1. Do NOT use the CC field when addressing your recipients. Blind copy everyone or use an email marketing system. We’re big fans of MailChimp.

2. CSS is great for web sites, but don’t you dare use it for your eblast. Old school tables are the best solution for HTML emails.

3. Some email programs strip out HTML, HEAD and BODY tags … keep that in mind when you’re developing the overall design.

4. Include a link to your company’s privacy policy … many times, the professional email marketing systems will provide one.

5. Always include a one-click opt-out link (avoid “click here” language because that is spammy). Use a link to “Unsubscribe”.

6. Don’t expect your eblast to look like a web site. No JavaScript, no embedding movies, … no fun! Keep eblasts straight forward and simple.

7. Use images sparingly. Know that most mobile devices and many email programs have image blockers … make sure the important stuff is in plain text.

8. Don’t be annoying. The only person who wants a daily eblast from you is your mother.

9. Don’t buy mailing lists. That’s just icky. Instead, make sure your recipients have all opted in and want to receive mail from you.

10. Test the final email before sending it out to your list just to be sure everything is loading properly. Nobody likes receiving a wonky email.

And, a bonus tip: Avoid spammy words like “viagra”, “mortgage”, “free”, “click here”, “limited time”, or “act now”.

In 2009 the Snackbox design division had the honor of working with Northland Bordeaux. Our tasks were great: Redesign www.northlandbordeaux.com for better backend usability, increase standings in Google and asisst with the site’s copy. We took on all three asks and are very proud of the end result.

Completely unsolicited and unexpected, we received a very nice note from Mark McElderry, Northland Bordeaux co-owner …

Hey guys,

We continue to get very positive comments on our website along with continued increases in traffic and inquiries.  I don’t attribute it simply to the attractive layout of the site, but to the research, thought, strategy and design work that you put into it.

I just checked our Google rankings as well, and we have moved up substantially for many of the search strings that are important to us.  I really think the quality of our customer prospect calls is improved as well.  Who knows, maybe the impression made by the site is almost intimidating to some – like, “We probably can’t afford puppies from that caliber of kennel!”  Not to pat ourselves on the back, but we want to credit you for giving us a very positive presence on the web…

Thanks again,
Mark

Thanks for the kind words, Mark! It was truly a pleasure to work with you and Cindy and we love visiting your blog! Great work!

Snackbox is a three-time winner in the 2009 Summit Creative Award competition for creative work. The firm’s winning entries include:

  • Silver award for logo work on behalf of the Chicago French Bulldog Rescue
  • Bronze award for logo work on behalf of Minx Parlor, an upscale fashion boutique
  • Silver award for logo redesign on behalf of Canine Therapy Corps, canine assisted rehabilitative therapy

The Summit Creative Awards recognize and celebrate the creative accomplishments of small and medium-sized advertising agencies and other creative groups with annual billings of $30 million or less. Over the past 15 years, the competition has established itself as the premier arbiter of creative excellence for firms of this size.

Entries in 22 categories are judged against a stringent set of standards. During the blind judging events (entering company names withheld), judges search for innovative and creative concepts, strong executions and the ability to communicate and persuade.

About Snackbox
Snackbox LLC is a Chicago-based public relations and design firm created by Jenna Gruhala Oltersdorf and Eric Oltersdorf with a network of experienced and talented indepenedent professionals spanning the United States. Clients include Chinet premium disposable tableware, Feline Pine all-natural cat litter, Perlabella anti-aging serums and Chicago Academy for the Arts. For more information about Snackbox, visit www.snackbox.us.

About Summit International Awards
The Summit International Awards (SIA) organization was founded in 1994. The organization conducts the Summit Creative Awards, the Summit Marketing Effectiveness Award and the Summit Emerging Media Award. The 2009 competition is the 15th year for the creative competition. Additional information about the SIA, its  competitions and winning firms can be found at www.summitawards.com.

We were approached by the owners of a new high-end European shoe boutique to create an identity for them. Because both owners had a very strong idea of what their their ideal clientele was, it was decided to forgo the traditional brand strategy document and instead write a target profile, included below.

Minx Attitude
A minx is not really an age so much as an attitude. She’s flirtatious, mysterious, feminine. She has understated elegance. She’s smart, wicked, modern. She buys art and appreciates beautiful things. She is a woman with an attitude. She’s dark and provocative but not harsh or cheap. She knows how to carry herself so she’s strong but feminine. She is a dichotomy. She’s at once vintage but modern, edgy but elegant. She’s desirable and knows it but won’t use it for evil.

We presented a range of logos from conservative to the most lush, with the owners choosing, without hesitation, the most over the top option. The end result was both owners were delighted by the new identity and felt the logo perfectly captured their idea of the Minx mystique. Although “Minx Attitude” was developed for internal purposes, the owners liked the language so much that they began using it in marketing materials as well.

After the selection of the final logo, the store has changed quite a bit. However, the logo has remained relevant. Minx Parlor has moved from high-end shoes to a wider range of items that appeals to the full Minx personality … accessories, clothing, even lifestyle services such as tailoring, hairstyling and dance classes.

The differentiation of the logo we created, coupled with its flexibility to adapt as the store changes, makes it a tremendous success.

I am neither happy nor hungry. Discuss. 

If any grocery store needed a rebrand it would be this one. There are so many things wrong here, it’s difficult to decide where to begin. It’s as if the “designer” decided to use brute psychology on this challenge. “It’s called Happy Foods, so let’s put a giant smiley face up so people will feel happy to come here.” Noooo, they’ll just be terrified the sign will fall on them. The size of that beast is completely out of proportion overwhelming the building. The proportion nightmare continues with the diminutive lettering relative to the Stalinesque big brother smiley face.

The sad thing is someone spent a lot of money on this abomination. Truth be told, I haven’t set foot inside yet. And, if you CAN judge a book by its cover, I won’t be shopping there in the future. Ever.

Crocodile, The Shedd Aquarium

One of my favorite clients when I was working at Publicis was the brand manager for a small fruit grower co-op based in Eastern Washington. My team presented a brand campaign that we felt was best for the brand and the client’s initial response was reluctance. After further conversation, he said, “You guys make sense and I don’t really have any arguments against the work.” So he took the campaign back to his board, a very conservative group of farmers, and sold it through.

I asked him, after the campaign was printed, “What was the feedback?”.

He said, “ Eric, this campaign made us players in our industry. I had all the big guys coming up to us at trade shows and commenting on how much they liked the work. This never happened before.”

As you can imagine, this was extremely gratifying to the Publicis team. We had an extremely intelligent client, whom we all respected, that had initial trepidation to the work. We had done our strategic homework, however, and followed the tips outlined below building up a reservoir of trust. Both the agency and client reaped the benefits of that trust.

How can you assuage client fear and work together for great results?

1. As an agency contact, be empathetic. Sounds hokey, but think about it: Design is only a small fraction of what your client contact deals with in a day’s time. Realize their decision to OK a project puts their job on the line.

2. Be trustworthy. We all know the stereotype of the ad agency only looking to cover up that empty space in the trophy case. Don’t be those people.

3. Do your research. If you know their business, their competitors, their culture, you can relate better. If you feel their pain, they’ll feel like you truly understand and will start to relax more. More importantly, the client contact will begin to confide more. This is where you discover true pains and assist in fixing them.

And as a client, be as forthcoming as possible with information. In most instances an NDA is signed at the beginning of a relationship, which protects everyone involved.

4. Take a long-term view. Know that the client relationship is more important than the ten percent increase in logo size requested.

As a client, think about the changes you are about to request and provide rationale behind them so everyone is on the same page.

5. Be responsive. If the client calls you, answer immediately or call back ASAP. There are plenty of agencies out there that will be happy to take your client if you can’t take care of their needs quickly and painlessly.

From a client perspective, if we’re calling you, it’s important. We understand your time is valuable, but sometimes we may need further detail or clarification before wrapping up a project.

6. Be an advisor. It’s ultimately not in your best interest to be a vendor. Vendors are replaceable. A valued advisor is not.

For both the agency and the client, client relations is all about trust. The agency needs to act in a trustworthy manner and the client needs to trust the marketing experts they hired.

Waiting for The EL, Chicago IL 2009

lamp cord fail

I love lamps. To me the lamp is a modern Prometheus dispelling the darkness with light. Why then, do designers saddle their sweet designs with such terrible usability problems? I now draw your attention to the one thing that turns my lust into revulsion and sends my emotions careening from love into towering rage. I give you the cord switch. If there was ever a single thing that says, “I could care less about the end user”, it would be this loathsome solution to turning your lamp on and off.

When I’m fumbling in the dark for the on switch, I don’t want to have to find a moving target. I want to know, every time, where I need to go. Like the cup holder that blocks access to the temp controls in my Subaru, the cord switch tells me the designer hasn’t completed his usability homework. Just look at the picture above. Nice looking lamp, reasonably priced but has the cord switch albatros. Fail.

So what’s the reasoning behind them? Is the bean counter trying to cut costs? Does the designer not want to sully his “pure” design with that most mundane, yet vital piece of equipment? I wish I knew. It’s just one example of the disconnect that can exist between design and usability.

In the end, no matter what design discipline you undertake, not fully considering all the usability ramifications for the end user is to set yourself and your client up for failure.