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While the President-elect Barack Obama readies an economic stimulus plan to revive our failed economy, franchises can turn the current recession into positive and successful sales and marketing opportunities. There are a myriad of ways to help you ride the storm, one of them is to revise your marketing strategy.

John Quelch, a professor at Harvard Business School and known worldwide for his expertise in global marketing, branding and communications, discusses this issue in the Harvard Business Review. His original blog was posted in February 2008 and outlines some excellent ways to address marketing revisions.

Quelch was one of ten marketing experts profiled in Conversations with Marketing Masters, (Laura Mazur and Louella Miles). He also co-authored Greater Good: How Good Marketing Makes for Better Democracy (Quelch and Katherine Jocz). Additionally is a non-executive director of WPP Group plc, the world’s second largest marketing services company, and of Pepsi Bottling Group. He served previously as a director of Reebok International.

Please read the full article at the HBR, John Quelch, Marketing KnowHow: How to Market in a Recession.

The ripples of our nation’s recession have gotten wider and more far-reaching, touching everyone. Effects from the subprime mortgage crisis have stretched consumer confidence and spending (on credit) to its limit, both of which have been keeping our economy afloat.

Your 2008 marketing strategies are probably already updated this late in the year. We’ve distilled Quelch’s eight factors here. Give yourself some flexibility and consider these principles for your 2009 plans.

1. Know your target customer.
The economy has left consumers with less diposable income and everyone is now more frugal and savvy at finding the good deal. We will spend more time searching for goods and services, drive a harder bargain at the counter, or will trade off: put off purchases until a better deal comes along, settle for less, or buy less. We weigh: want vs. need more heavily. Although brand loyalty is high and those brands can pull off a new product launch, think about limiting new product lines and new brands – they may not be so successful in this market.

2. Home sweet home.
It’s human nature to retreat to the hearth-and-home in stressful times. Rethink and gear your advertising images from action-packed, extreme, and fear factors toward warm-and-fuzzy family images. We spend less by staying in, but still want to be connected, therefore, we will still spend on things that make our homes more comfortable (furnishing and entertainment), as well as greeting cards, telephone and internet use.

3. Maintain marketing spending.
As competitors cut their advertising budget, companies increasing their advertising during a recession experience a high level of success. They improve their market share and lower their return-on-investment. As more consumers stay in, television watching increases and lowers the rate of cost-per-thousand impressions. If you need to reduce your marketing, maintain your frequency of exposure by shifting to shorter advertisements; incorporate radio and direct marketing, possibly giving you more immediate impact on new sales.

4. Keep product line essentials.
Companies need to re-evaluate their product lines and trim the weaker products. Consumers look for good values now more than ever and opt for multi-purpose over specialized products; private label/store brands over more expensive national brands; goods and services a la carte rather than bundled. If you’re launching a new product that puts pressure on competitors by addressing current consumer needs, focus your advertising on a high level of price performance rather than trying to extend your corporate image.

5. Support distributors.
Give your distributors added incentive to stock your full product line by offering early-buy allowances, financing and flexible return policies. Acquiring some strong distribution channels that have been let go by other company and phasing out your own weaker ones may also be good way to beef up your sales force. Beware of damaging the strength of your existing distributors and brand image by expanding into lower-priced channels.

6. Make the price right.
Consumers are hungry for the best deal in tough times. Sweepstakes, mail-in rebates and other promotions requiring a customer’s time and effort are not very attractive. Offer temporary price reductions, lower quantities for bulk discounts, extended credit (trusted customers) and better pricing for smaller pack sizes.

7. Protect your market share.
In this present economy, market share can be a matter of survival, not just a battle for a share. Before implementing cuts or consolidations, make sure you know your cost structure to avoid adversely impacting your customers. Strong national companies with productive cost structures have the best chance at a possible gain in market share. Smaller, but still profitable companies can also vie for a bigger share by acquiring weaker competitors.

8. Put people first.
Companies have had to implement different cost saving strategies, including letting employees go, closing facilities and the like. Executives need to maintain employee and customer morale and confidence by focusing on quality products and services and continuing to provide these to their clients. In a recession when concerns are redirected toward profit and loss, it’s easy to concentrate on balance sheets and managing company capital instead of managing relationships with people – internal and external.

Our ElementsLocal™ online solution provides franchise systems an unmatched ability to give franchise leaders BrandSecure™ online marketing tools. ElementsLocal puts the power of online marketing in your franchisees’ hands, while consistently driving your brand across all web properties.
For more information, call us at 805-547-1160 x205 or visit us at http://www.elementslocal.com/cm/Home.html.

These days typography has been redefined to what we all in the web world refer to as “fonts.” And “fonts” means everything from the family of fonts or type faces (Arial, Times New Roman, Verdana) to the font size (a “big” font or a “little” font or actual point sizes – did you know there are 72 points to an pica, 12 picas to an inch?), to the color (a “red” font).

Typography refers to the technique of laying out text on a page – arranging the type (font, point size, line length) and adjusting the space around it (letter spacing, kerning, leading). Typically, it’s easier to recognize these arrangements in printed works – pages of a book or magazine, to ads and posters, packaging and labels. Typesetters were really the “OG” html coders. Back when there were actual type houses, typesetters’ codes directed exactly where and how the type appeared using point and pica measures – and the codes were similar to html.

Web design has come a long way with typography and creating better options for designers to design with type. Most designers create with placement of photos, logos, color and often, flash or other types of movement on the web page. Website designs that are inspired by typography are few and far between.

Designers generally use “web-safe” fonts for the site content. This way the content is displayed in the correct font for the majority of computer systems and browsers. If the content is published in a font the user doesn’t have, browsers will automatically choose an alternative font, often defaulting to Arial or Times New Roman. The most widely recognized web fonts are Arial, Verdana, Trebuchet MS, (sans serif fonts); and Times New Roman, Courier and Georgia (serif fonts).

So how does all of this typography stuff affect your website and design? Good typography design is transparent, really. The content should be easy to read, easy on the eyes and easy to follow. The type shouldn’t distract or confuse the user or take away from the composition of the page.

Some typographical details to consider:

Yes, it Matters

If your users are able to see and read your content, you’ll get your message across so much better! So, mouse-size type doesn’t work for many users…even if you are uber-minimal and only have a few words to say. Consider 10 point being the smallest size you use, but 12 point may be a better point size overall for most readers. Not everyone has bionic vision… If you choose to use a smaller size, generally sans serif fonts are easier to read because of their simplicity.

Get Lost in It

White space, breathing space, negative space – let your users’ eyes rest, let your type speak and tell your message. A good designer is able to manipulate this space in the site to direct your user’s attention to the text and content. Consider the space between your lines of text as well…it’s called leading. Tighter leading makes for a denser paragraph structure and the ascenders and descenders of the letters can get tangled up in the lines above or below. While this may be a creative effect for a few lines or maybe a short paragraph, it would be hazardous for an entire body of text. The larger the leading size, the more breathable room between your lines of text and the deeper your area of content will be. The downside of too much leading is that your paragraph begins to look like rows of text rather than a paragraph. Further, you may be sacrificing web page real estate with larger leading. But, sometimes it’s the space between that counts.

Yes, it Still Matters

Giving your content headers, subheads, using different and varying sizes for text helps the user maneuver though the page. Mixing up the type faces/fonts (a sans serif header with a serif subhead or sans serif header with serif body copy) also gives the user cues about page content. Use these styles consistently throughout your site so your users recognize these items easily – it will help the skimmers, especially! A design that makes it easier to understand information generally keeps users on the site longer.

Color Me Easy to Read

Keep your content easy for the user to read, keeping colors in fonts to a minimum. Generally, stay away from light colors – hard for anyone to read. If your site is informational, people with poor eye sight will have difficulty with light type on a textured background – help get your message across by using a light or no background and darker text….black is good. Busy backgrounds are no help for readability at all…stay away!

If It’s Legible is it Readable?

Readability and legibility are not the same, but the terms are often used interchangeably. Readability refers to comprehensibility, content and language – how easily a written language is actually read and understood. Some factors that affect this are awkward grammar; use of esoteric words or colloquialisms; writing style – very long sentences or paragraphs are less readable than shorter ones.

Legibility addresses how easily text can be read – the size and appearance of type. So mouse type is not very legible nor is a long paragraph set in all caps (the logic being that lower case letters have more unique shapes thus forming recognizable words). Font design affects legibility and there’s the on-going debate between which is more legible: serif vs. sans serif fonts. Other typography factors that can affect text legibility:

• ~ Leading
• ~ Kerning – space between letters based on character pairs: for example, AV
• ~ Letter spacing – space between letters; tracking refers to increasing or decreasing space evenly regardless of the letters)
• ~ Word spacing
• ~ Colors – contrast in background and text
• ~ Text justification – left, right, center, justified
• ~ Roman vs. italics – Roman – “regular” upright text is supposedly more legible

More and more, text printed on paper will take a backseat to internet-based text…or at least text read on a computer. Writing will always exist, but the canvas it appears on will continue to shift to the digital world. Technology will advance standards further to allow us to design with and use more varied fonts (web) safely. And a wider variety of typographic elements opens up a different world of imaginative and creative design concepts. However, whatever the medium, standards of good typography design, legibility and readability will always apply.

Numerous research groups have conducted studies to determine how people read online (and print) content. Eye tracking research tests the theories and assumptions about this consumer behavior and can help us build a better website and guide better designs.

Although the test methodology may differ, researchers have collected and analyzed data regarding how different aspects of a web page are viewed (headlines, subhead/tag lines, ads, photos and other graphics); how people navigate a website; how long the readers stay with an article and how much of the content they read and content placement may affect any of this. Some research even tests reader retention.

Generally, eye trackers use fancy eye tracking equipment that records the users’ eye movements on a page. The results typically show red/orange/yellow spots where the reader’s eye stops or lingers; green/blue indicate areas that the reader finds less important or interesting, or, in some studies, the areas a reader does not even look at. Some tests also record where the reader clicks on their mouse and how far down the page the participant read or scrolled before bouncing away somewhere else.

Left, Right, Left

Reading in our Western culture flows top left corner to right and has a great influence in these studies. Not surprisingly, the upper left corner of the page (print or web) seems to be the overwhelming favorite gateway to websites. The upper left side of the page was strengthened when strong headlines and company logos (flags) were incorporated into the design of the page. Larger sized headlines obviously being more noticeable than smaller headlines.

Top, Right or Left

After starting in the top left corner of the web page, users’ eyes then moved left to right so logically, users focused on  main navigation bars or other navigational elements that were placed at the top of the page. In some studies, main nav elements in the right hand column got more attention than those in the left hand column. The argument for a right side secondary nav is that the scroll bars are usually on the right side of the browser window. By putting the navigational elements on the right side, you increase your users’ efficiency on your website.

The argument for a left hand secondary nav is that the users’ eye always traveled back to the left side of the page (Western reading), so using the left column for this navigation would seem appropriate. The majority of websites are designed with left hand navigation and users’ are comfortable finding it in this area – force of habit. Forcing a change in this habit could force your user to have to work to figure the page out and potentially spend less time on the important content, or leave the site altogether. A good compromise is to leave the secondary navigation  in the left column and include other calls-to-action items or links in the right column.

Pretty Picture or Catchy Headline?

There’s some controversy over whether people are more attracted to a photo or the web page’s headlines. After landing on a homepage, most users were attracted to content – catchy headlines – more than they were large photos. Content also guides the users’ actions on a site, so good content is critical. Users gravitated toward headlines and summaries leading into the main article as well. In most studies, they preferred content written in short paragraphs. Remember most online users scan for what they are looking for, rather than reading entire paragraphs of content.

However in some studies, users were attracted to larger and more eye-catching photos with good placement: mid-page and above the fold. Users do like content broken up with images (photos or graphics; photos were viewed more than graphics in general), whether larger or icon-sized. Since the text dictates the users actions more than images, compelling images will supplement your content well.

Ads and Folds

Ads placed in those same areas (left side of page, top of page) received a lot of attention, but that placement can cause a design challenge if you want to establish clear brand identity. Ad placement on a web page has more limits on the real estate, so it’s an extremely important exposure issue for advertisers. Users also looked at bigger ads over smaller ones and those placed near content they were interested in reading.

Content and ads placed “below the fold” or in the lower parts of the screen received some attention, but were often overlooked, especially if the user has to scroll too far down. There is some controversy over content placement in the lower right corner or lower parts of a web page, as those areas would be the logical end of the users’ eye movement. The decisions about where to place a call-to-action or an ad are: how far south on the page and above or below the fold. Best practice is usually above the fold.

F+

What we’re really looking at here is an ‘F’. The user enters your web page at the top left corner of the page (top left corner of the ‘F’) . Their eyes them move across the page to the right, comes back to the left side move down the page and then across the page to the right again….a loose ‘F’ pattern. Good web design will take advantage of this almost automatic reading behavior and place critical elements in the page’s strategic hot spots.

• ~ Place a captivating image or a dynamic headline in the top left area is great; combine the two and placing them together has even greater impact.
• ~ Use your left column for secondary navigation – it’s a natural fit for the spine of the ‘F’. And place other important navigational or calls-to-action on the right side of the page where the users’ eye naturally travel makes perfect sense.
• ~ Keep your most important content and eye-catching photographs above the fold helps grab users quickly.
• ~ Write in a way a scanner can rapidly absorb information on your home page to keep their interest. Include links or other strategies to lead users to sub pages where they can read articles in full or gather more information.

I can’t recall how many times I’ve sat in a discovery meeting with a client and it became clear that a design direction was very unclear. During those meetings, the client expressed they either didn’t have an existing website or their website wasn’t working for them for some reason or another. Yet there wasn’t an obvious “next step” solution (or even “first step”) in their mind — only that the client wanted to take a step toward a new site or an improved site. It is critical that an interactive agency provides that clarification and guides the client skillfully through this discovery process. Enter the Creative Brief.

The Creative Brief is a document addendum to the Project Brief (the other invaluable document outlining the entire scope of the new project) that clearly defines all design aspects of the project. Without it, a project can quickly become a mish-mash of random notes, lost communication and a game of they said/we said. None of this bodes well for a successful outcome!

I’ve recently revisited our own Discovery and Creative Brief protocols and revised them. I felt that even more details could be added and fleshed out in the discovery process. The more information we have from our clients at the beginning of the project, the better. But it’s not always obvious what questions to ask. A few topics we discuss with client that eventually make it into the Creative Brief include:

• ~ When someone visits your new website for the first time, what do you want their immediate reaction to be? What are words to describe that?
• ~ How would you characterize the personality and style of your new website?
• ~ What main colors would you use? What complementary colors?
• ~ What existing marketing materials do you have? Should the website emulate them?
• ~ What do your competitors websites look like? Do you like them? Why? or Why not?
• ~ What would your calls-to-action be? What is your primary message? What do you want your users to do?
• ~ What type of imagery will you be using? Photography, illustrations, etc? What flavor of imagery — people shots, kids; lifestyle, commercial; edgy styling, B/W, white space; certain ethnicities, professions, actions?
• ~ What type of navigation scheme do you want? Vertical, horizontal, graphic, text-based? Is there a sub-navigation?

When you get down to it, the website look and feel is much more than “I like this” or “I want it to look cool.” What’s cool needs a definition and needs to work in the scope of existing or new marketing goals, ease of use and navigation, industry best practices and a host of other considerations. A successful website project needs to be a well-defined and understood undertaking.

As a designer with years of experience under my belt, working with and integrating color schemes into both print and web pages has always been a bit of a challenge, and it’s not something I take lightly. Color plays such a vital role in anything designed — it sets the mood and tone of the work, targets market appeal, brand and market position and even implication of the work (which identical Mercedes Benz ‘looks’ more expensive — a black one or a green one? I’ll quote Wesley Snipes: “Always bet on black”).

Enter ColorSchemer Studio. I used to use color theory books galore, and still rely on my own sense and experience with color, but ColorSchemer Studio ($49.99) is now officially in my arsenal. It’s a powerful little app that isn’t overly complicated, and does the job very, very well. And that is — speeds up the process of color selection, down to the nuances, and gives you a nice, simpatico color palette to work with. You can even work ‘backward’ by taking an image, picking a few key colors letting the ColorSchemer generate a palette from those.

When finished, export your palette in a number of compatible file types for the development program you’re working in. For casual users ColorSchemer offers less expensive version that retains the core application but without some of the bells and whistles.

I highly recommend this app for designers — web, print or other. It makes what could be a frustrating and painful job a whole lot easier. Enjoy!