MAKING IT PERSONAL: structuring your marketing message for your audience

ANALYSIS & SYNTHESIS
All of us in business spend a lot of time analyzing. Whether it is determining budgets, tracking market trends, or reviewing earnings and expenses—analysis is a fundamental part of business.

But there is another less regarded aspect of human reason that becomes equally important when we turn to marketing our business. It is called synthesis, and it is the exact opposite process from analysis. Instead of breaking down the complex into individual parts so we can examine them, synthesis combines assorted parts into a new integral whole. Synthesis gives meaning to data.

This process is used whenever we communicate—reinterpreting the complex through simple representation. Like a map represents a city by excluding unnecessary information, so good communication is more effective when one knows what to say and what to leave out. The ability to summarize the complex often takes a creative approach.

OUR CURRENT BIAS
Since the 17th century, many fields have tried to mimic the ability of Newtonian science to predict results. In their book The Soul of Science, Nancy R. Pearcey and Charles B. Thaxton write:
“The ‘Newtonian’ worldview eventually became the paradigm for all human knowledge. Practitioners of political theory, ethics, psychology and theology sought to restructure their disciplines in accord with mathematical physics in order to render them truly ‘scientific’.”1
The authors could have included those in marketing.

Many agencies nowadays have taken to explaining what they do as being solely based upon the analytical process. The unfortunate consequence of mimicking a science based on cause and effect, however, is that it tends to overlook the very things which makes us human. Not only will this dehumanize one’s view of one’s audience but it will cause one to promise and expect predictability in their results. Communication is part of a relational dynamic and, therefore, must seek to instill trust and confidence in others, not just get others to do what one wants.

Considering that we all have inherited this tendency to mimic Newton, it could benefit you to take a moment to evaluate your organization’s recent attempts to communicate to its audience. Is there a need to “re-humanize” the message? Instead of focusing solely on analysis — describing the details of what your business does — see if you can also incorporate synthesis by creating a coherent and appealing message for the people you are trying to reach.

IMPROVING YOUR COMMUNICATION
Just like courting, marketing is fundamentally a relationship between persons. Here are some suggestions to put the romance back in your marketing.

1. Know your audience
If you don’t know the demographics of your audience then you need to find out. Outside help can assist you in getting fresh insights into your company and your audience. These companies may seem expensive (from $3,000 to $30,0000 or more) but they can do what those within the organization may not have time or ability to do, which includes conducting internal and client interviews, making assessment of the competitive market, and formulating objectives for branding and marketing. Whether you use outside help or do it yourself, the bottom line is that you need to find out how you are perceived.

2. Speak to their need
Once you have a clear idea about your audience begin to prioritize what information about your company is important to them. Try to customize your marketing strategy and your message to speak to your audience’s values, desires and needs.

3. Make clear your intentions
If your company has been communicating the wrong thing to the wrong people you need to retarget your marketing message. These changes shouldn’t be done in secret. It requires a rebranding of yourself. Get as much attention from the target audience as you can.

4. Speak the same language
Your primary audience doesn’t necessarily speak the slang and understands the acronyms of your field, but even if they do your language should do more than present concise information for comparison. People bring to their work all the normal human emotions of passion, fear, humor and frustration. Speak to win their trust.

5. Put yourself in your clients’ shoes
Imagine your audience as busy and as time-conscious as you are. Think of things you appreciate when someone gives you something to read. We all like things to be concise, direct, and informative but also with the aesthetic qualities which make it engaging, stimulating, or humorous.

6. Simplify your message
Sometimes the information you need to present can be greatly simplified by using visual or verbal pictures. Verbal pictures include metaphors, stories and testimonials. Visual picture includes your mark or logo (the symbolic representation of who you are) and also pictures and graphs to represent important data.

7. Get professional help
Creative professionals can give your brand a more personable feel. Copy writers and graphic designers use creativity not just for aesthetic appeal but to “package” your message in a way that can get attention and be easier to understand.

At Design Corps we are all about synthesizing information to make it understandable to your audience. Our motto is “turning information into communication”. We enjoy helping our clients represent their complex organizations in simple effective ways that the audience can quickly comprehend. We also work with several strategic partners that offer detailed analysis of businesses and their markets. Contact us for more information.

1 Nancy R. Pearcey and Charles B. Thaxton, The Soul of Science, (Crossway Books, Wheaton, IL, 1994), pp. 93-94

BOOK COVERS: STRATEGIC MARKETING WITH LITERARY DEPTH

A book cover is a complex design project—part packaging, part advertising, and of course part product. It is required to provide product positioning, sales information, and aesthetic quality. Despite this demanding criteria, or perhaps because of it, we find book covers appealing as a creative platform for innovative work that is both artistic in aesthetics and strategic in marketing.

Design Corps was recently asked to design a dust jacket cover for the hardcover book Living Beyond the Sanctuary published by FaithWalk Publishing and written by Glenn McDonald. The book challenges Christians to get out of their comfortable churches in order to be "salt & light", bringing the Good News to a fallen world. There have been many books on this theme (see below).
And this title lent itself to some straightforward interpretations. But we wanted to have the cover work on several deeper levels:
• stylistically sophisticated,
• intellectually intriguing,
• aesthetically appealing, and
• philosophically revealing.

Design Corps first submitted three concepts to establish the direction that the publisher wanted to go with the cover, two of which were straightforward representations of the books title or content, and one which was an interpretaion of its principles and meaning. At first the publisher leaned toward the straightforward representation, but over time after much back and forth between the publisher and the author they each concluded that they were drawn as well to the more sophisticated interpretation. Therefore, just as the actual art was created through layering of multiple layers of photographs and effects, so the selected design incorporated strengths in conveying meaning on multiple levels:

Style:
The audience was defined as Christians in the Emerging Church movement, which basically means they eschew the trappings of tradition (in the form, ritual, and established dress of church) in order to engage a post-modern culture in it’s own terms. Therefore style of layout, type, etc. was intentionally post-modern and “anti-traditional”.

Content:
The title did not need to be repeated in an image of a sanctuary. Instead we wanted to accentuate the meaning by showing a man walking through puddles on a rainy day to convey that the “real world” is not all nice and comfortable. We also included along with the puddles images of people in the background, the very impetus for getting “beyond the sanctuary”.

Aesthetics:
The strong blue color and the intriguing angle made for a powerful shelf presence for the cover. But the image was given a lot of attention to give it an appealing texture so that the closer you get the more you see that every part is rich in a texture of ripples or rain. Four photos were merged to come up with the final photo. as well as several digital effects to add the texture.

Deeper Meaning:
The richest aspects of multi-layering are not in the aesthetic qualities but in the latent meaning sometimes only discovered as one comes to understand the message of the book. There are several aspects of the cover design that are intentional yet subtle.

• first, as mentioned above, the rainy atmosphere is a visual affirmation that life is not about comfort and seclusion but about our interactions with others

• second, the main figure is not the focus. Rather, his steps out into the world.

• third, what we do see of the main figure is in the poor reflection of the puddle, upside down and degraded by raindrops. This portrays a Christian theme of loss of self and of self-focus. John the Baptist said, “I must become less, He (Christ) must become more.” This is at the heart of McDonald’s message.

• fourth, unlike the reflection of the main figure, the figures in the background are seeming to come forward from obscurity to clarity. This illustrates the books emphasis of having a focus for other persons and their welfare.

The final result was a book cover that combines meaning, texture, strategy and color. So much thought is put into the interior of a book, it should be assumed that the cover would have equal depth in an appropriate manner so as to reflect the intent, meaning and message of the writing while still having strategic marketing value.

A Good Identity Starts with a Strong Self-Awareness

Good communication starts with knowing what one wants to say. In marketing that means that design is most effective when the organization has clearly identified its corporate characteristics, strengths, and positioning.
Such was the case with a midwest collection agency that had long-lasting experience and success which set it apart, and needed to tell others about it. Design Corps was hired to develop a brand identity system for the collections organization and its sister company which went after debtors who had not yet been brought to court. Through our interaction we came up with a plan that would emphasize strength and tenacity (essentials for any collections agency) but also justice of cause, superior skill, and a longevity which was uncommon in this field. Using visual references to heraldic symbols of the Griffin and the Dragon, the logos were made to work together and also to identify the separate character and purposes of each company.
The parent company only went after debtors who had already been told by the court to pay. For this the Griffin was used because the Griffin was seen as having nobility of purpose, superior strength and tenacity, and also having authority.
The other company chased debtors, even those who had left the state. For this the Dragon was more appropriate. In mythology the dragon was seen as being something that you did not want to tangle with, but also as being swift and crafty, able to pursue.
After the logo marks were developed we also created stationery that was intentionally reserved, showing a sparse conservativeness that would reflect both the seriousness and strength of the company in a visual language that would be at home with companies that dealt with money, law or government. We also gave it a look that would harken back to a past era to reflect the companies established history and longevity.
And finally, we created a simple brochure that recounted the major advantages of the company while conveying the same character and strengths begun in the brand identity program and the stationery. To do this we incorporated graphics and styles used in nineteenth century publications.

Web Publishing—Part 2: Stepping Through the Process

In Part 1 of this article we pointed out the equivalent status of the Printer and the Web Programmer (Developer)—both production functions in the world of publishing. In this second part we will describe the project phases and job functions of producing a website, and we will show you how Design Corps can fit into this process. You’ll soon have an adequate understanding of how websites can be created with the right people and services. If you are an experienced buyer of design services for print you will clearly see the similarities in the processes. Having a good understanding will remove much of the mystery of website development.

Background
Most printing technologies have been around in their basic form for centuries, some since the 1400s when Gutenberg invented a printing press that utilized “movable type”. The process has grown in speed and complexity but the principle is the same. Today, putting ink to paper (and a myriad of other “substrates”) is something we all take for granted. The common consumer does not have a clue as to the steps involved in producing that slick brochure they pick up at the auto dealer or the label on a can of beans.

So, if this article is about the process of web or Internet publishing, why are we talking about brochures and can labels? Simple. With a closer look you’ll find the two processes are almost identical. When you’re finished reading you might conclude that you already knew the basic concepts of the web publishing processes, but didn't realize it.

The Process in 4 Phases
The whole process, from start to finish, is embodied in four simple phases: Concept, Planning, Content Development & Design, Production. This basic four-phase process is nearly identical for both print and web publishing. The only real difference is in the final Production Phase. In any publishing project the culminating work of the first three phases will either be production by printing (i.e. ink to paper), or by programming (program code to web browser).

All of the necessary functions in the process can be performed by one person or many people, depending on the size, complexity, budget and schedule of any site.

Phase I: Concept Development
Every publishing project begins with a communication objective in mind. Therefore, the real task of concept development is to identify the objective and, through research, hone a core message for a specific audience, brainstorm methods of propagating that message, and finally compose plans and “creative briefs” for reaching the objectives.

Research will include examination of a myriad of materials and data pertaining to such things as audience demographics, the competition, client expectations, history, strategies, and goals.

Through elimination of peripheral or secondary messages, focus on a core message is sharpened. With sharpened focus brainstorming will produce viable concepts for communicating and also help to identify vehicles for conveying the message.

It may be decided, in the culmination of this conceptualizing process, that a variety of devices could be employed, such as printed items and various media options. Perhaps a website will be in the mix, or even the sole means of meeting the objective.

Phase II: Planning
The Planning Phase of a website can be a joint effort between the client and a project management function. A web project might be managed by an individual in a small company, an outside consultant/agency, or an in-house creative services department. In any case somebody has to plan the structure and function of a site and each component part. (Note: This would be the same function in the development of a printed publication.) Sometimes the person who plans site structure and functionality is referred to as a “web architect”.

Design Corps is available to help in this phase of the project. Playing the role of web architect we can help the customer think through such details as how many pages a site will consist of, what kind of content (imagery and text) will occupy those pages, what kinds of interactive functionality will exist on the pages (forms, menus, animations, etc.), how pages will link to and interact with other pages within the site and external sites.

Ultimately, the architecture of the site is visually diagrammed. This “map”, as we call it, will be vital in the remaining two phases of a project. It will provide the players—designer, content provider, and programmer—the tools they need to estimate their costs and time frames. Evaluation of the plan as it formulates, enables timely adjustments, before a final map is drawn up, to accommodate such concerns as budget and schedule.

Aside from certain functionalities unique to web interfaces you will note the same or a similar kind of structural planning must occur even for a printed publication. Therefore, the phases we have described thus far are not foreign to experienced buyers of design and printing.

Phase 3: Content Development & Design
Equipped with the final plan and creative brief from Phase 1 and the structural map from Phase 2, the designer goes to work creating the look of the site and the content provider begins to assemble such items as copy and data. The content provider may be supplied through client in-house resources (to keep cost down and possibly expedite the process), or may be contracted on the outside. Sometimes a copy writer or editor is the perfect type of person to fill the role.

Budgets will determine how many “variations on a theme” the client will see in preliminary stages of design and content development. The designer will identify and quantify content needs. Both, designer and content provider, will join talents to rough out the overall look and content of the site. In the process we take into consideration all communication objectives as defined in Phase 1 along with existing branding standards and design precedents utilized in other communications published by the client.

Subsequent to preliminary presentations we transition into development and honing of the favored visual concept and content. Pages are presented as prototypes on the web. The prototypes can be considered “rough cuts” which may have little to no interactive functionality, but which can be evaluated from the standpoints of aesthetics and their ability to meet communication objectives. After a series of presentations and refinement cycles, design and content are finalized and approved for production in Phase 4.

Phase 4: Programming
The start of this final phase is initiated in much the same way the print production phase is begun. The designer delivers “art” (production files) to the production function. For printed pieces this production function would be a printer, but in the case of websites the production people are programmers and the production files are prepared according to slightly different specifications. For example, print production files are prepared at higher resolutions in a different “color space” and in different formats than files prepared for the web.

Once the programmer has the art files, the site diagram (map), and has been briefed on functionality and interactivity requirements, they are ready to begin their technical work.

The programming phase is marked by cycles of programming, testing, and reviews. In the process the designer and client work with the programmer to resolve technical issues that inevitably arise. After extensive testing of the site in various browsers on a variety of user platforms and validations of the programming code, the site is ready to launch. (The terms “deploy” or “go live” are also used).

The more complex the functionality of a site the higher the level of programming expertise is required. Of course, Design Corps has access to programming talent that can handle the most complex of technical development issues.

Design Corps is Ready and Able
Website development can be relatively simple or highly complex. But as you can see, all of the functions you are familiar with in the world of the printed word are present in web design and development to one degree or another. Because of that you may now realize you had a better understanding of the process than you might have thought.

In any case, we are here to answer questions you might have about any project you have on the horizon. Please feel free to write us directly at info@designcorps.us, or leave comments at the end of this post.

Copyright 2007 © Design Corps, (630)761-9650