Whitbread D. The Design Manual (анг.яз.)

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List sponsors and include any other necessary infor-

mation—a map of where to ﬁnd the outlet or event, times

of opening and closing, ticket prices, and a phone number

to contact for further information. These can be quite small,

because you’ve gained people’s attention by now.

Postcards

There are a number of reasons that make the postcard or

mini-poster an attractive marketing and advertising form—

it’s personal, collectable, and cheap to produce and

distribute. It’s also easy to update and keep fashionable. An

organisation’s image won’t become stale if it is reinvented

regularly and with creativity.

People seem to respond well to postcards. They are

small enough to keep, as distinct from posters, which are

often too intrusive on our personal environments.

A sequence of mailings can be produced at the same

time for little extra cost if it is a series of postcards. Greater

interest can be added to the mailing sequence if there is a

teaser mailing, where the full intent becomes clear after a

few have been received. Postcards are great inclusions with

letter mailings, too. They become miniature full-colour

posters to retain even if the letter goes into the bin.

Some organisations are creating such a great series of

images that they can repackage them into a gift set,

enabling even greater marketing opportunities and cost-

recovery if sold.

There are two sides to this particular story. The front

is, of course, the main event—it is best to have a single

message and an arresting image. But the back is the

opportunity to enhance it, with details and credits, to

continue the visual message using graphic style that

supports the front and perhaps creating a dynamism

of its own.

There is a cute option here. You might make the stamp

area, which is often just deﬁned by a rectangle (25 ×

20 mm), an opportunity for a company logo or a new

graphic, illustration or copy-line. You can continue the

character of a hand-drawn graphic with hand-drawn lines

for the address instead of the ordinary ﬁne ruled ones or

just a blank area.

You may choose to have details about a product on the

left-hand side or leave it blank to encourage someone to use

the card, thereby communicating with two people, the

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DOING IT SMARTER

Sponsorship

Remember that when someone

donates to an organisation, it is

customary to give them recognition

or advertising in return, either by

mentioning them as a sponsor in all

materials or giving them a credit line

on the piece they are sponsoring. Ask

them for a bromide or digital file of

their logo so you can reproduce it

professionally.

Credit lines can read:

q X is proud to support Y

q Proudly sponsored by X

q Generously donated by X

q Y appreciates the support of X.

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sender and the receiver. If the information ﬁlls the back,

there will be only one receiver.

Sympathetic typography that reﬂects the typographic

treatment on the front keeps the card operating effectively.

There should be some level of front–back interaction—the

message can start on the front with the punchline or an

ironic twist on the back.

Flyers, information sheets and handbills

With ﬂyers and handbills, consider the distribution method.

Many are handed out to people at shopping centres or in

foyers at trade shows, conferences or theatres; many are

home-delivered as a letterbox drop; some are stuffed under

windscreen wipers in carparks, or pinned on work bulletin

boards and community noticeboards at shopping centres, or

inserted into magazines or newsletters.

Consider how they will be received. People feel frus-

tration and inconvenience with these particular forms of

communication, but they can deliver information appropri-

ately. Much of the print run is wasted, but assuming that is

known by the organisation, they can generate more value

from their outlay.

A simple idea is to print on both sides of the sheet, since

a two-sided ﬂyer increases the communication value of the

piece. How many times have you thrown out stuff from

your letterbox without opening it up to see what was

advertised inside the folded one-sided ﬂyer? Flyers and

handbills can be considered mini-posters—with the bonus

option of giving extra information on the back, such as

duplicates of advertisements that are running in magazines

or newspapers. Some magazines offer this as a service to

their advertisers anyway. When the reprint is received, the

local copy shop or printer can print extra information on

the back which might localise the ad for a particular region,

introduce local staff, or include a special deal or coupons.

Small-space press ads

These are time-consuming, little, and they usually have to

include War and Peace! Small-space ads are getting smaller,

too. With the rising cost of advertising space in newspapers,

magazines and the Yellow Pages, and the diminishing

marketing dollar, many organisations have reduced the

physical size of their advertising.

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DOING IT CHEAPER

Piggyback marketing

Two parties can creatively join forces

to jointly market each other. You can

see this when Disney releases a film

and McDonalds or KFC have the

movie tie-in merchandise available

in-store, thereby marketing the film

and the fast food for the same

advertising outlay.

At a suburban level, if there’s a

regular letterbox drop by a local store

or organisation, another organisation

could piggyback its message.

Sometimes one organisation might

give another a mention in their ad or

let them use the back of their flyer in

return for sharing the costs or a

sponsorship line.

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If competitors are booking long, skinny, one-column

ads, you should book a wide, squat, three-column ad. If all

the ads around yours are white with black type, be the one

that is black with white type.

People often buy or reserve space in a publication, write

the copy to ﬁll an A4 sheet and then give it to a designer or

typesetter and say, ‘Make it ﬁt!’ Ugh! There are a few

techniques that can minimise your grief if this is your task.

Delete all repeat references in the copy. Often the name of

the organisation, shop, product or company is repeated

several times. It is better to display the name once only, but

make it bigger—to encourage recognition of it or the logo.

Readers who skim the publication and are not interested

in your client’s reasons for advertising could still notice the

client’s logo—there is still a recognition advantage. Getting

that logo large in a small-space ad is difﬁcult, so don’t

repeat information unless there is good reason.

Consider the material carefully and give helpful

suggestions about what might be deleted and why—clients

will usually respond positively. Does the copy include a

postal and a street address when a phone number alone

would do? Would just a street address be sufﬁcient? ‘Woden

Plaza’ may be quite sufﬁcient, rather than ‘Shop 158,

Woden Plaza’. Other deletions could include unnecessary

punctuation—‘29 February 2004’ could become ‘29 Feb

2004’, saving quite a few letters. Dates can be expressed

numerically also, e.g. ‘29/02/04’ or ‘29/2/04’ (or 29.2.04)

but note that in the United States this would become

‘02/29/04’. By saving spaces you can save lines and

dramatically reduce the area devoted to copy.

In a small-space ad, you need to retain legibility. Both

printing and on-screen reproduction can result in a less

than perfect reproduction of your ad. Also remember that

you can ﬁt more lower-case letters than capitals in a line—

and lower case is easier to read anyway!

Sans serif typefaces that are slightly horizontally scaled

will reproduce best. They reduce well and are quite readable

at small sizes—even at 4 point! Look at the telephone book

and classiﬁed ad sections to see how well they can be set.

One tip here is to set the tracking looser for a small-space

ad. Small type will read better if it is tracked wider.

Avoid slab serifs like Rockwell which, although they

reproduce well enough, have serifs that take extra room on

the line so it will set wide. Serif types like Times Roman get

Advertising 113

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too ﬁne and spindly in small-space ads, causing the type to

break (where the ﬁne lines do not reproduce at all) or ﬁll in

(where the small white spaces within letters like a, g and e

can’t hold out against the tide of ink). Serif types also don’t

reverse well. When you use bold type, you increase the area

you need—so use it sparingly but effectively.

Include an image or some space even in a small ad, as a

picture or symbol can attract attention. This is a good

reason for reducing the area devoted to copy. Even if there

is no image, a little breathing space in an ad is a positive

thing. Try to discourage your client from ﬁlling it with more

product information.

Use a border, but don’t cramp the type. Leave some

breathing space between the type and the border, even in

the smallest ad.

READ MORE ABOUT IT

Cheryl Dangel Cullen, Small graphics: Design innovation for limited spaces,

Rockport Publishers, Gloucester, Mass., 2000, ISBN 1 56496 693 3.

Classified ads

Establishing a corporate presence in the classiﬁed pages can

attract people to ads with very little effort on their part, as

they will want to ﬁnd what the organisation is offering,

such as a job, tenders, public notices, or items for sale. An

organisation does not want to pay an exorbitant amount of

money for this identiﬁcation, so it must not take up much

room in the area of the ad. The options come down to:

r borders

r banners

r attitude.

An effective way to stand out in the classiﬁeds is with

large type, because everything is small, or space (but this is

expensive blank area and likely to be difﬁcult to justify,

particularly to a committee who will see it as wasteful). Bold

or reversed type also stands out in that sea of grey. Unusual

angles and curves in a border stand out because so many

people use every square millimetre in their allocated or

purchased ad area. Handwriting always provides a notice-

able contrast.

Magazine and display ads

Magazine advertising can be very seductive with its colour,

comfortable size, or full-page bleeds. Consequently, text-

heavy advertising can be very successful in this format.

114 Projects

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If advertising is read like the articles, that’s okay, and is

probably preferable. This is where ads in lifestyle maga-

zines feature products with recipes in the ad. Advertisers

can even create the effect of a feature article by buying a

set of pages.

In magazines, there are options of one-column, half-

page and full-page ads, double-page spreads, and multipage

advertising features. In newspapers, column widths are

bought by the centimetre, and half pages, full pages and

double-page spreads. In both magazines and newspapers

a premium is paid for guaranteed placement, which most

agree is worth it if it guarantees a right-hand page or a

speciﬁc section or, in magazines, the back cover and inside

front and back covers.

The back cover of a magazine can be expensive. A very

cute trick that some advertisers have used well is to buy the

back cover, the inside back cover and the last page. They’ve

turned the magazine upside-down and effectively created

their own magazine. Busy newsagents will sometimes even

put it out separately on the shelf. When you open it, their

advertising continues on the inside spread and then the

whole magazine goes upside-down. Magazines will

sometimes use that technique themselves for a special

feature or supplement.

The price for magazine advertising is usually justiﬁed on

readership statistics (who buys, who reads, in what

localities, and what percentage of the marketplace they

deliver), the amount of time a magazine is kept and the

number of people likely to see each copy. In doctor’s

surgeries and waiting rooms, on coffee tables at home and

in aeroplanes, a magazine ad has a greater ‘reach’ than, say,

a newspaper ad. Newspapers are immediate, but thrown

away at the end of each day. Magazines are often kept until

the next issue arrives and sometimes they are used much

longer or collected.

Coupons or competitions in an ad generate leads

(pronounced ‘leeds’) that enable an organisation to gauge

the effectiveness of the ad and give a database so they can

direct-market to likely prospects. Ads that feature a full-page

or double-spread image and are text-sparse can be a great

rest place in busy magazines and newspapers. Type doesn’t

need to be large in magazines, so a single line of well-

chosen text below can hold the attention after the attraction

of the graphic.

Advertising 115

Tom Patty, in Design for Response by

Leslie Sherr and David Katz, says that

in order to figure out the means of

persuasion in each particular case,

one must:

1 understand the elements of

persuasion (including the

physiology of persuasion)

2 determine the purchase process

for the given product or service

3 determine the persuasion task

for each stage in the purchase

process

4 determine the credibility of the

brand or speaker

5 determine the personality of the

brand or speaker

6 develop a fully integrated

persuasion plan.

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Some advertisers have created some interesting sets of

ads by buying the same space on two or more consecutive

right-hand pages. This allows them to ask a question on the

ﬁrst page and answer it on the second.