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  • 1. Strategies for success in changinglandscapeThe DMA/IDM conference 2012
  • 2. Annual DMA / IDM Conference 2012 Tony KaneAJ Bell, Director Direct Marketing & E-Commerce Chair DMA North
  • 3. Annual DMA / IDM Conference 2012David Patrick Director, Yes DMA North council
  • 4. Connect with the DMA…• The hash tag for this event is: #DMAIDM• LinkedIn: DMA: Direct Marketing Association (UK) Limited• Twitter: @DMA_UK• DMA Website: http://www.dma.org.uk• Email: dma@dma.org.uk or events@dma.org.uk• Phone: 020 7291 3300 or 0161 918 6722
  • 5. Annual DMA / IDM Conference 2012Thank you to our event sponsors www.granbymarketing.com/
  • 6. Annual DMA / IDM Conference 2012Thank you to our event sponsors www.equifax.co.uk
  • 7. Annual DMA / IDM Conference 2012Thank you to our event partners & sponsors www.theidm.co.uk www.intermarketing.co.uk
  • 8. Ten Inbox SecretsEmail Eye Tracking Study
  • 9. Ten Inbox Secrets An eye tracking study of more than 50 emails from eight market sectors, involving more than 100 participants, designed to isolate the key drivers of email engagementThe Sectors Studied: Photographic Retailers Women’s Fashion (35-55) Women’s Fashion (18-35) Daily Deals & Vouchers Men’s Fashion (18-35) Short Break Holidays Holiday Cottages Christmas Gifts
  • 10. The Ten Key Drivers Creating enticing and effective Words that Paint Why copy trumps imagery in a First Impressions opening screens soundbyte environment 1,000 Pictures Engaging design & structure Optimising product presentation Email Anatomy techniques Digital Salesmanship to close more sales Converting browsing into action Using graphics to overcome Digital Signposting using navigation Graphic Assets inertia and drive clicks The role of CTA design on Winning incremental clicks by Clickability increasing click-throughs Small Important Spaces exploiting every opportunity The key added value content The importance of relative Content Kings that drives participation Peripheral Vision proximity of design elements
  • 11. First Impressions Count Expert Advice Don’t ‘waste’ the opening screen onWe read emails one screen at a time – each new just a big image –screen determines whether we continue to scroll or the wow factor ishit delete. So the opening ‘screenful’ is highly less than you think,influential on the overall email performance and you risk failing to provide enough encouragement to• Key techniques scroll down. • Ensure the first screenful caters for multiple reasons for opening • Combine irregular shapes, graphics and text elements to sustain attention • Offer recipients ‘pathways’ down the email via text or graphic devices • Avoid the temptation to use a press ad structure – design in ‘screenfuls’ Diagonal design and cut-out An effective opening screenful product shots enticed readers from Freemans using eye to scroll this Jessops email contact to create engagement
  • 12. First Impressions CountWe read emails one screen at a time – each newscreen determines whether we continue to scroll orhit delete. So the opening ‘screenful’ is highlyinfluential on the overall email performance• Key techniques • Ensure the first screenful caters for multiple reasons for opening • Combine irregular shapes, graphics and text elements to sustain attention • Offer recipients ‘pathways’ down the email via text or graphic devices • Avoid the temptation to use a press ad structure – design in ‘screenfuls’ The exception to the rule – this big opening screenshot from Not on the High Street uses a busy tagged product shot, diagonal product placement and shallow depth of field
  • 13. Email Anatomy Class Expert Advice Emails with good design structureWhether your email is a lengthy newsletter or a produce moredigital postcard, the underlying design structure is efficient absorptioncrucial in determining levels of subconscious of information andengagement higher preference rates in research, and users find them• Key techniques easier to navigate. • Diagonal design frameworks work especially well in a scrolling environment 9.49 secs • Design email outlines in screenfuls, mindful of enticing the reader down • Avoid completely linear templates – they 13.39 secs often subconsciously interrupt scrolling • Mix colour, imagery and graphics to sustain attention and engagement • Irregular shapes combined with non-linear 5.59 secs placement are highly effective Terrific design structure from Next, using product cut-outs to draw the reader down KGB Deals uses colour, images and text to overcome a linear design
  • 14. Email Anatomy ClassWhether your email is a lengthy newsletter or adigital postcard, the underlying design structure iscrucial in determining levels of subconsciousengagement• Key techniques • Diagonal design frameworks work especially well in a scrolling environment • Design email outlines in screenfuls, mindful of enticing the reader down • Avoid completely linear templates – they often subconsciously interrupt scrolling • Mix colour, imagery and graphics to sustain attention and engagement • Irregular shapes combined with non-linear placement are highly effective Arcadia use design and colour to great effect to attract and sustain attention in this Top Man email
  • 15. Digital Signposting Expert Advice The taxonomy of email navigation –Good navigation can account for over one third of the words you use –total clicks on a well designed email. What’s more, can help or hindernavigation clicks are more ‘purposeful’, with a higher respondents. Youpropensity to convert don’t need to replicate website navigation structure.• Key techniques • Avoid ‘isolating’ navigation from the high attention elements of your email • Use navigation at the foot as well as the top – most engaged readers reach here • Always use extra or secondary navigation when it will act as a useful shortcut • Make navigation even more effective with icons or colour coding The option to view by brand is a helpful shortcut for brand loyal camera enthusiasts Freemans often exploit secondary navigation in their Style Bible
  • 16. Clickability Expert Advice CTA language can influence theSuccessful salesmen know that you have to ‘ask for propensity to click.the business’. Successful emails always feature ‘View’, ‘Find Outmany well-designed, well-positioned calls to action More’, ‘Free Trial’ and similar phrases could be more clickable than ‘Buy’.• Key techniques • Using multiple calls to action throughout an email ensures proximity at the ‘point of consideration’ • Button design conventions are well understood by consumers – make clickable elements look clearly clickable • Colour, font, language, size and positioning of CTA buttons all impact on recognition and click propensity How not to do it – this ASOS gazeplot reveals a hard-to-find CTA How to do it - Groupon make good use of CTA buttons to create pathways
  • 17. Content Kings Expert Advice Content elements that add value to theEmail programmes that focus single-mindedly on communicationselling may do well, but they are missing out on consistently enhanceincremental business by failing to emotionally recall and positiveengage with recipients perceptions of the brands and products featured.• Key techniques • Relevant value added content in emails can increase long-term engagement and reduce unsubscribes • Headlining added value content in subject headers frequently boosts open rates • Good examples include advisory features, humourous content and online tools • Blending sales messages and advice in an integrated way is very effective Miss Selfridge and Top Shop both using video content effectively to drive extra clicks and enhance engagement Jessops really captured attention from their photography enthusiast customer base with this wedding photography tips email
  • 18. Words that Paint 1,000 Pictures Expert Advice Good copy is very effective in keeping The most engaging emails combine copy and readers engaged images to attract and sustain attention. We are and sustaining attracted by images, but gain confidence and make attention, but avoid purchasing decisions from supporting information large compact blocks of text, as users will often find pathways• Key techniques round them. • Integrate copy elements with imagery and graphics to create a balanced email • Text absorbs more attention but imparts more information – hyperlinks within text are easily understood and drive extra response • Personalisation within emails attracts high attention levels and is a powerful directional device • Bullet point lists work well by helping readers rapidly absorb relevant information How not to do it – Marsdens forced their readers to tackle a big block of copy in the opening screen to establish what was on offer Hoseasons used a bullet point list of benefits for their city break apartments very effectively mid- email to substantiate and convince Typical individual gazeplot Aggregated heatmap
  • 19. Words that Paint 1,000 Pictures Expert Advice Good copy is very effective in keeping The most engaging emails combine copy and readers engaged images to attract and sustain attention. We are and sustaining attracted by images, but gain confidence and make attention, but avoid purchasing decisions from supporting information large compact blocks of text, as users will often find pathways• Key techniques round them. • Integrate copy elements with imagery and graphics to create a balanced email • Text absorbs more attention but imparts more information – hyperlinks within text are easily understood and drive extra response • Personalisation within emails attracts high attention levels and is a powerful directional device • Bullet point lists work well by helping readers rapidly absorb relevant information Good integration of text with very high interest cut-out product shots in this M&S Christmas email
  • 20. Digital Salesmanship Expert Advice The key to good product presentationJust as in the physical world, there’s a real skill in is the carefulsalesmanship by email. The messages we display placement ofand how we exploit peripheral vision are the skills images, copy, priceneeded to close the sale in a digital environment points and graphics, in an ordered, well structured proximity• Key techniques • Exploit the synergistic relationship between product images, copy, price points and graphics to sustain attention • Integrating the elements works better than imposing a grid structure • Ensure proximity of elements to maximise message absorption - adjacencies • Integrating the right call to action is vital to ‘closing the sale’ Superb design integration of product shots, copy, price points and graphics to create a high interest and well liked opening screen
  • 21. Graphic Assets Expert Advice Directional graphicsThrough the effective use of graphics, we can draw prove consistentlyattention to important messages, dramatise key effective in ensuring readers follow aoffers, subconsciously influence the path taken desired path andthrough the email and increase conversion hierarchy through the email.• Key techniques • Graphic devices are just as effective in email as in other forms of marketing • Use price point and offer graphics near product images to aid fast absorption • Graphic elements can also have a role in determining paths through the email • Most importantly, the graphic elements set the tone – urgency, exclusivity, femininity, offer-based Top Shop use graphic devices effectively to direct readers, with good use of colour and non-linear placement
  • 22. Graphic AssetsThrough the effective use of graphics, we can drawattention to important messages, dramatise keyoffers, subconsciously influence the path takenthrough the email and increase conversion• Key techniques Graphic devices used extensively by M&S to • Graphic devices are just as effective in ensure high attention to email as in other forms of marketing key offer messages • Use price point and offer graphics near product images to aid fast absorption • Graphic elements can also have a role in determining paths through the email • Most importantly, the graphic elements set the tone – urgency, exclusivity, Comet uses directional femininity, offer-based arrows and illustrations to influence behaviour Pen & Notebook used effectively to direct attention to product by Dorothy Perkins
  • 23. No Stone Unturned Expert Advice Avoid allowing elements to becomeIn a store, every square foot represents the too widely dispersedopportunity for a sale. In an email, every pixel – readers will loseshould be exploited to gain an extra click or interest. Good useincrease the likelihood of conversion of space and connectivity between elements sustains• Key techniques interest. • Successful emails frequently contain 30+ clickable links – hypertext links, multiple calls to action, secondary navigation, footer links all drive incremental clicks • Consider multiple calls to action for a single product – ‘Zoom’, ‘View the Range’ • Provide deep links that get the recipient directly to their area of interest How not to do it – both Currys and Farm & Cottage Holidays lose engagement rapidly with dull, widely dispersed and uninspiring email designs
  • 24. No Stone Unturned Expert Advice Avoid allowing elements to becomeIn a store, every square foot represents the too widely dispersedopportunity for a sale. In an email, every pixel – readers will loseshould be exploited to gain an extra click or interest. Good useincrease the likelihood of conversion of space and connectivity between elements sustains• Key techniques interest. • Successful emails frequently contain 30+ clickable links – hypertext links, multiple calls to action, secondary navigation, footer links all drive incremental clicks • Consider multiple calls to action for a single product – ‘Zoom’, ‘View the Range’ • Provide deep links that get the recipient directly to their area of interest Good connectivity from DealZippy Freemans makes optimal Although overall this Miss Selfridge use of the space with email seems spacious, good multiple CTAs diagonals and multiple CTAs ensure sustained attention right to the foot
  • 25. Peripheral Vision Expert Advice We make near instantaneousWe interpret what we see differently depending on decisions on where tothe context and environment. In emails, the use of look next based onimagery especially in peripheral vision can reinforce parafoveal, orpositive perceptions and aid understanding peripheral, vision. Guide readers with considered placement• Key techniques of elements. • Good placement of elements aids visual processing and increases the likelihood of a response • Always combine the ‘attractor’ (often an image or graphic) in near proximity to the ‘substantiator’ (typically copy) and the call to action to optimise success • Use the ‘thumb’ and ‘fist’ at arm’s length The importance of considering when judging design to predict paths peripheral vision shown clearly here in a gazeplot through the email Proximity drives most readers down the right hand ‘pathway’ in this Easyjet email
  • 26. The Ten Key Drivers AL ED! RE VE Creating enticing and effective Words that Paint Why copy trumps imagery in a First Impressions opening screens soundbyte environment 1,000 Pictures Engaging design & structure Optimising product presentation Email Anatomy techniques Digital Salesmanship to close more sales Converting browsing into action Using graphics to overcome Digital Signposting using navigation Graphic Assets inertia and drive clicks The role of CTA design on Winning incremental clicks by Clickability increasing click-throughs Small Important Spaces exploiting every opportunity The key added value content The importance of relative Content Kings that drives participation Peripheral Vision proximity of design elements
  • 27. “Howard hated the way advertising was usedas a bludgeon ... the one talking to the many. How it talked down to people and pushed them around.” Jerry Mander
  • 28. Cyber netics The idea that man and machine work best togetherwhen immersed in flowing loops of information thatgive feedback on past performance and guidance on future direction.
  • 29. "We do one ad at a time.  Literally, thats the way wedo it. We do one advertisement and then we wait to seewhat happens, and then we do another advertisement." Howard Gossage
  • 30. "If you say something as interestingly as you can, you can then expect the other party to make a response.  So thenext time you run an ad, develop the dialog. It makes the conversation much more interesting. And rewarding." Howard Gossage
  • 31. "He put coupons on all his press ads, even when itwasnt necessary to have one.  He would spring off ofthings that people wrote in and write another ad thatsaid Bob from Dallas just wrote us.  He would make an ad out of the last thing that happened.  It was very interactive and very much like what happens on the internet." Jeff Goodby
  • 32. “Let the audience in on the gag.  Better still, letthem know you know they know. This makes it cozier and much more involving.  You see, theobjective is not fun and games but warmth and community of interest.” Howard Gossage
  • 33. "Howard put together organic communities, he letpeople want to opt in.  He understood that we allwant to belong to something, some kind of club." Professor Greg Pabst
  • 34. “The Congress had already passed the Bill saying the dams would be a part of the Grand Canyon and Stewart Udall, the Secretary of the Interior, was a supporter of them and it was a done deal.  It was all over.” Jerry Mander
  • 35. "What youve got to do is give people recourse.Youve got to give them something they can do so they dont feel guilty and therefore hate you for making them feel guilty."  Howard Gossage
  • 36. "These ads focused this campaign, they brought a lot of activist people in. The people who sat down in the GrandCanyon, held up placards, wrote to their congressmen. This really was the first time that Americans confronted government in this way and I think the ads were crucial." Kenneth Brower
  • 37. "Gossage believed it was possible to use advertising tocreate issues and cause discussions.... He invented thatstyle, that way of speaking and that kind of shockingway of presenting things that broke out a subject or a point of view that had, up until then, not beendiscussed publicly.  He said he liked to throw a pebble in the water and see the ripples.“ Jerry Mander
  • 38. harrisosteve@googlemail.com @HarrisoSteve
  • 39. Annual DMA / IDM Conference 2012 Stephen Bentley Granby Marketing Services , CEOTo request a copy of this presentation, please email Jo Varey jvarey@granbymarketing.com
  • 40. Annual DMA / IDM Conference 2012 Steve Oliver musicMagpie, Co-Founder and CEOTo request a copy of this presentation, please email Liam Howley liam@musicmagpie.co.uk
  • 41. Annual DMA / IDM Conference 2012To access Elliot Muscant’spresentation please follow this link…http://www.slideshare.net/SarahWright/1-elliot-muscant?from= share_email
  • 42. Annual DMA / IDM Conference 2012To access Stephen Shaw’spresentation please follow this link…http://www.slideshare.net/SarahWright/7-blippar-summary-augu share_email
  • 43. Annual DMA / IDM Conference 2012To access Andrew Rastall’spresentation please follow this link… http://www.slideshare.net/SarahWright/andrew-rastall?from =share_email
  • 44. Thank you to all of our speakers today
  • 45. Annual DMA / IDM Conference 2012Thank you to our event sponsors www.granbymarketing.com/
  • 46. Annual DMA / IDM Conference 2012Thank you to our event sponsors www.equifax.co.uk
  • 47. Annual DMA / IDM Conference 2012Thank you to our event partners & sponsors www.theidm.co.uk www.intermarketing.co.uk

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