El inbound marketing ya no es un concepto nuevo, aunque quizás sí poco conocido en nuestro mercado. El término fue acuñado por la compañía Hubspot, especializada en marketing en internet, y se ha convertido en un término genérico en los mercados de habla inglesa que podríamos traducir como marketing de entradas.
Existe el inbound marketing desde que existen usuarios en la red. Sin embargo, el mundo 2.0 ha propiciado, sin duda, esta tendencia que nos permite estar dónde nuestros clientes potenciales buscan información, soluciones, etc., y en consecuencia dar con nosotros.
Lejos de interrumpir a nuestro target a través de las tradicionales herramientas outbound, como la recepción de una llamada desde un centro de telemarketing cuando estás apunto de entrar en el cine, el inbound es aquel marketing que consigue ser encontrado por los usuarios, permitiéndoles que lleguen a nosotros, a nuestro producto, en definitiva, hasta nuestra web cuando ellos lo desean. Sigue leyendo
By Cameron Chapman
Designing magazine covers can be one of the most fun and challenging print design projects out there. Covers are so visible; it’s something everyone who sees the magazine will definitely see. The same goes for designing covers for brochures, catalogs, or other print pieces.
The tutorial here will show you the basics of creating a cover for a fictitious free travel magazine. It’s meant to be a technical tutorial more than a design tutorial, but the finished product is serviceable and of professional quality. Take what you learn here about print layout and Adobe InDesign and apply it to your own projects. The basic techniques can even be applied to something like a full-page display ad.
Here’s the final cover we’ll be creating:
Before You Begin
Like website design, there are certain things you need to know before designing any kind of print layout. While not complicated, there are many things that we rarely take into consideration when designing a website that are vital to the success of a print project. Key among these is image quality and margins (including bleeds).
When choosing images for a print layout (or when provided with images), you have to make sure they’re both sharp enough and have a high enough resolution. What looks great onscreen may be blurry or pixelated when printed on an offset printer (or even an inkjet). Any images used in a print layout need to be at least 300 dpi in order to look good. Any lower than that and they run the risk of being blurry or pixelated.
When resizing images for print layouts, remember to turn off resampling in your Photoshop settings (or whatever program you’re using to resize them). With very high quality images, you can sometimes get away with using images that are slightly lower resolution (as low as 250dpi at times), but check with your printer to see what they recommend based on your paper and other choices. Sigue leyendo
by Alexander Dawson
Judging what’s best for an audience is never far from the web designer’s mind. The ability to predict whether a web design will soar like an eagle or sink like the Titanic is among the most subjective and complex measurements you will encounter.
While resources that explain best practices exist, and your visitors contacting you about serious issues and offering you feedback relating to your site will occur if you have the proper mechanisms in place — it’s ultimately your responsibility to be proactive and research, investigate, and determine the what, why and how to ensure widespread usability.
Before we examine the types of statistical information you should be looking at — and the relevance they have to your web design projects — we first need to go over the 3 single-word questions that relate directly to all the design decisions you will make.
These 3 questions are ultimately at the heart of your research, analytics and motivation behind designing by the numbers.
What, why, and how is a simple design process that:
- Defines what the issue is
- Proves why it is an issue
- Determines how to fix the issue with the optimal solution (if it is an issue)
Of all the questions that may enter the mind of a web designer, “What?” is probably the word that relates to the task at hand. The process of understanding relevance and the usefulness of information explicitly relates to the decisions we undertake.
- What do site users need?
- What things frustrate site users?
- What can I do in this design to accomplish the site’s objectives?
- What’s wrong with the site?
- What’s right about the site?
- What can be made better? Sigue leyendo
Just as there are a variety of designers out there, there are respectfully just as many web design styles. Some are good, some are bad – many are just experimental. However, there are those few styles in web design that we see all the time. They are the design styles that work, and that we’ve grown to know best.
Sometimes popular web design styles can deter us since we love to create something original. As designers we like to see variety, but of course, our clients like to mimic and see consistency. In this post we’re going to look into some of the more popular web design styles, and further examine why they work. Knowing the design styles that work as they are can be a great way to use those same principles in your next unique design. Sigue leyendo
By Speider Schneider
A friend of mine started an organization named “Creative Connect,” a twice a month get-together for anyone in the creative field. He said it was to, “get people away from their computers and to get them talking at least twice a month.” Mostly designers, programmers, illustrators and photographers with a spattering of marketing and management types show up and it’s something I look forward to attending in the light of day. Twice a month I gnaw through my own leg to escape the shackles of my computer and speak with real people…live…in person. It’s important to deal with the real world from time to time.
Get away from technology and join other humans.
I think I experienced a new first for me in my life of freelancing. I responded to a tweet looking for a copywriter to do some basic web copy.
I responded, and chatted with the client for a little bit, discussing his needs and my offerings. Things were moving in the right direction. He seemed to be happy with the price I quoted, and I felt like I had a decent handle on what his expectations were.
Towards the end of the discussion, the conversation that had started out fairly professional had become almost casual. He asked me a question about a marketing concept, and I shared my thoughts about it. I understood the concept, but I told him it was tired and probably wasn’t a good fit for his product. And then the call got very quiet. He was still very polite, and said he would be in touch with me to get the project started, but I haven’t heard from him in a week now.
I’m pretty sure I successfully managed to talk my way out of a new project. Yay. But at least I learned when to stop talking. Sigue leyendo
OLEDs have been hailed as the Next Big Thing in lighting for years now. But beyond digital picture frames and bendy display screens that make Gumby look like a slab of concrete, we haven’t seen a whole lot from the tech that’s supposed to revolutionize the way we illuminate our world.
That’s slowly changing, and to that end, Konica Minolta has enlisted a handful of architects and designers to envision the future of OLEDs, from floating bus maps and giant public lighting “vessels” to glowstick-like jewelry that can double as safety reflectors. They’re only concepts, but they do offer a foretaste of the expanded role artificial lighting will play if and when OLEDs finally deliver on their promise.
First a primer on OLEDs: They stand for organic light-emitting diodes, and, instead of flashing light from a single-point bulb (like incandescents and even LEDs), they glow at the surface, enveloping their surroundings in a diffuse, ghostly halo. Environmentalists go gaga for them because they stay cooler than LEDs, and they’re more energy-efficient than fluorescents — plus they don’t contain mercury. And architects and designers go gaga for them because they can be bent, rolled, and otherwise manipulated into any shape imaginable. Sigue leyendo
By Jessica Bordeau
A few years ago, you might not have pointed out during a meeting with a potential client that you maintained a blog. Over time, though, blogs have evolved from the being a personal hobby to a serious work tool. In fact, today, web designers are supposed to know much more than just how to design and build websites. Customer’s expectations have increased, and unless you are in position to choose your favourite clients, meeting these expectations requires hard work.
Hence, it’s important to keep learning about the variety of design-related fields every single day — be it marketing, psychology, business, copywriting, publishing or blogging. This article doesn’t cover “traditional” web design discipline as we know it, but goes a bit beyond it, exploring various writing, blogging and online publishing strategies. Apart from that, we present some useful writing style guides that may help you educate your clients on their copy for their upcoming project.
Good news: you don’t have to reinvent the wheel every time you are about to start and run a blog. Many bloggers have already shared their best tips on how to run a blog efficiently. One of those tips is to set up an editorial agenda. Blogging may sound like a spontaneous activity, but it can also be planned. While this might sound obvious to professional bloggers, applying the idea to less regular posting schedules is not a bad idea. Some will benefit greatly from looking ahead. Writing and posting according to your inspiration is great creatively, but it doesn’t exactly make for consistent work. While planning can have its drawbacks, it does come with many positive effects.
Compiling a list of brilliant posts waiting to be published is not enough, though. Polishing the quality of the posts is important, too. Unfortunately, spelling is not the only thing to check. Style guides are useful to many people other than those who run newspapers and magazines, and certainly to bloggers. In reality, this is what it takes to conquer the world.
Image via Wikipedia
SYDNEY – PepsiCo has appointed PHD to handle its media planning and buying duties in Australia, following a pitch that reportedly also involved Mindshare.
PHD scoops PepsiCo’s media business
The business is reportedly worth US$27 million.
The account win covers all PepsiCo brands in Australia, including Pepsi, Pepsi Max, Mountain Dew, Gatorade, Smith’s, Doritos, Red Rock Deli, Grain Waves and Sekata.
The appointment, which ousts incumbent Eighty K’s, sees the OMG agency take charge of the media planning and buying for PepsiCo’s brand portfolio from 1 September. Sigue leyendo