How the car giant used direct mail to launch their new GLC model in a creative and immersive way.
The power of print at a glance
- A hologram of the all new GLC was created, which contributed to over $35million in GLC sales
- Overall 14,913 DM packs were sent and there were over 17,904 views of the hologram film
- Average time on site was over three minutes (19% higher than Google's category benchmark), indicating that people who viewed the video stayed on the site to view more content
- Overall, the GLC online experience also contributed to a 20.67% increase in total Mercedes-Benz test drives across the period of the campaign
- The conversion rate to purchase of the GLC off the back of the DM was 3.21% which delivered a ROI of $215 for every $1 spent this jumps to an incredible 8.67% when isolating our prospecting recipients, a conversion rate was eight times higher than the DMA benchmark of 1%
The idea was to bridge the gap between offline and online looking to merge the two to create a seamless experience for prospective customers and lead to purchase of the car.
Agency BBDO was also tasked to engage recipients with something new that supported the car's innovative concept.
Audience insight shows that the ideal GLC buyers were early adopters to technology which led them to identify their desire to be the first to try something new. Status driven, and relatively fickle on brand loyalty, the DM needed to deliver something big to this audience.
So, a hologram of the all new GLC was created an innovative technology itself that had previously not been utilised in this channel.
14,913 people received the direct mail piece which contained a die-cut Perspex which they were able to assemble themselves into a pyramid shape.
Then, by visiting a custom built microsite, recipients were directed to place the pyramid on their phone or iPad. This then projected a 3D holographic image of the vehicle and a film about the car's concept.
|Posted in: Inspiration|
We all know how important it is to get maximum impact with your print.
Today there is such a vast array of marketing and communication options.
Multi-channel Marketing is a method by which one interacts with customers using a combination of indirect and direct communication channels such as; social media, websites, retail stores, mail order catalogues, direct mail, email (including email direct marketing), mobile, and of course print.
With the plethora of marketing options, the big question is, what gets best cut through?
We feel they all have their place in the marketing mix, and it is therefore imperative you make the right marketing decision for what works best to the specific objectives.
If anything a huge resurgence is taking place right now. However, it may not always be the best option. We believe if you are about to undertake and produced printed collateral that requires maximum engagement and effective cut through the better your planning and execution, the greater the yields and response rates.
Effective Results on a Limited Budget
As this blog suggest, our discussion is around "Bling on a Budget" and going beyond CMYK that is, how can you achieve great effective results for your printed piece with a limited budget?
Print runs are indeed reducing in volume due to several reasons outline above. The transition from offset to digital printing has been enormous the impact significant within the printing industry. Therefore, the technology in digital printing presses has seen great advances in quality, speed and costs in print production. Digital printed pieces can be produced in small volumes and thankfully due to the smaller print runs, value added inline and post printing finishes can be added as options.
Examples of this are super opaque white ink, metallic ink including gold, silver and any other pantone metallic colour match, spot gloss varnish, digital foiling with many colour choices even digitally raised foil, spot UV and raised spot UV. All of these finishes are available here at Digitalpress.
Stock choices are also available for short run digitally printed collateral. With all these options you can create the perfect printed piece.
Your print partner of choice should have technical expertise in print and print marketing with a solid understanding of design and how to combine theses finishes and give you a great return on investment.
How do I set up my artwork to print white ink, metallic colours and spot gloss?
There is a specific way to set up your print ready artwork for white, metallic and spot varnish printing. It's simple if you follow our guidelines. Simply go to our website and follow the technical information.
Thinking of going beyond CMYK and adding some "Bling on a Budget"?
Contact our expert team here at Digitalpress, Sydney's most awarded printers.
While conventional foil stamping is the most common way to add incredible metallic shine to your work, there are several cool alternatives on the market today. Use them to run foil inline with your colour printing, or even for short run, personalised and variable data projects.
While the paper runs through the foil stamping press (clamshell for letterpress for small to medium-size runs), a heated metal die presses your design on top of the foil, which frees it from its backing. The pressing of the die into the paper's surface leaves a slight impression in the paper, an extra tactile element.
Most versatile foil process, as it can foil and emboss in the same press run. It also has the ability to press refractive (micro-etched) patterns into the surface of the foil.
Special dies or plates are needed, which adds to the turnaround time and is more costly for smaller jobs.
COLD FOIL TRANSFER
Ideal for folding cartons, labels, magazine covers and point of sale displays, Cold Foil Transfer is mostly applied in-line during an offset printing process.
On a 6- (or more) colour press, the first 2 units are used to apply an adhesive and then foil to the sheet, respectively. The foil only sticks to the adhesive areas.
The CMYK stations of the press allow you to print on top of the foil in-line, thus creating any colour in the rainbow. Software from companies like Color Logic http://www.color-logic.com/ provides the ability to proof metallic overprinted colours before the final production is run.
Many PSPs specialising in labels and packaging
Metallic Gold, Silver and Holographic, which allow for unlimited metallic hues when overprinted with CMYK.
Medium to large
Most systems will run with coated papers (uncoated ones tend to absorb the adhesive). Coated papers will provide the best foil shine. However, new technologies are now available that provide the option to print cold foil on uncoated papers, which will allow us more flexibility in the future.
Ability to run in-line on the printing press and create unlimited metallic colours by overprinting CMYK. Excellent choice for projects that include significant foil coverage.
Mostly limited to applications on coated stocks. More feasible for larger-size runs.
Digital foiling encompasses offline processes that can enhance your offset and/or digitally printed piece with that extra-super shine. As these processes are digital, this means:
- No die, plate or film is required
- There is no pressure used, thus no deep impression on the paper
- They are ideal for short to medium print runs
- They offer the opportunity to use variable-data foiling.
Digital foiling is done in one of two ways: using either toner or varnish (polymer) as the base adhesive to ensure the foil adheres to the paper.
TONER BASED DIGITAL FOILING
This is a simple 2- to 3-step process. The artwork you want to be foiled is first printed in a rich black on a toner or ElectroInk digital press (depending on the foiling system your printer uses).
The sheet is then run through the sleeker and, with the help of a touch of heat, the foil is adhered to the black ink.
The sheet can now be run through the digital colour press again to add CMYK alongside your foil or in most cases even on top of it, allowing you to keep your foil look classic (Gold or Silver), or to go for unlimited metallic effects.
Many PSPs. This is still considered a new technology and the number of providers is growing.
All toner based digital foiling systems offer basic Metallic Gold and Silver. Some including our company Digitalpress can utilise many readily available foils, and most allow you to overprint the foil, thus providing unlimited colour options.
Short to medium
These systems work best with coated papers. Uncoated does work, however not as effective.
No dies, plates or film required so feasible option for shorter runs or prototypes; ability to use foil for personalisation. Being able to overprint the basic foil allows for thousands of metallic hues and can enhance images as well.
Multiple passes needed to apply toner, foil, and CMYK overprinting. Limited to short to medium runs.
VARNISH BASED DIGITAL FOILING
Print your project offset or digital first and then, in a separate pass, run them through a digital enhancement press to add super-shiny foil. The press lays down a clear polymer adhesive of your artwork first, which the foil will then adhere to.
Adding a thicker layer of adhesive allows for the foil to be raised above paper level providing an embossed look to the foiled image.
For certain applications, the printed and foiled sheet can be run back through the digital enhancement press where a clear spot coating can be applied on top of the foil (and printing for that matter), giving it an extra textured feel.
Several PSPs. This is still considered a new technology and the number of providers is growing.
Gold, Silver, Holographic and dozens more
Short to medium
Mostly coated uncoated with extra care
No dies, plates or film required so a good option for shorter runs; and the ability to use foil for personalisation. Adding clear polymer on top of the foil gives that extra tactile (embossed like) feel.
Not as feasible for larger-size foil areas, and limitations on paper stocks and foil colours. Polymer based foiling is not commonly overprinted the foil colour you choose is the colour you get.
For large foil areas, foiled substrates (aka "metalized laminates") are a wonderful option. Using paper or board as the basis, the foil is laminated to the substrate giving you one shiny and one white side for your creative outlet. (Or just one shiny side if you are printing labels or folding cartons.) Beyond offset printing, many foil substrates are now also available for digital presses.
While the foil colours available might seem limited (mostly Silver and Gold), remember you are printing on top of the foil, so your metallic shine options are unlimited. Yes, you can even recreate Gold on a Silver sheet. And if you want to keep some areas of your artwork true to colour, underprint White before adding CMYK.FOIL SUBSTRATES
Classic Gold, Silver, and Holographic, in some cases brushed options are available as well
Short to Large
Achieve metallic effects without a secondary process meaning only one pass on press is needed. A great option for large runs with full metallic coverage.
High cost for metallic paper/board stock, limited variety. White ink needs to be under printed where true colours are desired.
|Posted in: Digitalpress Masterclass|
If you were to choose one colour guaranteed to capture attention, what would it be? In a world awash with 4-color signage, retail displays and folding cartons, nothing catches the eye quite like a hit of White ink either next to, beneath or on top of your CMYK, particularly when it comes to digital printing. Does that mean you have to manually run your 4-colour work through the press a second time to add that extra touch of White? Not if you insist on a print provider who uses an Iridesse 6 Colour Digital Printing Press with White Dry Ink.
Widen Your Choice of Substrates
Eager to take advantage of today's ever-increasing number of attention-grabbing coloured sheets, but concerned that your design work will get lost in those darker hues? A hit of White Dry Ink applied to non-White media really stands out, and dramatically increases the number of sheet colours from which you can choose. When White is applied as a spot layer under CMYK, it also makes the other colours you use on dark stocks really pop.
Take advantage of the Iridesse's variable-data feature by including each recipient's name in large type on a printed piece. This White Dry Ink makes that, and any other text, appear to leap off the page, whatever sheet colour you've chosen.
Need to print up some retail signage that needs to command the most attention possible? Simply apply a spot White layer over CMYK on window cling graphics to sharpen clarity and visual impact.
Budget-friendly Brightness & Effects
It also turns out that one of the easiest ways to achieve benchmark brightness and opacity for your design work in digital printing is to have one pass of White ink before you lay down your CMYK. And because White Dry Ink is stored in the Iridesse's 5th print station, it's automatically applied over or under your Cyan, Magenta, Yellow and Black (CMYK) no manual intervention necessary.
Not only does this ensure optimum vibrancy for all your photos and illustrations, but also the fact that it can apply that White ink in just one pass means less cost compared to other digital presses, which can require four or more passes to achieve acceptable brightness and opacity.
You can also apply the White in percentages and halftones to create eye-catching translucent effects. Perfect for labels and photographic images. (This can be especially effective on a translucent stock!)
White Ink Enhances Everything
With White Dry Ink on the Iridesse, you can bring new levels of brightness and opacity to a wide variety of projects, including:
Who says invitations have to be printed on White or off-White paper? With White ink, a whole new world of dark cover weight stocks opens up to you.
Boost the attractiveness of kraft and dark folding carton board for bolder packaging that truly stands out on any retail shelf or website.
Posters and presentation folders
White Dry Ink enhances dark, heavy weight, extra-long sheets for dramatic posters that make a bold statement, as well as folders that linger in the mind long after the presentation is over.
Finally, you can make an even greater impression when you pair White Dry Ink with the Iridesse's Thick Stock Capability. This optional enhancement allows you to print on sheets up to 400gsm, so those substantial pieces you'd normally print offset can now be printed swiftly and economically from signage to free-standing displays.
As Easy as Black and White
The only thing more impressive than the results of using White Dry Ink is that it couldn't be easier to work into your design files.
1. Create a new layer in InDesign and name it "White."
2. Import Illustrator .eps graphics into each designated layer in InDesign: one layer for CMYK, the other for White. (Add a choke to the White layer.)
3. For graphics imported into InDesign, choose "Multiply"; for those created in InDesign, choose "Overprint."
4. Save your file and export it as a high-resolution PDF.
Want to learn more? Why not contact the team at Digitalpress firstname.lastname@example.org
|Posted in: Digitalpress Masterclass|