"You can't buy freedom. But you can vote!" is the FDP's slogan going into the hot election autumn of 2007, with joyfully jumping people underlining this message on the posters. Now a media release has fluttered into the house that dares to contradict the Free Democratic Party of Switzerland: "Freedom can be bought!" is written in large letters above a Microsoft Hardware communiqué. Wireless working on the computer offers "freedom and comfort in the home office as well as in the office". Whether this is exactly what the creators of the FDP campaign had in mind under the slogan of freedom remains to be seen. But it's always nice to see that some claims can even be recycled.

 
Paper The new brochure from Papierfabrik Scheufelen, with which it presents its traditional Job Parilux brand, is a veritable tour de force. 
The Job brand has been synonymous with first-class cigarette paper since 1836. Even in the days of Henri de Toulouse-Lautrec and well into the 20th century, the forerunner of Job Parilux was the favorite paper of the Parisian art scene. The proximity to art was always an obligation for the traditional Lenningen paper mill to further develop a top-class art paper under the brand. Today, Scheufelen sells these papers under the Job Parilux brand in over 80 countries worldwide.From artwork to art printThe 24-page brochure entitled "Kunststücke" (Pieces of Art) compares the creation of an oeuvre of fine art with industrial paper production. The brochure presents the production of art paper in seven easy-to-understand and clear steps and shows parallels between art and paper production. There are already similarities in the choice of raw materials: whether smooth cotton or coarse hemp - the artist decides on the appropriate raw material for his canvas.
In contrast, the paper experts at Scheufelen select carefully chosen cellulose fibers for the reliable quality of Job Parilux, which later make the character of this art paper so unique. The tools used in both processes are also comparable. Different brush thicknesses later define the volume, structure and aesthetic effect of a picture.
In the production of Job Parilux, it is primarily pigments such as chalk or kaolin that give the paper its surface character according to a specific recipe. The brochure "Kunststücke" also contains all relevant information on paper properties as well as printing and finishing options and is available in five language versions.
Sabine Flaxman
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Construction The new image campaign of Keller AG Ziegeleien, the Swiss number one for the production and planning of exposed brickwork and buildings, aims to focus on the appearance of exposed brick and the advantages of Sypla system walls in full and half-page advertisements. The campaign will run in selected architectural publications in the second half of 2007 and was designed by the agency Inhalt&Form.

 
Mediaplanung Matter & Gretener communicates for the new Publimedia planning tool. 
User-friendly, flexible, efficient: Vergo is the ultimate tool for media planning. And painfully reminds its users "that they still have to wait for the optimal solution in other areas", as Marketing Director Alexandra Kasper at Publimedia says.Matter & Gretener were not only involved in the new Publimedia application with a humorous advertising idea: The creatives from Zurich's Sophienstrasse are also responsible for Vergo's logo and web design.
Fully web-basedThe dynamic planning tool is fully web-based and builds on Web2.0 technology. It is based on the experience of recent years that the planning of print media in an intramedia context must meet the highest standards and that all information and data relevant to the planning process should be available directly, situationally and, if possible, from a single source at each corresponding planning stage.
 
Andreas Panzeri

 
As Head of Marketing and Sponsorship, Nadja Schildknecht makes the Zurich Film Festival an important platform for film fans, film art and business. 
With the "Masterclass" and the international competition, the festival is particularly attractive for young film talents. And with an expected 25,000 spectators, it is obviously a much sought-after enrichment for the culture in this city.onedotzero" was the first new festival to surprise Zurich in 2004. The international film festival onedotzero from London is now the largest and most influential festival in the field of animated film. Nadja Schildknecht, Karl Spoerri and Antoine Monot Jr. brought onedotzero to Zurich for the first time in 2004 and succeeded in inspiring 3,000 visitors. "So why not make more of it?" the trio said to themselves. After all, the current festival director Karl Spoerri has always had the vision of establishing a film festival with international appeal in Zurich.
"We didn't know what we were getting ourselves into at the beginning. But we overcame the initial difficulties with a lot of passion and joy. Zurich is a film city and we thought carefully about why we wanted to set up a film festival here. Right from the start, we had the goal of becoming a major festival," says Schildknecht. For her, there are many reasons why Zurich should have a film festival: "We have the highest density of cinemas in Europe, we have the necessary infrastructure with an airport, hotels and an interesting economy. Then there is the booming film industry. Zurich is a media city." Many people abroad were even surprised that there hasn't been a film festival here for a long time.
The new festival was well received by the business community right from the start. Other sides have also shown skepticism. The city of Zurich initially doubted whether a new festival should really be launched here. But their concerns were unfounded. "The second time was very good and now, for the third time, the city of Zurich is officially behind us." The city has taken over the patronage this year, "which is very important for us", says Schildknecht. A large festival tent will be set up next to Zurich City Hall from September 27 to October 7. In this center, film fans, professionals and the media will be able to meet in a lively atmosphere over drinks and snacks before or after going to the cinema.
Last year, the Zurich Film Festival attracted 18,000 visitors. Eighteen films were shown in the competition and over 30 in the program. In the current third edition, the festival has been extended to 11 days and the program has been expanded. The program includes 24 competition films, additional series such as the New World View series with the guest country Russia, the exclusive gala premieres in the Le Paris cinema and the Spotlight series with a selection of competition films from other major festivals. My role in the trio of festival directors is all marketing, sponsorship and events." Nadja Schildknecht was able to secure more than 30 sponsors for this year's festival, including the four main sponsors Credit Suisse, Jobs.ch, L'Oréal Paris and Audi. Nadja Schildknecht has mastered the art of marketing thanks to "learning by doing".
The young entrepreneur completed a commercial apprenticeship. This "helped" her with her daily routine, Schildknecht explains her background. Even more valuable, of course, are her 13 years of experience as an independent businesswoman and her successful career as a model. "That's where I learned what business means. It sharpened my business acumen." During this international activity in the world of fashion, Schildknecht traveled a lot. "That broadened my horizons." She was also always curious. "Thanks to my direct and open manner, I always approached people and benefited from the experience of others, be it an important CEO, an advertiser or a media woman."
At the Zurich Film Festival 2007, she is working with a budget of around 2.3 million francs. "Not all of it is cash, but also includes non-cash benefits," says the marketing manager. Thanks to which concept was she able to attract so many sponsors? "We offer a good product. We stand behind our project one hundred percent and can show a sponsor the return on investment with convincing figures." And perhaps the most important thing: "Film is an attractive topic for many companies. We cover a broad target group." In addition, there is the positive feeling for the sponsor that they can be part of something that is becoming more important for the Zurich cultural scene every year.
The Zurich Film Festival now enjoys an excellent international reputation. In addition to Dieter Meier (Yello) and Bettina Oberli ("Die Herbstzeitlosen"), this year's jury also includes Moritz Bleibtreu ("Run Lola Run"), Matthew Modine ("Full Metal Jacket"), Justus von Dohnányi ("Downfall") and the festival president, producer Albert S. Ruddy (two-time Oscar winner for "Million Dollar Baby", among others). Oliver Stone is expected to be another star guest. The Zurich Film Festival is naturally delighted that such a Hollywood great is paying his respects to the festival. In addition, the US industry magazine Variety has recently become one of the Zurich Film Festival's media partners.
Heiner Kunz

 LZ Medien Holding is now the sole shareholder of Radio Pilatus. It took over 100 percent of the station retroactively as of July 1, 2007. LZ Medien was already the majority shareholder of the radio station: the publishing house had increased its stake from 41.6 to 52.6 percent at the end of 2006. It has now purchased the remaining share packages from various shareholders. The parties have agreed not to disclose the purchase price. The takeover will not result in any personnel or structural changes.
"Media, including radio, is our core business - especially in Central Switzerland. This has prompted us to seize the opportunity and invest more in the electronic media sector," Erwin Bachmann, Delegate of the Board of Directors of LZ Medien and Vice-Chairman of Radio Pilatus, is quoted as saying in a press release.
According to its own figures, Radio Pilatus AG achieved a turnover of CHF 7.6 million in 2006. The station employs 35 people.

Ringier magazines are looking forward to the European Football Championship 08: they are presenting 80 creative directors and media specialists with a European Football Championship box that reminds them that Switzerland has already won the European Championship once before. A retro football invites the "boys" to score their goals from the advertising space of Schweizer Illustrierte, SI Style, Glückspost, Bolero and Goal. And the "girls" are motivated with a rhinestone whistle to direct the game from the same room. Responsible at Ringer Zeitschriften:
Head of Advertising Market, Beniamino Esposito; Head of Advertising, Franziska Schmid. Responsible at Heads Corporate Communication AG BSW: Creative Direction: Marco Simonetti; Text: Ralph Hermann; Graphics: Donovan Szypura; Consulting: Ralph Hermann, Nadia Francioso. Photos: Tom Haller. Styling: Mirjam Kaeser. Casting: Nadja Putzi.

Advico Young & Rubicam demonstrates the 12x zoom effect of the Leica V-Lux 1 digital camera using the poster field. The subjects show their real surroundings, but enormously enlarged. According to the communiqué, the most everyday things become more interesting on closer inspection. The agency worked closely with APG to find suitable locations for the media idea - and found many. The motifs can be seen from September to November on F12 and 12m2 posters. Responsible at Leica Camera AG:
Oliver Bachmann (Head of Marketing & Sales); responsible at AY&R: Christian Bobst (Art Director), Johannes Raggio (Text), Isabelle Hauser (Graphics), Urs Schrepfer (Creative Director), Sandro Breu (Consulting), RTK (Lithography and Printing), APG (Poster Display)

 The BSW Leading Swiss Agencies association has accepted the Zurich agency Krieg, Schlupp, Bürge/Springer & Jacoby as a new member in the advertising agency category. KSB/SJ was founded in 2004. The agency currently employs 50 people and is based at Seestrasse 367 in 8038 Zurich. The owners and directors of KSB/SJ are Daniel Krieg, Uwe Schlupp and Christoph Bürge. The agency's key clients include Coop, Maurice Lacroix, Bucherer, AMAG, AXA Winterthur, Lumimart, Maxon Motor and ZVV.

 
Paper On August 31, 2007, the jury selected the winners of this year's Ziegler's best Award from more than 200 entries. The six-strong judging team is made up of representatives from the design, media and printing industries. Therefore, both the artistic design and the technical implementation were taken into account in the evaluation. The 1st prize was awarded to Jaaroverzicht ICTU 2005, the annual report of a Dutch company for IT services in public administration. The two 3rd prizes went to Studentenprijs Grafisch Ontwerpen 2007 (NL) and Nihao Magazin (AT). The award event will take place on November 15, 2007 in Basel. (sf)

 
Column: Publishers could be doing business but choose not to. From a frog's-eye view, that's incomprehensible. 
You should always look at big news from a bird’s-eye view. Recently, there were reports that Valora, the kiosk monopoly, was struggling. The manager allegedly responsible was exposed as incompetent and publicly executed with such a dramatic flourish that everyone was reminded of the old parable of the scapegoat, sent into the desert so the remaining herd can carry on undisturbed.At the same time, the frog found himself at Zurich-Kloten Airport early one morning. As always, he marveled at the large number of people already on the move there at six o’clock and was pleased to see that the Valora kiosks were already open. The fact that no current daily newspapers were available there even after six o’clock had puzzled him on previous occasions as well. Back then, he’d been particularly annoyed by the stinking rudeness of most of the kiosk clerks.
This time, it didn’t occur to him to pick up something to read until after he’d gone through customs and passport control. It was Thursday, which meant it was «Weltwoche» day—but there was nothing! An open newsstand, plenty of chocolate and magazines, but no current newspapers. «Come on, then…» the saleswoman growled, audibly annoyed. «When, then?» asked the frog. «I don’t know…» came the reply. The woman didn’t seem to love her job.
In the meantime, my flight had been called. The throng of people carrying suitcases lined up right next to the large stand where fresh newspapers used to be sold. The stand was empty. Just as I was disappearing into the boarding gate, I saw out of the corner of my eye the delivery person arrive at the newsstand on an electric scooter loaded with bundles of newspapers. It was now a few minutes before seven o’clock.
From the frog’s perspective, he’s thought the matter through: Why is Valora complaining when it runs its core business this way and simply lets X francs in revenue slip through its fingers? The newspapers that everyone is looking for at six o’clock have already been printed for hours and are just lying around somewhere. Where’s the bottleneck that keeps the guy from getting to the newsstands until seven o’clock? At customs? At Valora? With the guy himself? With the union’s overtime premium? Is this an unsolvable management problem?
And the newspaper publishers: Has anyone ever seriously addressed this untapped sales opportunity? What’s the actual status of the newspaper service at Swiss? And while this clueless frog is already croaking, the absurd story of e-papers comes to mind once again—especially in an industry where everyone talks about the internet, but apparently very few actually use this technology, which has been around for more than ten years now, to read newspapers. I really enjoy quickly clicking on the Tagi and NZZ websites while on vacation or traveling and, thanks to my password, reading my local newspaper on the screen. Admittedly, it’s not the same kind of immersive reading experience as holding the print edition in my hands, but it’s at least a news update for this news-addicted Frog. Yet from all the publishers, I hear that these e-papers are a lost cause for a few lousy hundred oddballs and that this type of usage can simply be forgotten.
Setting up these e-newspapers—most of which are quite user-friendly—was certainly no small investment. It may even have been based on some sort of strategic consideration. But what do publishers actually do with them in their day-to-day operations, wonders the uninformed frog? Have I ever noticed a campaign for the e-paper? It can’t be due to a lack of ad space. (Have you ever seen so many full-page ads for such obscure books as in the NZZ this summer? I mean, really!) But the marketing folks at the publishing houses would rather pore over case studies on the electronic paper substitute that nobody wants than figure out how to manage what they’ve had for a long time. And since they never travel (or at least don’t get up as early as the Frog), they apparently haven’t even noticed the supply gap at the country’s largest airport.
May the stork come and get me! They could do business and just let it go. I don't get it. But that's surely because I'm just a silly frog.
> Karl Lüönd is a freelance journalist and author.

 The Publicitas index recorded a slight increase of 0.2 points to 97.2% in August compared to the same month last year. However, the large number of job advertisements had to compensate for the modest turnover in other sectors. The job advertisement index rose by 2.4 points to 185.9 points in August. According to Publicitas, job advertisements "continued to develop dynamically" in all sectors of the economy.
Commercial advertisements, on the other hand, are struggling to experience an upturn after a good July despite an increase in the number of inserts. The advertising company attributes this primarily to the modest investments made by car importers and telecommunications companies.
According to Publicitas, the result for occasional advertisements is virtually unchanged from the previous year. The national elections have hardly had any impact on this category of advertisements so far, it adds.
On the other hand, real estate advertisements showed a marked decline. This was mainly due to the lack of rental properties. The real estate advertisements index fell by 0.7 points to 93.7 points.