Don’t dismiss postcards as low-end, low-value promotions for companies that can’t afford anything else. Postcards can certainly be used to attract high-value buyers, promote sales and offer coupons, even change the narrative surrounding your brand.
In this one-hour webinar, you’ll learn about:
Design postcards with an edge.
Understanding postcard design building blocks
Incorporating content elements (including photo-personalization) into your design
Designing postcards to support your business goals
Exploring creative substrates
And using metrics to improve your design solutions
When Julia and I first began discussing this topic, we were determined to take an illustration vs. photography approach. But the more research I did, the less I wanted to talk about photography. It’s not a competition, really, but rather a matter of making a choice based on which form will best accomplish your marketing objectives.
The Illustration Edge
According to the AIGA, the professional association for design, here’s what illustration can do for you: “Illustration can provide a unique sensibility to certain projects. Illustration brings spontaneity, freshness and a unique point of view to the design of content. It helps to communicate both simple and complex messages while enhancing a design through the unique vision and skill of the selected illustrator.”
“A Rationale for the Use of Illustration” published by Creativebusiness.com, offers further insight by noting that the new way of communicating in an age of tech-driven sameness is often the least technical and most unusual. Illustration cuts through today’s visual clutter to get ideas and products noticed. Illustration can:
Provide the best solution to a problem. There often is no better way to capture and manipulate emotion, atmosphere, flavor and mood to validate an idea or maximize a product’s allure.
Offer more flexibility. Reality has distinct limitations, but illustration can give personality and form to intangible ideas and concepts for which there are no practical photographic solutions. Think about:
Presenting products not yet built
Bringing back people and events long past
Revealing hidden sections
Communicating products that are in the works
Adding, moving or eliminating surroundings
Reduce costs. Not only are there a growing number of stock illustration sites, but also keep in mind that virtually 100 percent of the costs of a commissioned illustration go directly into the creativity. There aren’t always travel costs, elaborate sets and other costs often incurred with a custom photo shoot.
If you’re considering stock—or just want to get inspired by the great illustrative styles that are out there—check out these sites:
When working directly with illustrators, we recommend creating a standard form that outlines your licensing requirements. For example, having a contract that says, “We pay $X for Y license for Z time or Q medium,” makes it really easy to accept because the illustrator knows how much, for what, for how long and where.
Illustration Meets Technology
Keep in mind that illustrators haven’t been lost in a time warp. In fact, many illustrators use Adobe Illustrator, Photoshop and other programs to create artwork that may include photography and other graphic elements. Ben Heine, a Brussels-based artist, combines photography and illustration to generate interesting images and new spaces that are comic, fun and a surreal. A new visual concept invented by Heine in 2010, the “Pencil vs. Camera” series encourages an expanded view of an otherwise normal subject. This technique has many possibilities for use in advertising, packaging and graphic communications.
Technology can also be used to animate illustrations in order to tell a story or convey an idea. Animated GIFs are a way to add animation to email campaigns (with caveats for newer versions of Outlook*) and Flash banners can be used in many magazine websites.**
This banner ad for Prinova is a perfect example of using illustration to creatively communicate how customers can use Prinova’s ingredients in their food manufacturing solutions. Photography also would not have worked as well to introduce the new company tagline. If you’re reading this from a smart phone, the backup JPG is displayed.
Remember that Original Artwork Belongs to the Illustrator
AIGA points out that an artist’s copyright is owned by the artist and is protected by the 1976 Copyright Act from the moment it is created. This protection covers the work for the artist’s lifetime plus 70 years. If agreed to in writing, the copyright may be assigned elsewhere, usually for an additional fee.
But original artwork is provided only temporarily to licensees for reproduction. Even the purchase of “exclusive rights” represents rights to reproduce the artwork only. The original illustration remains the property of the illustrator unless it is purchased explicitly and separately from the rights.
Original artwork also cannot be changed without the creator’s approval. Changes to an illustrator’s work must be made by the illustrator, unless you secure permission from the illustrator first. Many people are simply not aware of this law and unintentionally violate it. Please take the time to learn the rules of the road.
Call an Illustrator Today
There you have it—lots of reasons to incorporate more illustration into your communications. So get moving. Or do I have to draw you a picture?
By Larry Bauer
*Outlook 2007/2010/2013 and Windows Mobile 7 will display the first frame of an animated GIF so keep that in mind when building animations for email use. Most other email apps will indeed take advantage of the full animation.
**While Flash is often an accepted format for website advertising, always provide a backup JPG in the event that users are viewing the website without Flash, such as via iPhones or iPads.
Original and distinct communication materials with the right illustrations can help boost your product or service in a crowded marketplace. These do’s and don’ts will help you get the most return on your investment.
Obtain exclusive rights for any illustration representing your brand.
Experiment with different types of illustrations to find out which types work best for your brand.
Use manual illustration to add a classic charm to your materials.
Use digital illustration to combine media, programs and techniques for very unique artwork.
Create a licensing agreement form to expedite direct transactions with illustrators.
Have a clear idea of what you want an illustration to convey or express.
Work with the illustrator to create a specific set of art review and approval stages.
Specify what individuals need to be part of the art review and approval process.
Educate yourself about copyright ownership vs. licensing agreements. US Federal law applies copyright ownership to the artist while you are free to negotiate licensed usage agreements for the copyrighted illustration.
Trust your artist to be the artist. If the illustration conveys your message, let the artist decide the details of the artwork.
Dismiss illustration because you think it’s too expensive—it’s often not.
Treat typography as an afterthought in the overall design—awful type can ruin great artwork.
Alter any illustration without getting the creator’s permission.
Think that illustration is a low-tech medium of a bygone era.
Try to illustrate materials yourself if you’re not a professional artist.
Reject the use of a certain color just because it isn’t one of your favorites.
Edit the life out of the illustration. Nitpicking the position of a character’s thumb or the shape of a chair corner (yes, people do it) won’t likely improve the artwork.
Forget that hand-drawn style illustrations can be a unique way to add character to digital deliverables like video, banner ads, and websites. Just because the deliverable is digital doesn’t mean the illustration has to look like it.
Ignore the nature of your brand personality. Illustration style, like photography, should support your brand, not fight with it.
We created a campaign to help marketers think more broadly about reaching prospects. In the age of social media, many forget that integration of multiple channels wields more sticking power than a more narrow focus.
Promotional campaign for Ripon Printers: print and digital ads, direct mail, white paper
Missed Getting Your Copy of The Little Book of Marketing Do’s & Don’ts? Not to worry. We’ve made digital versions of all three volumes available via SlideShare. The Little Book of Marketing Do’s & Don’ts is a collection of the most viewed “Do’s & Don’ts” published by our MondoBeat newsletter including:
Your catalog cover demands more time and resources than any other page for one simple reason: consumers judge your catalog by its cover. That’s your big opportunity to build excitement and expectations for what’s inside.
In this webinar, you’ll learn about:
Maximizing use of both front AND back covers
Building the brand experience with your cover
Making photography vs. illustration decisions for covers
Applying special marketing techniques like personalization and QR codes
And utilizing a list of do’s and don’ts for cover text
Note: Our ongoing series of design tips will assist you in creating marketing collateral by improving comprehension, speed of reading and increase belief in your value whether you’re selling products or services to consumers or businesses.
Using good design to ensure you look professional is akin to using darts and tucks on a suit jacket for a good fit around your content. You wouldn’t show up to an important meeting with rags hanging from your shoulders. Likewise, make sure any materials that represent you are also an extension of that same level of quality.
Tip 1: Using single word spaces between sentences.
In the words of Robert Bringhurst, The Elements of Typographic Style, 1992:
In the nineteenth century, which was a dark and inflationary age in typography and type design, many compositors were encouraged to stuff extra space between sentences. Generations of twentieth-century typists were then taught to do the same, by hitting the spacebar twice after every period. Your typing as well as your typesetting will benefit from unlearning this quaint Victorian habit. As a general rule, no more than a single space is required after a period, a colon or any other mark of punctuation. Larger spaces (e.g., en spaces) are themselves punctuation.”
“The rule is usually altered, however, when setting classical Latin or Greek, romanized Sankrit, phonetics or other kinds of text in which sentences begin with lowercase letters. In the absence of a capital, a full en space (M/2) between sentences will generally be welcome.”