gama 22
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GAMA 22GAMA 22TRANSCRIPT
ISSUE TWENTY TWO
Your logo here
Created sales literature that sells?
Thought about print’s role in the digital revolution?
Discovered the elegant font that came with your computer?
Don’t Miss the Boat
Ask yourself if you have...
MARKETINGADVISOR
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Sales literature stands in for you when you’re
not around, carrying your brand identity and
reputation to the marketplace. Eye-catching
design grabs attention, but a provocative headline
and compelling text convinces the reader to
consider what you have to say. It’s a personal
interaction as the prospect holds, feels, and re-reads
your message. If you cut corners on printing or
circulate out-of-date information, your prospects
might subconsciously conclude that you produce
cheap, outdated products too.
Tie each printed piece to a goal in your strategic
marketing plan. Is the objective to drive new sales,
cross-sell to existing customers or communicate better
with your stakeholders? The appropriate format will
naturally follow—a postcard, a circular, a product
data sheet, a package insert, a newsletter. The layout
must work not only aesthetically, but also from the
perspective of creating a positive perception that is
consistent with your company’s image. Combinations
of different elements—paper types, colors,
repetition—can produce powerful subliminal effects
so it is important that you work with a professional
designer. Another consideration is portability. An
oversized piece might gain attention, but what will
make someone pick up your piece and take it with
them and then pass it along to others?
Communicate at lightning speed
about who you are, what you are
offering, what is in it for the reader
and what action the reader should take.
It’s tempting to overload your documents
with every capability and feature you have
to offer and to address every question
before the reader asks, but this approach
will overwhelm and disengage someone
who is just learning about you. As you
move through the sales process you can
introduce more complex printed collateral
for your sophisticated, high-probability
clients, including specifications,
statistics and comparative
performance data. At this
stage, the content should
be intriguing enough and
the call to action should
be persuasive enough to
inspire the reader to initiate
a purchase.
Successful print marketing
campaigns begin with a plan, a budget
and an understanding that sales collateral isn’t
going to close the sale by itself. What it will do is
provide outstanding sales support, reinforcing your
message and staying behind to inform and persuade
your prospect.4
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> Print is “real.” Paper and ink are reassuring, especially in difficult economic times. It says
your company is credible and trustworthy. You are planning to be around
for the long-term and you cared enough about your message to spend time
and money putting it in writing.
> Print is focused. Prospects can read your information when and where they choose…and without
temptation to click on the next flashy message that pops up.
It’s not surprising that print has held its place as the leading communications medium for centuries. Here are just a few reasons why.
> Print is durable. It simply stays around longer. Your desk might be cluttered, but you can still dig out a printed piece,
use it for comparisons and share it with others. Print collateral maintains a physical connection with your
customers even after they’ve powered down their computers.
carry your brand identity and reputation to the
marketplace
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What makes electronic media
so captivating is that it presents a real-
time marketing environment. Print adds a
dimension to this experience that is warm,
inviting and readers can’t ignore because
they are literally holding your message in
their hands. No need to boot up or power
down. Overlooking the role of print can
prove fatal to a marketing campaign.
If your objective is to inform, teach,
persuade or entertain, print marketing is
a must.
Print remains relevant in the integrated
marketing communications mix for
many reasons. Despite the ubiquity of
the Internet, many people just don’t go
online. Certain demographics simply
prefer print collateral over digital options.
Consumers use a variety of sources to
gather information about a product or
service, but research shows that they seek
print when it’s time to buy. Having words
and images in a touchable format provides
reassurance that bit-and-byte media can’t
match. Web technologies provide quick
answers, but the responses are often
contradictory. Print shows that you found
your message to be important enough to
commit it to paper and you stand behind
what you’re saying. If you’ve abandoned
print in favor of e-media, you’re missing
out on big sales numbers.
Digital marketing techniques work best
when you introduce them in coordination
with print. You could post a banner ad
and hope those who find it among the
100 million other Web sites click through
to yours. But think how much more
powerful it would be to use direct mail to
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Print’s Role in the Digital Revolution
Print adds dimension.
Readers are literally holding your message in their hands.
A touchable format
provides reassurance
that bit-and-byte media
can't match.
Readers want to touch your message thanks to a new generation of papers, inks and varnishes.Technology is cool. It opens up a whole new world of marketing
opportunities—email blasts, pURLs, PDA pushdowns, RSS feeds, tweets.
But what happens to your message when the BlackBerry battery is
drained, or your format isn’t compatible with your prospect’s device?
drive targeted prospects to a personalized
Web site, after which they receive a follow-
up “thank you” card with a special offer.
By combining print and digital, you produce
an educational, engaging experience that
speaks more directly and pertinently to your
target audience.
Just as you keep up with the latest
technology, commit the time to educate
yourself about advances in the printing
industry. You can create dazzling special
effects that make readers want to touch
and feel your message thanks to a new
generation of papers, inks, varnishes and
coatings. It’s a tangible dimension that
electronic media can’t impart. And throw
away what you think you know about
direct mail. The new direct mail uses
technology to deliver customized messages
that can link to a corresponding Web
component. It’s all much less complicated
and less costly than you might think.
Companies that utilize the full spectrum
of marketing channels realize exponential
increases in brand identity, prospects,
sales and ROI, but this requires an
upfront investment in sound strategic
planning. You might replace one static
message with many targeted variations
delivered through multiple channels, all
of which have to be consistent. Those
who successfully bridge the digital and
print marketing environments deliver a
result that is greater than the sum of the
individual marketing elements.
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�alligraphy, defined as “the art of
beautiful handwriting” (from the Greek
kallos—“beauty”—and graphein—“to
write”), is nearly as old as writing itself,
but it was only after the advent of printing
that elaborate script lettering, distinct from
everyday handwriting, began to appear.
The word calligraphy itself didn’t enter the
English language until 1613. But while
calligraphy was revered as an art, in general
use, it began to decline as writing became
increasingly mechanical and typewritten.
�n the late 19th century, calligraphy
saw a revival, primarily as a reaction
against the mechanization of writing.
English author and artist William Morris
was one of the chief influences on the
renewed interest in calligraphy, and soon
he had legions of followers, such as
Stanley Morison, William Addison Dwiggins
and Frederic Goudy. These students of
calligraphy—who examined the structure
and beauty of letters—became designers
of typefaces, revolutionizing type design,
which had until then been predominantly
the purview of engineers and technicians.
�ne of these calligraphic artists and
type designers was Hermann Zapf (b.
1918). Zapf designed some of the most
famous typefaces, such as Palatino and
Optima. Zapf was a typographic pioneer
and an early proponent of computerized
typography. He had been interested in
a calligraphic typeface since the 1940s,
but hot-metal type was ill suited to the
delicate reproduction of fine strokes and
swashes. But with digital typography, it
might be possible.
�n the early 1980s, Zapf worked with
David Siegel, a recent Stanford graduate,
who had an interest in creating a typeface
based on Zapf’s own calligraphy. So
Zapf and Siegel—using sketches of
alphabets Zapf had made in 1944—began
developing the software to create such
a typeface. Alas, before they had made
much progress, Siegel’s girlfriend left him,
leaving him listless and despondent, and
he quit the project.
�he calligraphy project thus
languished until Zapf mustered up the
courage to present it to Linotype, who
were enthusiastic, and helped Zapf
complete it. The result was four alphabets
complemented by various ornaments,
flourishes and dingbats. Linotype released
Zapfino in 1998.
�pple includes a version of Zapfino
in OS X to showcase the Mac’s advanced
typographic capabilities. The Apple version
of Zapfino comprises 1,400 individual
glyphs, and features larger letters than the
commercial Linotype version. Zapfino has
continued to evolve, with new versions—
such as Zapfino Extra—appearing in the
years since.
� hether it’s the OS X version or
any of Linotype’s packages (http://www.
linotype.com/1175/zapfino-family.html),
Zapfino is an elegant script—and creative
experimentation can add a touch of class
to any design project.
� s always, be sure to supply exact
copies of the fonts you use—whether it’s
Zapfino or any other font—to us. Subtle
differences can reflow text and cause
layout errors. Consult with us if you have
any questions about font usage.
If you’re like most professional graphic designers, you’re hesitant to
use any font (or, more correctly, typeface) that comes preinstalled on
your computer. However, if you use Mac OS X and are looking for an
elegant calligraphic font, there’s one that’s worth a second look. After
all, it has been literally decades in the making.
An ElEgAnt Script Font
courtESy oF DigitAl tEchnology
Open up your glyphs palette to find unique characters like
these in Zapfino.
MARKETINGADVISOR
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We can illustrate the power of
psychographics by using data
reported in a recent article
from Media Post. The report describes
key differences in life attitudes between
younger and older generations.
According to the research, older adults
are less likely to report concerns about such
things as age-related medical and financial
challenges as younger adults. At the same
time, older adults report experiencing fewer
of the benefits of aging that younger adults
expect to enjoy some day, such as spending
more time with family or having more
leisure time. They also tend to be positive
about their lives, with the plurality (45%)
believing that life has turned out “better
than expected.”
Psychographics are a powerful
way to add another layer of
relevance to any demographic
or other targeting you might
already be doing. Top this off
with name or other person-
alization, and you will speak
even more powerfully—and
effectively—to each person in
your database.
Media Post Research Brief, “Generation Gap in Expectations and Morality,” July 8, 2009.
Want better results from your direct mail campaigns?
Try adding psychographics.
What are psychographics? Just as
demographics describe what your
customers look like (age, gender,
ethnicity, income), psychographics
describe how your customers think and
behave. This gives you another way
to segment or personalize your direct
mail to make it more relevant.
Try psychographics
............................ Want Better Results?
How could you use such information to tweak your message?
If you sell insurance, for example,
the natural inclination might be
to assume older adults are more
concerned about their ability to pay
for medical care or maintain financial
security when, in fact, you might have
better success by focusing on giving
them the financial flexibility to travel or
re-engineer careers later in life.
If you are a financial planning
firm, you might target younger
adults with the message “plan for
the future,” while targeting older
adults (especially those in higher
income brackets) with the message,
“you’ve done a great job planning your
life so far, let us help you continue to
make great decisions!”
Of course, there will be variation within
every demographic group, and there are
nearly infinite attitudes, preferences and
behaviors from which you can choose.
How do you know which psychographic
characteristics to use?
This is where testing comes in.
Break your lists into multiple segments,
or use control groups to test one
message against the other. Test multiple
messages to emphasize different
psychographic characteristics. See which
aspects are the most likely to gain the
biggest response from your list, in your
marketplace, with your product. Test
and refine your results over time.
According to the research, older adults are less likely to report concerns about such things as age-related medical and financial challenges as younger adults.