|
|
 |
by Jodi Rudick, M.A.S.
There are two distinct sides of marketing — the
analytical, number-crunching, research side and
the creative, artistic, emotional side. Admittedly,
I come from the creative side of marketing. I
love telling stories with pictures, words, and
color and making people squirm or laugh and stop
in their tracks . . . . I'm impressed by
ads — whether in print or transmitted via
Web, radio, TV, or lately, on my mobile phone — that
challenge and motivate me to take action. Sure,
the left, logical side of the marketing brain
is important. But all the studies, research,
and analysis in the world will never make up
for marketing that is uninspired, dull, or downright
boring.
Marketing is not a science as much as
it is an art — the art of persuasion. And
just like all forms of art, from painting and
photography, to ceramics and jewelry-making,
there are many different styles, elements, techniques,
and philosophies. While most artists hope their
art will inspire — the marketing designer,
must go beyond inspiration to motivate, engage,
and persuade action on the part of the beholder.
The first step of all marketing media is to
get noticed. According to Ed O'Keefe, owner
of Professional Advertising, a creative marketing
firm located in Arlington, Virginia, "Eighty
five percent of ads don't get looked at,
no matter how much they cost to produce."
After
all, if no one notices your camp's ad,
brochure, Web site, DVD, booth, e-mail, or even
business card — it's impossible for
your message to be seen or heard.
While the research
varies, it's estimated that the average
American is bombarded with hundreds or even thousands
of marketing messages each and every day. So,
what can you do to break through this clutter
in such a way that, especially, prospective customers
will give you the precious gift of time and attention?
Be different and willing to try new things.
Don't
settle for templates or cookie-cutter marketing
solutions. Challenge yourself to stretch beyond
the ordinary, taking advantage of the basic,
and not so basic, elements of design. Experiment
with color and formats to cause your audience
to stop in their tracks and say, "What's
this? Tell me more."
Graphic artists rely
on certain design elements to create their marketing
art. Whether you design your own marketing pieces
for your camp, or enlist professional help, challenge
yourself and your team to explore the various
elements of design to create marketing that will
get noticed and stand apart from your competition.
Basic Elements of Design
In order to better understand
and communicate with graphic artists, familiarize
yourself with these basic Elements of Design.
Encourage your designers to use these elements
to create traditional and digital marketing materials
that will POP!
Color
Color is one of the most
powerful of all design forces. By understanding
how your customers interpret color you can harness
its strength to create more motivating marketing.
Color can stop people in their tracks — literally.
It can draw attention, lead the eye, and add emphasis.
It can be used to show continuation and relatedness,
or it can differentiate. Color generates emotions,
connections, and associations.
Before letters,
numbers, and even shapes, humans are able to
identify color and its relationship to the world.
Young children, even babies, react to color as
a powerful communication tool. When marketing
to preschool children, always stress color in
your advertising design.
Keep in mind that some
cultures interpret colors differently than others.
If you are marketing to an international audience,
check with your target to ensure that your choice
of color is not offensive or sending the wrong
signals. For example, yellow in the United States
is a great attention grabber and signifies warmth,
happiness, and sunshine. In France, however,
yellow means jealousy. The Chinese view yellow
as a sacred color, and the Greeks associate yellow
with sadness.
Value
Value describes the lightness or darkness
of a color. Again, if the idea is to stand out
from the crowd, you may want to use gray tones
or even black-and-white images to draw attention
to your marketing message. For example a black-and-white
exterior can morph into a colorful interior communicating
the difference between a dull summer (without
camp) and an amazing summer (at camp). Black
and white can also represent nostalgia, history,
and tradition — a message important to
alumni, donors, and parents looking for longevity.
Line
A line can be literal or visual and connects
two thoughts, objects, points, or images. Think
about using lines to connect before and after
images, timelines, or dates.
Shape
Shapes are
two dimensional taking into account height and
width only. Especially in print, shape can be
used to separate your message from the rest of
the "flat pack." Use unusual shapes
to get attention and add symbolism. A circular
brochure or slide guide symbolizes your well-rounded
activities; a diamond-shape brochure connotes
your efforts toward perfection. When working
with promotional items such as magnets, keychains,
mouse pads, and luggage tags don't be a "square." Most
of these items can be custom-shaped to reflect
your theme, mascot, or message.
Form
Form is
three dimensional and encompasses height, width,
and depth. Form can be tangible and add volume,
mass, and permanence to your promotion. Promotional
products, ranging from T-shirts and travel mugs
to backpacks and ball caps, combine form and
function within your marketing message. In direct
mail, for example, adding thickness or dimensions,
might increase postage a bit, but will dramatically
increase the chances of getting your mail noticed,
opened, and read, which is the ultimate goal.
Texture
Texture describes the surface of an
object. Artists use images and photography to
give an idea of how it would feel to the touch.
Use imagery to help your audience feel the warmth
of the bonfire or the refreshing splash of a
waterfall on a hot day. Or go beyond paper to
add real texture to your promotion, here are
a few examples:
- "Kids
Love to Rough It" printed on sand paper
or a nail file.
- "Where Kids Grow
Into Leaders" or "Kids Bloom at Summer
Camp" printed on a package of seeds or
seeded paper.
- "Summer Memories That
Will Stick for a Lifetime" on Post-it® Notes
Space
In advertising design, space describes
the distance between and around objects. White
space is a great way to add emphasis to ideas,
copy, or images.
Balance
Balance describes the
equality of objects in your ad. With symmetrical
balance, both sides of your ad are the same.
With asymmetrical balance, each side is different
but equal. Radial balance means the ad is balanced
around a focal point.
Contrast
Contrast describes the degree of difference
between objects. It gets attention and adds excitement.
In print, reverse images are a great example
of contrast. Most print ads are black on white.
Create a headline that is white on black so that
it stands out from others. Especially in camp
directories, where you are bound to graphic limitations,
contrast is a great tool to stand apart from
the rest.
Proportion
Proportion describes how
the individual elements of your ad relate to
each other and to the entire piece. Consider
distorting illustrations or photos to emphasize
smiles or eyes. Rather than looking like all
the rest, use photos cropped in unusual ways
to emphasize excited faces or happy feet in action.
Pattern
A pattern is exactly what you think
it is, something repeated over and over again.
Use pattern throughout a brochure, Web site,
or newsletter to guide the reader. Patterns can
be graphic or text based.
Rhythm
Rhythm gives
your advertising design the feeling of movement
or action. The camp world should incorporate
rhythm as a key graphic element to promote the
benefits of interactive play and programming.
To create rhythm, designers place objects or
create patterns so that the eye follows a path.
This visual path is essential to your marketing
success. Ultimately you want the reader to end
up at your call for action (log on to your Web
site, enter a contest, call immediately, secure
a spot, register for an open house, mail a deposit).
If the reader's
eye stops at the wrong place in the ad, your
call for immediate action may be seen too soon,
or not at all.
Unity
Unity describes how the
whole advertisement or campaign works together
as a complete unit. Unity is critical to create
a consistent message that will be easily recognizable
by staff, parents, and campers. Carry a unified
message throughout all your marketing materials
from your Web site to your thank-you gifts.
Variety
Variety describes the complexity of a work. In
advertising, especially direct mail, a large
amount of variety keeps the reader engaged and
involved with the piece. The longer the reader
is engaged, the better the odds of delivering
your message. That's why some ads are rather
busy — they keep the reader involved.
Variety
can also refer to the types of media used to
promote your message. By combining a variety
of media from print and broadcast to promotional
items and good old fashioned follow-up phone
calls, you stand a greater chance of appealing
to all types of prospects.
Web Site Resources
for Graphic Design
www.aiga.org This is
the professional association for design,
and the place where design professionals
exchange ideas and information — a
great source for out-of-the-ordinary ideas.
www.myprofessionaladvertising.com Ed O’Keefe
offers 1056 advertising ideas, suggestions,
tips, and strategies in easy-to-digest articles.
www.guru.com Find freelancers from around
the world ready to tackle any project you
(or they) can imagine. Quotes are free and
projects get done in a snap. |
Originally published
in the 2008 November/December issue of Camping
Magazine.
|
