 p/hr whereas creative designers will be £40-£75 p/hr. Getting your design/artwork right will drive the results, so this is money well spent.

Ensure great reproduction

When a printer has been involved with a job from the start, if they have a good background with traditional “repro” as it was called, they will optimise images to ensure great reproduction. Or as one client called it “Sows Ear into Silk Purse”. See the blog on the Lost Art o f Repro

Print has never been as affordable

True fact, print comparatively is more affordable than it was 10-20 years ago. So don’t try haggling, you just rub the printer up the wrong way. The advent of digital print has reduced the cost of entry. However, set up fees; disk/file handling charges still apply, as it still requires someone to get your file ready for print. The downside of short-run print (small quantities) is that finishing set up costs for lamination, foiling, creasing, folding and other bindery work.

Working with a good print provider will help you to control your project costs, they will suggest ways to ensure you can measure the performance of your printed item. Printers are real-world people, with significant experience of working across media to ensure integration. Yes, you can ship your file to a big internet shed, have it squirted through a machine, and we know the chances of total satisfaction won’t be as high, a local printer does a lot more than you probably realise, above all they are human, and love engaging with people like you.

The lost art of repro

17 January 2021 Stuart Nimmo

Our Stuart unpacks some of the traditional knowledge when applied to digital print, really packs some punch in creating stunning results.

In an age not that long ago, there was a rare breed of skilled craftsman called Repro Technicians. Usually found in something called Repro Houses, or Prepress departments in reputable print businesses. They had a unique skill set, high-level understanding of colour, making the printed image sharp, understanding the magic of half-tone screens and many more mystical things print-related. They were masters of ensuring that that was given to the press operators allowed them to produce top-notch results on press. A classic case of quality materials provided is indicative of quality out.

As technology evolved, Repro Technicians also did evolve. Grasping colour scanning, this was substantially more than your desktop scanner. With equipment which was tuned with fine optical lenses and sophisticated electronics, this produced results which were often tailored to “High-End Repro”. This entailed ensuring good reproduction in the shadows and highlights, correct colour balancing, bringing out detail in mid-tones, sharpening and lots more finessing of quality photographic images to deliver exceptional results. This knowledge is still applicable even in a totally digital environment.

A recent example has been using location pictures from a Royalty Free library. The quality is very mixed due to the content creators being of mixed professional background. Taking some of our high-end scanning and retouching knowledge. A first point can be looking at the details in the horizon line, the point of focus is the edge of the water, so the trees and bushes need to be more defined. The building is rather flat, it is the point of focus of the composition, highlights and mid-tones addressed. The crane on the horizon also lacks the right impression, so removed. Skies evoke so much storytelling, so ensuring an aspirational blue and clouds with contrast and shape, flat of lack-lustre don’t help. Final point, the water needs to reflect the tone of the sky, equally a dirty grey provides no aspiration.

There isn’t a week that goes by, where some of this knowledge is discretely applied to our work. Stuart’s professional development was in this very area; Repro. Ensuring the colour is balanced, points of focus are sharp, retouching is applied to maximise the result. Getting the artwork and imagery right before you print, can really maximise the end result, what goes in, comes out. So why scrimp on your artwork and imaging?