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how-to

 

How to: understand HTML5 without getting confused and annoyed.

HTML5 is a good general upgrade to HTML4, the basic language of web pages. It adds a couple of new features that allow you to play video and sound without using a plug-in such as Flash. It has some data handling tools too. That's it.

Sorry, I didn't promise that every how-to would be exciting. This one is aiming more for ‘informative’. If you read to the end, I’ll throw in some jokes. Fair?

I’ve vaguely heard of HTML5. If it’s so dull, why the hype?

Many of the HTML5 demos you’ll see are full-on multimedia eye candy. Where’s all this bling come from?

What’s happened is that other things have become confused and associated with HTML5.

  1. A fistful of handy design and typography features used to make designs richer in the styling system called CSS.
  2. Lots of work on making animations work without Flash by people who don’t like Flash.**
  3. Lots of work by people who want to update bits of a page on the fly without the whole page refreshing.

Most of the cool new animation and interactivity stuff is done with that scripting language called JavaScript. And most JavaScript works on pages written using boring old HTML4 too. It may take a bit longer, but it can be done. The typography stuff can be done with existing browsers too: it’s a bit of a faff, but it’s do-able. This is good news, as half the browsers people use don't understand HTML5*.

Cool HTML5 demo’s that only work in some browsers:

http://www.hongkiat.com/blog/48-excellent-html5-demos/
The demo’s only work in recent versions of Safari, Firefox and Chrome and IE9

Why do you care about HTML5?

Together, these things allow us to deliver websites that are a real pleasure to use: where everything feels slick. It’s the little things, like revealing and hiding text with a pleasing slide, so much nicer than the clunky ‘wait and re-arrange’ of a full page-load. Or the searches that suggest things to you before you’ve finished typing. Or forms that turn green the second you’ve filled them in correctly.

HTML5 makes it easier to tie all that stuff together, but it’s not mandatory.

Where’s the sell?

The reality is: we know it's not mass-market yet. Not until browsers that understand HTML5 outnumber those that don't by about 20:1. That’s about 2 years away.

It doesn’t matter: all that niceness is here, now. Yes. Your sites can be effortlessly cool even without alienating the technologically challenged! So, to find out about a whole heap of cool grooviness, give Frank and Jules a shout on 01422 847958, or email make.it.work@welovetheweb.com

* Internet Explorer versions 6, 7 and 8 don't understand HTML5 properly. These browsers make up about 40% of the browser market. Internet Explorer 9 does get it.

** The iPhone and iPad don't do Flash because Steve Jobs banned it from iThingies. I think he got grumpy that Adobe (who make Flash) never made a Mac version of Flash as good as the Windows version. Flash runs fine on Android phone, so it's just industry politics keeping Flash off your Apple fondleslab. Dear sweet Lord, the politics of IT are dull. Quite apart from that, a lot of programmers don’t like Flash because Adobe own it,make lots of money from it and are a bit of a pain. And a lot of programmers also hate flash adverts. 

If you have a friend or colleague who you think might like to receive these emails, get them to sign up for the We love the web newsletter.
We won't share their email addresses with anyone else and we won't send through huge numbers of mails, just these how-tos, well, and the very occasional sales pitch, but we promise not to be 'in your face' about it.

Oh yes, jokes.

OK, top three jokes from this year's Edinburgh festival:

  1. Nick Helm – “I needed a password eight characters long so I picked Snow White and the Seven Dwarves.”
  2. Tim Vine – “Crime in multi-storey car parks. That is wrong on so many different levels.”
  3. Hannibal Buress – “People say ‘I'm taking it one day at a time.’ You know what? So is everybody. That's how time works.”

As you were.

Carry on.

Filed under  //   Digital Account Management   HTML5   how-to   javascript  

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Mini how-to: 3. SEO vs. Adwords

'Should we promote our site using Google AdWords, or invest in Search Engine Optimisation (SEO)?' Which is better? I get asked this a lot.

SEO is a basic 'Thing you should do'. If you don't, you are throwing money away.

Not doing SEO on your site is like spending £10,000 on a brochure but keeping it in a box at the back of a cupboard. Silly, right? SEO improves the chances of your customers finding you. The basics are not even technical, but they do take time (this will be the subject of a 'how-to' very soon).

If you haven't done the SEO basics then you shouldn't even be considering AdWords.

Let's assume you've done the basics. Should you invest more in SEO, or spend money on AdWords?

That depends.

AdWords are good when:

  • You've done all the basic SEO stuff
  • You have a specific product, service or event to promote
  • You need to get the word out 'Right Now!'
  • You are prepared to spend time testing and measuring what leads to sales and what doesn't. If you don't, then you'll get a lot of click-throughs, but no sales.

Bad things about AdWords:

  • As soon as you stop spending, the traffic stops.

SEO is good when:

  • You have a reasonably stable target audience or range of products.
  • You don't have a huge budget.
  • You want to do some work now and reap the benefits for the next year or more.

Bad things about SEO:

  • It's hard to test and measure results quickly.

We have used AdWords in the past with good results to refine keyword choices for optimisation. We use AdWords to work out what SEO we should do!

So: we have a very low budget Adwords campaign on a number of different keywords. At the end of the month, we look at which Adwords generated the most sign-ups/sales/enquiries. We then know how to optimise the site. This is a good way to make sure your SEO budget is used effectively.

Whatever you do, make sure you measure the outcomes to see what you get back from the money you spend.

Filed under  //   Digital Account Management   SEO   how-to   marketing  

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Mini how to: 2. Which fonts can I use online?

In the beginning it was easy.

The only fonts you were allowed to use on a web page were the ones everyone had installed, so:

Times, Arial, Courier, Verdana, Georgia, Trebuchet, Tahoma, Lucida

And that's yer lot. Everything else had to be created as an image.

Then came a little widget called Sifr, another called Cufon and finally the widespread use @font-face in stylesheets.Yeah, I know that sentence is gibberish, but in plain English: you can now use any font online. And 'lo the designers were greatly pleased.

It's not quite a free-for all though.

  • Every non-system font we use adds about 20k to the page load. So add more than a couple and it will start to affect website load time (especially on mobiles).
  • Fonts aren't free and need to be licensed. Sorry, we can't just include it on the quiet. This is public, easily searchable stuff and you will get caught. It's a cost we can't predict until we see the artwork, so be prepared for us to come back and ask you to license the fonts. 
  • We still can't do kerning and leading in the way you are used to in print work. Sorry. Give it five years.
  • Email is stuck in the past. You can still only use the standard system fonts. Everything else has to be done in images.

Do

  • Use fonts creatively, but sparingly

Don't

  • Use comic sans. Ever. No really, why would you? It's deliberately choosing something ugly when there are so many beautiful options available.

Filed under  //   Digital Account Management   how-to  

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Mini how to: 1. No, really, what IS the cloud?

Was having a conversation at a party last week about this (yeahman, you just know the kind of happenings I go to) and someone asked me this, citing that dreary Microsoft advert where some insanely dull person says 'let's take it to the cloud'. Whizzy stuff then happens and you are left no wiser.

Very simply put: cloud services are things you only ever have online and the 'cloud' is just a confusing way of referring to stuff 'out there' on the Internet. They aren't dependent on your particular computer, they can be accessed from anywhere.

Paypal is a cloud service: you don't have a Paypal installed on your computer. Hotmail is a cloud service. Google documents is a very useful cloud service: like a word document or spreadsheet that lots of people can work on at once (and see each other's changes as they make them).

Those are all cloud services and you probably use them every day.

Filed under  //   Digital Account Management   how-to  

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We love the web how-to: 5. Understanding banner adverts and Flash

Seriously, how hard can it be? A few wipes, fades, a line of text and a logo. Bish, bosh, bash: job done.

Aye, maybe: but you do underestimate the ability of people to complicate the simplest thing.

If you need to make a banner advert for a client then here's what you need to know.

What's an Ad management platform

Any website that publishes a lot of adverts will have an Ad management platform. These control how many times a banner is shown, when it's shown, tracks clickthroughs, handles where in the site the Ad is served and so on. We have to make a banner that can talk and listen to the Ad manager. This affects the deliverables in a number of ways and we'll ask a number of questions before we take on a job.

What's the clickTag?

When you click a flash advert, you get taken to the target page on your website. Under the hood, the flash movie shouts out 'I've been clicked', then the ad management platform steps in, looks up where it needs to take you, records the click and only then passes you on.

The clickTag is the 'hook' that the ad management platform uses to track whether or not the banner has been clicked and we need to include that in our banner movie. They differ slightly between ad platforms and the publisher will normally be able to give you/us that code fragment.

What's the maximum file size?

Flash banners are generally tiny, tiny files: 30-40Kb. This is because a magazine can easily serve a million pages a day, each with several ads on it. Serving big files turns into an expensive headache for publishers really quickly. They have strict rules, therefore, on how big your file can be.

Well, how do I get whizziness and video into my flash with that file size limit?

Since 30Kb is barely the size of a jpeg, it can be very challenging to do anything other than a few wipes and fades leading to a text-slogan. A lot of the time and effort we spend is often making the flash movie into a small enough file.

As a basic guide: We can do quite a lot with vector artwork in 30Kb.

The big things to avoid are:

  • Too many fonts(more than 2)
  • Too many photos (more than 2)

We've all seen adverts that contain video and other rich media though, so how are they done?

The basic file you send to the publishers is still only 30Kb, but it usually just contains code and a placeholder image. Once loaded, the banner then goes and fetches video, images etc. hosted on a web server elsewhere, pulling that into the banner for display.

In the early days of video banners that caused a real problem: all these big files were being loaded in at the same time and people weren't able to see the page they were trying to access as it took theee days to load. So, nowadays we have to do 'polite loading'. Polite loading waits until the rest of the page has finished loading, then asks for all its heavyweight files one after the other.

The only way that the banner knows that the rest of the page has finished loading is if the ad management platform tells it so. We have to include code (that the publisher will supply) in the banner that allows the banner and the ad management platform to 'talk'. Whether or not we can do polite loading should be checked with the publishers before you start on the creative.

How do we do those flash banners that pop-out over half the page?
First off, ask the publisher if they allow that on their site (the key term is 'expandables').

If they do support expandables then we go to the technical bit. These are made up of 2 separate flash movies that are both hosted by an ad management platform, ready to be served in that particular format. It knows to serve both and handles the switching between them.

As an aside: because they are separate movies, you can't pass information between the small and the large size, so you can't pass over what frame they were on or whether sound was off etc.

Skyscrapers, Leaderboards and Micro Bars: what size should I make my ad?
For the actual build, the publisher will have specs.

During meetings, you'll often find people in the industry referring loosely to the various formats by name and you may not know which is which. Here's a lookup list matching name to sizes helpful: http://www.iab.net/iab_products_and_industry_services/1421/1443/1452

What about iPhones: they don't use flash?

Not just iPhones, but anyone who doesn't have flash installed won't be able to see your ad. To get around this, it's normal to supply either a Jpeg file or animated Gif file as a 'flash alternative'. This also needs to come in under that 30kb file size liimit.

If it's a Jpeg then it can't be animated. Using a gif file, we can usually get two, sometimes three, page states out of it as long as they are simple. The main decider is the number of different colours we need to use as Gifs compress by posterising the image to reduce the number of colours. Photo's and gradients need a lot of colours to look nice, so think flat screens of colour and text when designing the alternative.

Allow for a small amount of artworking time to create a flash alternative.

How do you want the artwork then?

  • A storyboard is essential - outlining the screenstates and transitions (we can work with you on creative effects and transitions).
  • Crucial: let us see them before they go to the client due to the restrictions on file size etc.
  • Illustrator files please: this is vector artwork.
  • RGB, 72dpi, outlined fonts or fonts (if appropriately licensed).
  • Flash alternative artwork
  • Comic Sans font files will spontaneously combust on collision with our firewall.

What are Doubleclick and Eyeblaster?

These are Ad networks. They have management platforms used to serve a lot of Ads on more than one site. Creating accounts for these is usually aimed at bigger ad campaigns that sort of fall out of the scope of this how-to: that's more of a media buyer's job. We've worked on campaigns like this before. If you are planning an online media campaign big enough to need these systems then you'll also need digital media buyers.

And finally: those banners that show me what I was looking at on a shopping site last week: how do they work?

Debenhams (or whoever) have a media account with a big ad network who we will, for arguments sake, call 'Doubleblaster' or maybe 'Eyeclick'. As you browse the Debenhams site, it puts a cookie from on your machine with a unique number. Every time you look at a product, it calls up the Doubleblaster server and pushes 'person 395241564 looked at a Smeg fridge on the Debenhams site'. Thereafter, everytime you go to a site that serves Ads from Doubleblaster, they look up your cookie and what products you looked at, then serve info. about those products back to you as Ads.

The idea is that people often browse for something a few days before the buying decision and repeatedly jogging their memory leads to extra sales. It works, but it can be a bit disconcerting. 

As always, if you want more help or have specific questions, then phone 01422 847958 and ask for either Frank or Jules: we're happy to help.

 

Filed under  //   Digital Account Management   Flash banners   how-to   marketing  

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We love the web how-to: 4. Designing for Content Managed (CMS) or eCommerce sites

Without doubt, this is toughest online design discipline, bar none.

For a print designer, it's like playing 3D chess. It's hard because the pages change, depending on how they're used. Forget your A4 piece of paper with a set amount of space. No, you have a page of indefinite length filled with elements of varying height and/or width. To add to the fun: you'll have bits of the screen that reconfigure themselves depending on the time of day, what the user is doing, whether there's a video or not or any of a hundred other variables.

We can't make it simple, but we can help you avoid the pitfalls.

Basic approach: content led design

You are designing a set of templates that other people will use to make pages of their own. This means relinquishing a lot of control over how it's used to a content-monkey who understands little about design. The templates have to be flexible and robust so they always look good despite the evil works of design-illiterate website admins.

Do:

  • Stress-test your design once the basic layout is one you are happy with.
    • Does this design still work if the headline is twice as long? 
    • What if the images are half the size (see images stuff, below)? 
    • How does it look when there are 10 items on the page? When there is one item on the page?
    • What if the one column has a lot of content? Does it push everything else out and make the rest of the page look ridiculous?
  • Content builds up over time. Think about how a page element might look when there are 3, 12 or 100 items to list. 
  • Have a read of this article here: http://www.onextrapixel.com/2010/11/03/15-ui-design-patterns-web-designers-should-keep-handy.
  • Use a column-based grid layout: make it one that cascades down the page, so that big content lumps can push others down the page without breaking.

Don't:

  • Make something that requires lots minor variations of the same template.
  • You won't necessarily know what you can and can't do, but we are happy to give feedback. if we say 'this won't work' then it's because we are trying to help you achieve a good, workable design and genuinely not that we are trying to be unhelpful.

Images

Most modern Content Management Systems scale images to the right size for the site automagically, but there are limits to this: the machine is fairly 'dumb' and cannot intelligently crop an image.
We can scale it to size in one of three ways.

  1. Squish it to fit into a defined size. This will distort any image uploaded that doesn't fit into a given size. You can't force a rectangle into a square hole without breaking it.
  2. Scale to a set width and then set the height in proportion.
  3. Scale to a set heigh and then set the width in proportion.

Don't worry, we know that's tough to visualise, so here's an illustration.

Same-width-fixed-height-images
In this screengrab, all the image widths have been made the same. Some of these items are landscape, some are portrait, but they look OK because the template has been designed with this in mind. For horizontal layouts, we can set the height and allow the width to vary.

Do:

  • Visualise your templates with a series of landscape and portait images. Make sure you are happy that these will display correctly.
  • Remember that finding appropriate images can be hard, so some items may not have an image. Visualise your templates so that some items have images and some don't.
  • Remember that some images may be used in more than one place. The classic mistake here is to put an image thumbnail on the news homepage that appears again in a completely different aspect ratio on the news story page. They can be scaled to different sizes, but we can't shape-shift them!

Don't:

  • Flow text around a curve or image cut-out. It can't be done.
  • Flow text around a rectangular image. Well, you can if you want but bear in mind that line-heights are fixed - site administrators may get orphans and widows because the image is just 3 pixels higher than the line wrap.

Line-wrap-orphans
In this example, you can see a line-wrap orphan due to an awkward image height. Our experience is that you can tell some site admins to check for this until you are blue in the face, but if they aren't design literate then you face a steep uphill battle to make them care! It's best to avoid the situation really. 

 

Text

When we get artwork for a CMS website from a designer, the same chunk of Lorem Ipsum usually fits very neatly into exactly a space provided, kerning and leading adjusted to make it fit.
Real life isn't like that - you have a harrassed PR guy trying to push the latest press release online in about 10 minutes flat. The truth is they will never respect or follow any visual rules that you try to impose. The only solution is to make it sufficiently flexible to accommodate this variability and look good.

Product names are the classic case. To choose two items from Amazon:
'iPad (16Gb)' vs. 'Panasonic KX-TG8422EB Colour DECT Twin Phone With Answer Machine - Black'
Both have to fit into the headline slot. Both have to look good.

Here's an example. In this pic, the text has been neatly fitted to the available space.

How-not-to-design-text
This doesn't help you understand it how it will look in real life. Here's how it might be actually used:

How-to-design-text

Still OK? Well, that line-wrap looks a bit wrong. The boxes look all irregular too. It's not as good-looking as the first piece of artwork, certainly. If you don't try out the variations, then your design will fail in real life use.

Do:

  • Make the text line-wrap over several lines as well as showing it fitting neatly into a single line for headlines, sub-headlines and body text.
  • Make your design rubbery. It has to look good with one line of text in the headline or three.
  • Allow each element to stretch and contract. When designing: visualise every element with twice and much and half as much text.

Don't:

  • Fit everything neatly into a space allocated.
  • Use comic sans. Black polo-neck clad typography ninjas will pad silently into your stylesheets and do unspeakable things under the cover of darkness.

Site functions

When designing, make sure you understand the types of content that go in the site and what the restrictions are.

Anyone can draw a picture of a moon rocket but it doesn't mean we can provide you with a vehicle capable of interplanetary travel!

Seriously, a designer recently added 'last time you were here you visited the following pages:' throughout the artwork for a site, then showed it to the customer, who loved the idea and signed it off. The first we knew about it was after the sign-off. We said: 'Great idea. It's not in the budget mind. We'll happily do it, it's an extra day or two at our normal rates.' Cue much muttering, but it's really not our fault.. We'd rather have happy customers, but we can't extra work for free. We will supply wireframes or a spec. showing what each part of the site will do. Please follow this, or discuss it with us if you are unsure it will meet the client's needs. It may be an extra, or it may be that we can do something similar within budget, but it's handled properly and not adding to anyone's stress levels.

Do:

  • Work from the wireframes and spec. documents. If you don't understand them, we are happy to support, explain and illustrate, more than once if necessary.
  • Show us artwork early and often. We can identify potential issues before they turn into problems.

Don't:

  • Design something in isolation, sell the client on it and then show it to us. It's bad for everyone's blood pressure. Please don't think we're being unwilling: if we're shown designs that can't be achieved, then we have to say no!

Navigation

Do:

  • Visualise a navigation item text wrapping over two lines. It will happen, so be ready for it!

Don't:

  • Put content-managed navigation across the top without thinking long and hard about what may happen next year. Your client may want to add a new site section called 'Insert very long name here'. Is there enough space for that?

Integration with outside systems

We do a lot of integrations with stock control or warehousing systems run into issues when the designer has included a whole number of fields that don't exist. There was a recent example where stock management software is supplying the core information for each product in a large 'brochure' site. Their software contained no pricing information, but the design called for four different price points to be displayed on each of the 20,000 different products (price breaks by how many you buy). Assumptions collided with reality in a design presentation when the client pointed out the lack of pricing information and how many person weeks it would take to create that info if they added 100 products a day. The design was changed.

Do:

  • Check what information an outside system will be supplying (we'll help with that: we'll usually supply a list of available fields).

Don't:

  • Assume that any missing information can be created by the client. They may not be happy about that.

A special note on eCommerce

Do:

  • Think like a customer: what would I look for when deciding whether or not to buy? We've not bought a computer because the spec. was vague and the image of the back of the machine was too small and we couldn't see what type of video card it had in it. A £400 sale lost because the photo was too small. People have very little emotional commitment to one shop over another, so your product pages should be very carefully considered.
  • Think about how people will use the site, whether it all makes sense and whether you'd buy based on the information you can see on the page.

Don't:

  • Use lorem Ipsum. Use an actual product that you would want to buy and make sure it includes the information you need to make a buying decision. If it doesn't, discuss with us to see if that information can be created. 

We've only scratched the surface really, but there's so much to cover....

If you'd like any further help or advice, please feel to drop us a line at make.it.work@welovetheweb.com

Filed under  //   Content Management   Digital Account Management   eCommerce   how-to  

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We love the web how-to: 3. Designing for email

Bit late this month. Very, very busy. It's a good thing. Anyway....

Designing for email is a specialist discipline that causes problems even for experienced web designers. We’ve created HTML mailers for some of the biggest firms in the business and we’re sharing our expertise.

Why is email so difficult to do properly?

Over 95% of email traffic is SPAM. A lot of that is malicious and tries to trick you into doing things that will harm your computer. Dumbing-down the code makes it easier to keep the bad guys at bay. Javascript and Flash can’t be used in email because they've been used to infect computers with viruses before. The makers of email programs are just trying to shut down lines of attack for the bad guys.

Email also has to work on a vast array of devices: far more than a website.

Quick round-up: Outlook 2003, 2007, 2010, Mac Mail, iPhone mail, Outlook Express, Windows Mail, Entourage, Thunderbird, Blackberry, Nokia mail reader and webmail: Hotmail, Yahoo mail, Google Mail and so on. For each webmail variant, your email also must look right in Internet Explorer (version 6, 7 and 8), Safari, Firefox and Chrome.

The margin for error is tiny: we spend most of our time in any given email build on testing, testing and testing again.

Good news: we’re here to help.

Artwork Setup

Do:

  • Make your main content area:
    • 600 pixels wide if you are designing for a consumer audience
    • 750 pixels wide if you are designing for a business audience
  • Remember to set your image editor to work in RGB at 72dpi

Don’t:

  • Work at 300dpi in CMYK

Don’t forget:

  • Allow for a variable screen-size, so allow for a surrounding background colour* around your main content area.

* Background colour is safer. Background only 'sort-of' work in hotmail and can break in annoying ways.

Images

Images aren’t downloaded by default in most email programs. Worse, some email programs strip out all HTML, leaving just the text behind: the user isn’t even given the option of downloading images!

Here’s a great example: guess what’s on sale here?

Email-without-images
(the names have been blurred-out to protect the guilty).

Email-with-images

Ooh! It’s a netbook! Well who’d a thunk?

Do:

  • Design your emails to be intelligible without the images.

Don’t:

  • Put text over images or grads. If you do, we have to do one of two things.
    • ‘Bake the text into the image’. The meaning is lost if the image isn’t downloaded
    • Put the text over an image background. Background images are often filtered out by email programs, so you lose visual appeal. 

Fonts

Emails don't embed fonts, so you have to use the fonts installed on the user's computer. That does impose restrictions since it means you have to use fonts installed on everyone's computer.

Do:

  • Use system fonts. These are: Times, Arial, Courier, Verdana, Georgia, Trebuchet, Tahoma, Lucida

Don’t:

  • Use non-system fonts for any crucial information (including headlines). Anything you need to be set in a different typeface will have to be created as an image, so it won’t be legible to anyone opening your mail, but not downloading the images.
  • Use white text on a dark background. If the background colour is filtered out by the ISP, your customers will be left with white text on a white background. Using light-coloured text is not a workaround: your customers will be left squinting at the screen in annoyance, trying to read low contrast text. We tend to feel that making the customer angry is a bad thing.
  • Do bullet-pointed lists, especially not using custom bullet points. You will just cause us, and you, and your client pain and frustration as it goes through 25 iterations of 'not quite right' as there's no easy way to do this in email HTML.
  • Put ‘real’ text over an image. We’ll need to put the image in the background of the table cell and background images overlaid with text won’t work on many email programs: the background image will be filtered out.
  • Put ‘real’ text over a colour gradient. Same reason.

Don’t forget:

  • Don’t use comic sans. Not ever.

Animations, forms, rollovers and video

You can’t really use these in email.

Do:

  • Include very simple 2-3 frame animations if you want. These can be achieved using animated gifs. These may not work in all email programs: only the first frame may display, so make sure it is mainly used for visual impact: anything people must see for the email to make sense should be in text form.

Don’t:

  • Put animation, video, rollovers or forms into your email. None of these things will work. If you want to reference some video, put in a ‘You-tube’ style slate image that links directly to the video.


File Formats

Do:

  • Give us layered Photoshop or Illustrator files.
  • Include fonts with your artwork (if appropriately licensed).
  • Supply artwork with fonts outlined if fonts aren’t appropriately licensed.

Don’t:

  • Give us PDF, InDesign or Quark files. These are intended for print and can be problematic.
  • Give us Jpegs and tiffs – they are ‘flattened down’ and aren't suitable. 

Content managed email: special notes

Do:

  • See how your design changes when you put twice as much text in each element

Don't:

  • Design multi-column setups: equalising the heights is well-nigh impossible.
  • Design multiple 'pods' side by side unless your client has the budget for you to create these as images for each email they send. The ONLY way to get the heights to equalise in a controlled fashion is to make them as images.


Finally: forget about the pretty

Most of the variables in the success of an email are nothing to do with how it looks.


Five ways to improve email response rates

The effectiveness of your email promotion depends on how many people open, read and act upon your mail. There are a number of factors affecting this, the most important of these are nothing to do with the design of the mail:

  1. Clean subscription data
  2. Correct sending setup
  3. Subject line of the email.
  4. Degrading Gracefully
  5. Clear call to action

1. Clean subscription data

I don’t know anything about your mailing list, but many are in a poor state. 
Old email addresses that no longer exist and people who haven’t opted in consciously will both make it much more likely that your email never reaches the recipient. 

Since over 90% of email sent is Spam, most spam filters are very, very sensitive. Most ISPs will detect even relatively small numbers of mails with the same subject line and content coming in.

If a significant proportion of those are to email addresses that no longer exist, the mail will be thrown into a ‘black-hole’: your user will never see it.

If a handful of people have marked the email in hotmail or gmail etc. as ‘spam’, then no-one on that domain will see the email, it will be black-holed. People are much more likely to do this if they did not consciously opt-in to receive the email.

If the list is clean, up to date and is populated by an opt-in (people have chosen to be on the list) or is a list of existing customers (people with whom you are expected to communicate), then you should look at a service like mailchimp. If the list is old and crufty, then you should look at a data-cleansing exercise first (or even start again)


2. Correct sending setup

To reach the user, the emails should come from the place that they say they come from e.g. I could send you an email from our server pretending to originate from god@heaven.com, but it would probably never reach you because the internet would do a lookup to compare the IP address for heaven.com with the sending IP address of the email. If they don’t match then it’s spam and goes in the bin.

If there are more than a few thousand subscribers then it’s worth looking at spam white-listing services such as Return Path.  These are expensive, (about £1500 a year, last time we used one), and a faff to set up, so only worth doing if your send a lot of email.

Alternatively, we use Mailchimp quite a bit. Their sending setup is has high delivery rates and is reasonably priced.

3. Subject line of email

Is the email equivalent of ‘Front page, above the fold’ in a newspaper. If the subject line is engaging, witty, interesting etc. then people will open the mail. If not then they won’t. Most people don’t think about the subject line, but it’s incredibly important.

A final note on subject lines. I was recently sent an email by someone extolling their ‘n_k_d* marketing’ offering. Because of that one word in the subject line, it was spam filtered in three different places. I had to ‘release’ it from three different spam traps before I could read the mail. Most people wouldn’t have bothered. Anything words relating even tangentially to procreation should be avoided.

* ‘not wearing clothing’.

4. Degrading gracefully

Not all email reading software is the same. Some strip out background images even if you choose to ‘download images’, some strip out all styling information, some strip out colour and so forth.

The point is this: you should always make sure your design can be read and acted upon by the user even if all they see is white text on a black background.

And Finally…
If you are looking read rates (also known as open rates), you may be measuring the wrong thing.  Open rates can be a very misleading guide to the success of your email – to the point where we encourage people to disregard them except as a trend indicator.

  • If your user does not click the ‘download images’ button, you won’t know they’ve read it
  • If they have not enabled HTML email in their mail client, you won’t know they’ve read it.

This is because the emails rely on a ‘beacon image’ being downloaded to flag the mail as being read. The image is unique to that particular email, so we know which mail it was.

The real measure of success is the clickthrough rate: the number of people who respond to your call to action.

Filed under  //   Digital Account Management   Social media   email marketing   how-to  

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We love the web how-to: 2. Digital Artworking Guide

If you aren’t a full-time web designer, there are a few design constraints that may surprise you. In print, you can place everything pixel perfect because you know that there is a single output: ink on paper.

It's. Just. Not. Like. That. Online.

Your design has to work on any computer, anywhere in the world. Mac, PC, Netbook, iPhone, Android running any one of: Firefox, Safari, Internet Explorer, Chrome…
...and the list just keeps getting longer. 

Good news: we’re here to help.

We’ve compiled all the problems that we see again and again into handy do’s and don’ts that will save you a bucket-load of time and frustration. You can get all the materials, templates, pre-flght checklists and other bits 'n' bobs described below by clicking this link:
download our handy digital artworking kit (zip)

Page Size

Artworking for print isn't easy, but at least you know what size of paper you are working to. Online it has to look good on everything from a 2-inch iPhone to a 24-inch screen.

So: how on earth do you work with that?

Use our Photoshop template to help you. Different layers have different screen size, including common laptop, desktop and big-screen setups. If it looks good in all three: you've cracked it!
(if the others are right, then the iPhone will take care of itself)

Do:

  • Design to 1024x768. Then put a ‘surround’ around it for other screen sizes.
  • Use our template (included in this kit).
  • Think about what happens when the page extends vertically: make sure you've considered that.

Don't:

  • Design fixed-height websites: they rarely look good.

Don’t forget:

  • 1024x768 is the total screen size. You are actually designing for about 960x560(ish): toolbars and menubars take up space. Simplest way: just use our template.

Fonts

Web pages don't usually embed fonts, so you have to use the fonts installed on the user's computer. That does impose restrictions since it means you have to use fonts installed on everyone's computer.

Do:

  • Use any font you want for headlines and display text. We have techniques to display small amounts of text in any font, but the more we use, the longer it takes for the web page to display, so we use them sparingly.
  • Use system fonts for body text and navigation.
    These are: 
Times, Arial, Courier, Verdana, Georgia, Trebuchet, Tahoma, Lucida
  • If you use custom fonts, we may need to license them for online use.

Don’t forget:

  • People can (and do) change the text size in their browser, old and partially sighted people especially. Typeset things so that it doesn't matter if text boxes get bigger or smaller. Test any text boxes you design by making the text 4 points larger in Photoshop/Illustrator and seeing if it still fits.
  • Don’t use comic sans. Not ever.

Layout

Do:

  • Design the navigation and background etc. in one layer set, then each page layout in another. That way, if the 'surround' changes, you don't have to re-work 20-30 pages: just the one. This can save you hours and hours.

Don’t:

  • Chain text-boxes in HTML like you do in Quark and InDesign. HTML doesn’t do that, so avoid multi-column 'newspaper' layouts.
  • You cannot flow text around a curve or get it to 'wrap around' an image the way you can in print. HTML works in square/oblong grids. HTML does not understand curves.

File Formats

Do:

  • Give us layered Photoshop or Illustrator files.
  • Include fonts with your artwork (if appropriately licensed).
  • Supply artwork with fonts outlined if fonts aren’t appropriately licensed.

Don’t:

  • Give us PDF, InDesign or Quark files. These are primarily intended for print and can be problematic.
  • Give us Jpegs and tiffs – they are ‘flattened down’ and aren't suitable.

Resolution and Colours

Print runs at 300dpi in CMYK colour.

Web runs at 72dpi in RGB colour.

Do:

  • Supply artwork at 72dpi in RGB.
  • Use pixels for measurement, not points, picas, mm or inches: none of those mean anything to a web browser so if you supply them like that, we'll have to adjust it. Photoshop and Illustrator will both let you set the units in preferences.

Don’t:

  • Supply artwork in CMYK as we can't guarantee accurate colour reproduction. Sorry, not our fault: conversion between CMYK and RGB can significantly change the on-screen colours when you show them side-by-side.
  • Allow the edge of images to anti-alias. This creates an uncertainty where we can't measure the width that an image should be as the 'edge' of the image is smeared over 2-3 pixels. Illustrator does this by default and it makes it harder for us to faithfully render your designs.

Copy

  • Copy always changes throughout the build process. If the copy is in the artwork, it's hard to amend and keep track of what has changed. We've had to completely re-implement every piece of copy on a site before because 10% of the copy had changed but no-one was sure exactly what was new. That pushes up our prices as we have to price in the risk of having to re-work all those pages 'just in case' we miss something.

Do:

  • Supply copy separately from artwork, in a Word document.
  • Use 'Track Changes' in Word.  You can then see what’s changed.
  • Use our sample copy document, also in this kit (unbranded so you can share it with clients).

Don’t:

  • Supply final copy inside artwork.

Colour Gradients and Drop-Shadows

This gets less of an issue every day, but the problem is this: Internet Explorer version 6, which still runs about 3% of the worlds browsing, can't do transparency very well.

Do:

  • Use grads. with sparingly.

Don’t:

  • Put images with curved outlines on a gradient background.
  • Overlap two or more colour gradients. HTML can be funny when it comes to transparency.
  • Overlap drop-shadows and gradients or drop-shadows and other drop-shadows

Buttons, Links & Forms

Do:

  • Links: include a rollover state: you don’t need to artwork every instance, just so long as we can see what you want.
  • Buttons: include a rollover state. Here, we do need every instance artworked. Include them on a separate layer so you/we can switch between them easily.

Don’t:

  • Scroll bars: don't restyle these, you can't make that happen consistently between browsers in HTML.

Don’t forget:

  • Error messages and required fields: when you submit a form, the server checks that you've filled it in correctly. If you've missed something, you get an error message. We need to know how that should look.
What we usually do is put a generic error message at the top of the form like 'Sorry, we've spotted some problems with the information you've supplied, please review this form for more guidance'. Thereafter we put specific feedback next to the form field that is wrong e.g. 'Required' or 'That doesn't appear to be a valid email address' etc.
  • Thank you pages: after your user has completed the form, it's nice to say thanks. Please include copy/artwork for that.

Pre-flight checklist

Prepare your digital artwork for handover with as much care as you would a print job. It saves everyone a whole heap of time.

We've put together a pre-flight checklist and you can find that in the downloadable kit (above). You don't have to use this, but it's what we will run through upon receipt of artwork anyway, so it may save you time to look it over before sending.

Here's a great article on preparing your files for production. If you do this, we will love you!

In the next 'How-to': Artworking for Content Managed Sites and eCommerce.

Coming soo: Artworking for Flash, Artworking for HTML email

As ever, if you have any questions about any of this stuff or have a topic that you'd like us to cover, get in touch in the usual way: make.it.work@welovetheweb.com

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We love the web how-to: 1. Keywords and metatags

If you aren't a techie, the myriad detail of web stuff can be intimidating.  So we're putting together a series of 'bitesize' how-to's explaining things that we find are puzzling our clients. This is the first.

Keywords and metatags
Clients have started to give us keywords these days to help with search engine positioning, but what we're seeing is that most don't understand the best way to do this: so here's the 2 minute guide to the subject.

Typically, our clients have been sending us keywords as a big block of words, separated by commas, to do with the client's business. That's a great start, but it's only about half the story.

On most web pages, there's a bit you can't see that is used by search engines to help work out what that page is about. This stuff is called 'Metadata' (which means 'information about information' or just 'summary' in plain English). There are two common 'tags' for Metadata on most web pages:

  • Keywords: 35 words or short phrases summarising the page (up to 255 characters to be precise). For the We Love The Web home page for example, that might be 'We Love The Web, bespoke web development, eCommerce websites, Content Management System' etc.
  • Description: A short paragraph summarising the page

So: how do you get maximum value from metatags?
Keywords are really about the page, not the website. A list of generally relevant keywords about the business is likely to be generally helpful in search-engine terms, mainly because your pages are likely to contain those words in the bits of text that you can see. It's not getting you maximum value in search engine terms though.

When writing copy for the site, bear in mind what you want the site to be found for, then include an extra couple of para's per page: one for keywords, one for description. Decide which are the most important words from that page and summarise the page into keywords and description. Make sure that the keywords and description tags both contain the most important phrases from that page: the ones you would like to float to the top in search-engine terms. It only takes 10 minutes a page and can really help your search engine rankings.

As ever though, if you are confused, then call us: happy to help.
Alternatively, if you have a topic you'd like to see us cover, then ask away.

Filed under  //   Digital Account Management   SEO   how-to   keywords   metatags  

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