Speaker Information

Thomas Ward
Catalogue Production Manager
Bonhams

Paul Sherfield
Missing Horse Consultancy

A Fine Art

Bonhams is the world’s fastest growing auction house.
Bonhams’ image is unusual. Its image is largely based on the quality of its images - the auction lots! With over 400 catalogues, 40,000 pages and 120,000 images produced per year in the UK, this is a complex task.

All tasks are automated if at all possible. This has resulted in a highly efficient digital workflow, fully colour managed from digital to printing press, and 'late binding' RGB to CMYK PDF X1a file delivery, ISO 12647/2 printing conditions, all automated using some of the most up-to-date hardware, software and systems available.

This results in a predicable image and a reliable product, the auction catalogue.


Philip Towler
Partner with patent & trademark lawyers Frank B Dehn & Co

Legal protection for colours as trademarks

With mobile telephone companies threatening to possibly go to court over the use of the colour orange, the ability to associate a brand with a certain shade of colour may end up under the judges’ lenses (or bifocals).

  • Orange has registered Pantone 151 whilst easyGroup uses Pantone 021 and other organisations such as the AA use Pantone 109; London Transport has registered red buses as Pantone 485.
  • What are the legal frameworks for protecting trademarks?
  • Can colours alone be registered as trademarks? If so, what are the special issues affecting such marks and how is the scope of protection determined?
  • How have disputes between owners of colour trademarks been resolved?
  • How might brand owners adapt to recent legal developments?

Angela Wright FRSA
Colour Psychologist
Colour Affects

The meaning of colour

Angela Wright is one of the only colour psychologists to work in the commercial market - she has provided corporate consulting to organisations such as Shell, Euro Tunnel, ICI Paints, Procter & Gamble, The Body Shop and BT. She also appears regularly on TV, the radio and in the press.

Colour Affects presents a radically different approach to the psychology of colour: in commercial design it applies to interiors, product design, web design, uniforms, packaging and branding. Major corporations attest to its effectiveness, most notably in sales of their products and reduction of expensive design time. Individuals claim that it has "changed their lives."
Colour psychology recognises the links between all 16 million shades, tones and tints available to us in a colour computer which can be classified into four categories - and the four personality types. These include Group One as warm colours containing no black such as Virgin or BP, through to Group Four which are very clear and strong with no subtleties, such as British Airways, National Westminster Bank and Texaco.


Bob Holt
Brand Custodian
Production Link International

So what can be done

Bob has 30 years’ experience in print including 13 years at Saatchi & Saatchi Advertising as head of all print-related advertising before setting up Production Link. He is a regular commentator on print and advertising related matters at home and overseas. Over the years he has chaired the Printing World Awards, the FESPA Awards, the Celebration of Print Awards and various European industry forums. He runs the ISBA print production courses.

Bob says he can now guarantee to customers that brand colours will match even if they are printed in 12 different countries without even visiting the press. From his experiences he will present some answers to the following questions:

  • If the brand is vital then why does so often printing fail to deliver?
  • Why is printing a fascinating and exciting medium that fails to deliver the best?
  • What is the reality of controlling print quality across regions?
  • Why should “Trade Tolerance” not be acceptable to the client?
  • So what can be done?

Mark Priest
Germinate

What is Press Signature?

Press Signature is online software which creates consistency of print quality across all print runs. It provides print buyers with peace of mind, by ensuring that the same standard of print quality is met across the world, avoiding different shades of colour and protecting the brand.

What can Press Signature technology do?

The system will enable the buyer to quantify the reproduction of branded material via measurement and graphs with the benefits to Brand Management of:

  • Real results and improvements to quality and colour consistency
  • Less chance of poor quality work
  • Less chance of shelves with branded material looking like a patchwork quilt
  • Proofs and printed work that matches
  • Enables use of cheaper suppliers (makes old presses print like the new ones!).

Brent Martin
Colour Emotions

Signing off proofs confidence…Safety in numbers

When asked an opinion of a proof I do not look at the imagery, I look at the control bar. I then want to measure the control bar with a Spectrophotometer!

When I know that the numbers are right I will look at the image because in a digital world it is about safety in numbers.

There are a lot of buzz words used today, “colour managed workflows”, ICC profiles etc etc. but in plain English the question is ‘what should a brand manager know about the numbers and how will this insure the brand integrity?’


Dr Ben Punchard
Social and Technical Trends Researcher
Faraday Packaging Partnership

Colour and the art of packaging

The Faraday Packaging Partnership is a knowledge transfer group bringing together the best in UK research centres and companies from the whole packaging supply chain. This presentation will highlight some current research focusing on the areas of colour management, brand integrity and human factors.

Research from the University of Leeds on colour science has recently led to the development of some tools for designers such as providing a suitable pallet to designers which can outline the cost, ease of manufacture and format availability of certain colours

Colour also has an important role to play in brand awareness. Recent research into cognitive neuroscience has shown that brand recognition can rely on just a colour alone. This opens up a brand for copycat and counterfeit products. Colour is also important in the language on packaging, not only in terms of the legibility of the text but in enhancing the brand message.


Duncan Stokes
Creative Services Director
Ogilvy & Mather

Personalising your brand message

Brands want to get to market faster, cheaper and more imaginatively. One area that is creating exciting opportunities is digital printing for short run, fast turnaround or one-to-one personalisation. This conference assesses the quality and range of output.

  • Digital v Litho: Is there really a quality issue or is it simply print snobbery?
  • Let the people speak: Some unbiased observations and views of digital and litho print.
  • Case studies: Enhancing the brand through the creative use of digital print.

Bob Marchant
MD and Photographer
Colour Therapy

The case for a transparent workflow

  • An open and transparent solution to produce colour fidelity from image capture to press already exists. It's just a matter of understanding its implementation.
  • This solution is non proprietary and therefore both economic and efficient within a diversified and global market. The number of proofing iterations is kept to a minimum level.
  • Automation and best quality are not always mutually compatible. One ICC separation profile for a specific press target is not going to suit all types of photographic images.
  • The case for RGB versus CMYK workflows is one that needs to be addressed by the ultimate commissioners. Photographers can supply both accurately and confidently.
  • The biggest obstacle to an efficient and accurate workflow is not the technology, but the enthusiasm, skill set and knowledge of all of those involved in the production chain.

Lucy Fielding
Client Services Director
Interbrand

Managing brand assets

Lucy Fielding is a Client Services Director in Interbrand’s London office. One of her many responsibilities is to develop solutions for clients that maximise the power of their brand assets and increase the levels of consistency and adherence to brand standards. Lucy has been part of the Interbrand Group for over six years and has helped to develop and implement national and global branding programs with clients that include Deloitte Consulting, Kodak Professional, IBM, BT, Texaco, Lloyds TSB and the BBC.

Interbrand, the leading brand consultancy and authors of the annual ranking of “The Best Global Brands,” published by BusinessWeek, combines the rigorous strategy and analysis of a management consulting practice with the entrepreneurial and creative spirit of branding and design.

Managing brand integrity is clearly vital, but how can we do it on a global scale, not only effectively, but efficiently? This closing session focuses on the technologies and tools that are helping organisations of all sizes control brands and costs with scalable solutions. This technical workshop will help delegates to be aware of the latest developments and how they can develop the best brand management strategies for their own organisations.


Simon Moore
Managing Director
ICP

Implementation v creativity

The real heart of the agency debate isn’t about creativity, it’s about implementation. Simon Moore suggests that agency networks have become the 'bastard lovechildren' of global brands as well as an anachronism in today's globalised consumer economy. He outlines some alternatives to agency networks for implementing international creative campaigns, including in house activity and production independents as well as ICP’s own specialised approach.


Gary Curtis
Technical Director
Wyndeham Kestrel

As part of the forthcoming Brand Conference, Kestrel’s Technical Director, Gary Curtis will be discussing these challenges and drawing upon case studies from Unilever, an account for which Kestrel have been appointed as one of its European Project Management Agencies.

Their role involves linking together all members of the supply chain and managing all technical and colour aspects of the design, artwork, repro and print process. As part of this role they work closely with Unilever’s print suppliers, establishing profiles, attending all press passes and monitoring print quality.


Angus Cameron
Enterprise Marketing Management

IBM

Brand owners face a wide range of issues with their current business processes. Enterprise Marketing Management extends BAM/MAM to include complex business documents and re-engineer both internal and external marketing business processes to address these problems.

New brand management standards are being set and key trends are emerging in the changing marketing function. Technology now allows marketers access to all they need and the benefits are being felt inside and outside the organisation.


Chris Clough
Field Group

Packaging design for branded products

Chris Clough is a Divisional Design Director of Field Packaging, part of the International and branded products division of Field Group

He will be demonstrating through case studies in the confectionery and whiskey markets how packaging can support the brand by increasing shelf impact and also helping it command a higher retail price point.

This is especially the case when bespoke packaging is applied to the higher added value arena such as the travel retail market.


Jules Rastelli
Managing Director
Cedar Communications

Cedar is a customer publishing agency, best known for the British Airways magazine High Life. We also publish magazines for Tesco, BMW, TUI and Nikon, among other blue-chip names.

Cedar offers a full customer publishing service:

  • Original magazine editorial, design and pictures
  • Media sales representation
  • Production management – repro, paper, print, and distribution
  • Dedicated account management delivering on brief, on budget, on time
  • In-house post-campaign research and evaluation
  • International editions and translations

We’re well known for producing original work that gets talked about. Our success in getting PR for our magazines and clients is a real competitive difference. So is the quality of our contributors; we work with some of the top names in British journalism, photography and broadcasting.

Cedar is an Omnicom company, with 86 staff based in Piccadilly, London.

Jules Rastelli, Managing Director of Cedar Communications will demonstrate how customer magazines communicate the look and feel of a brand and further reinforce the company / customer relationship. He will also look at how closely a customer magazine should extend the use of corporate colours, fonts and photographic style as a subliminal way of reinforcing brand recognition.


Ruaraidh Thomas
General Manager

Vertis Marketing Technology

Ruaraidh has worked in the direct marketing industry for over 12 years - 7 of those with Vertis. Previous roles in the US and as Sales Director for the Direct Marketing Services division led to his appointment as General Manager of Vertis Marketing Technology (VMT) in 2003. With his extensive knowledge of Vertis as a group, Ruaraidh ensures a clarity of purpose and provides valuable group experience to help bring the full resource of Vertis Europe behind VMT. Ruaraidh's vision is to build a real identity for Vertis Marketing Technology in the data/analytics/marketing services provider business space, distinguishing it positively from the competition.
For more information on Vertis see www.vertis.co.uk and www.vertis.co.uk/vmt


 

Kristian Ottosen
Managing Director



Dynamic Imaging - Case Studies

Learn how DELL, Bonhams, NASA and others have used single source dynamic imaging to reduce costs, time to market and publish zoomable high resolution images on their web pages.

YaWah.com is a leading supplier of e-business components for cross-media imaging. Drawing on decades of experience in the imaging software industry, YaWah is dedicated to simplify cross media publishing of high quality image content.

YaWah’s products are distributed in the UK by FileTransfer.co.uk Tel: - 020 7692 6804 – www.filetransfer.co.uk


Marcus Kirby
Director

Vertis prs

Will be speaking on the c
ontrol of brand image through centralised in house production.


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