Choosing your domain, SEO

SEO Part 2: Choosing the right domain for both SEO and brand

Transcription

Now depending on what stage you’re at in the process of developing your website, you may or may not already have a domain, and if you don’t have a domain and it’s a decision you’re looking to take, you’re probably thinking that it could have quite significant implications from an SEO point of view, and historically you would have been right. Pick the right, keyword rich domain, was considered one of the most important steps to developing an SEO strategy.

Not least because when people link to the domain they’re going to be including keywords in a very natural, organic way, so it definitely has its advantages. However, those benefits are vastly outweighed by the potential downsides if it’s not brandable. So, to give you an example, let’s imagine you’re looking to launch a brand called tvsonline.com. You could imagine people talking about it as a real brand, like they could trust it and it even having offline shops. However, tvs-online-uk-cheap.info - forget it. Nobody’s trusting that, so even if it benefits from some very short term artificial ranking inflation, it’s not going to be sustainable. People are not going to trust it as a brand and Google are going to see that people don’t trust it as a brand.

That’s the first consideration. You have to prioritise the sense of brand. Can you imagine this becoming a brand?

Secondly, we have to consider the extension. Now, as a general rule, if you can get a .com fantastic, but that’s not always that easy and if you’re audience is local. If it’s UK based, for example, then a .co.uk can work really well. .Net’s can work well. .Org’s can be really nice if you’re looking to develop a sense of community. I’m usually reluctant to suggest others, but again it comes down to the brand. For example, .London could work really well for certain brands. You wouldn’t necessarily expect any short term SEO benefit. You’d need to build those brand signals, but certainly, it can work for particular businesses.

The final consideration I’ll add, is the inclusion or exclusion of hyphens. Within the domaining world, there tends to be a bit of snobbery towards hyphenated domains. and if you can get the non-hyphenated version then that’s probably best. But not necessarily. Sometimes it can help break up the words and improve the legibility of the domain, so again it comes down to how you feel about it and whether or not you can imagine it becoming a real brand. And to be frank hyphenated are easier to find so you may not have a lot of choice.

So, those are all the considerations. Ultimately, it comes down, as I keep saying, to this one thing - brand.


First rule of SEO

SEO Part 1: The First Rule of SEO...

Transcription

The first thing to get in your mind when starting an SEO strategy, is to forget all about SEO. That probably sounds like an odd thing to say but the reason is simple. The days of very tactical, very technical SEO campaigns that are geared towards identifying the shortcomings of Google’s algorithm and using them your advantage, those days are long gone. If that’s your objective, to sneak under the radar, employ some dodgy tactics and artificially inflate your rankings, then forget it. You may enjoy some short term wins, but it’s never going to be sustainable.

Google has one objective in mind and that’s to provide the best content from the most trusted brands for any given search query and it is bloody good at doing it. So you need to be thinking about all the different things that contribute to that - you need to be thinking about the business you’re representing, the audience you’re trying to engage with, the content that’s going to satisfy their search intent, you need to be thinking about social media, and mobile UX and a thousand other things, but first of all you need to begin by adopting that mentality - this is all about building the best content and the most trusted brand.


The Marketing Genius Archive 2

The Marketing Genius Archive #2 - Marshall McLuhan, The Medium Is The Message

Transcription

Over 50 years ago, Marshall McLuhan wrote that the medium is the message, by which he meant that the way in which we consume information is more important than the information itself. So the introduction of the telephone was more important than any individual message that passed through it, likewise for radio, television and of course social media.

I have mixed feelings about this - on the one hand I believe that in the world of social media businesses are often guilty of putting the platform first without any sense of the content they want to create. They jump onto the latest channel out of fear of falling behind the competition And I believe that great content is great content and if you get that right, then to some extent the channel will take care of itself.

However, this is of course a slight oversimplification and I, like many marketers, would probably benefit from occasionally reminding myself of McLuhan’s mantra. The channel we use not only determines who see’s the content, but also the format in which it needs to be presented, the duration for which they will consume that content, the weight, the gravitas that they attach to that content, so for example an ad in a magazine is likely to make a far greater impact than an ad at the bottom of a YouTube video, but perhaps most importantly it determines the objective of the content and the Key Performance Indicator that will be used to monitor that objective, so if the goal is to maximise brand reach then radio or instagram may be the most appropriate channels, where as if the goal is to capture email and nurture the relationship over time then the blog or resources is likely to be more effective.

So, I probably have to concede that McLuhan that was onto something, but I still maintain that it is those brands that master their message and their content that will be around for the next platform to emerge, and the next 50 after that.

See you next time.


Slowing down to speed up - the importance of laying the right foundations before launching a content marketing campaign

Transcription

When new projects launch there tends to be a rush to get content out and ads running. Key decision makers want to see stuff happening. They want to see signs of early progress.

The trouble is that this that activity that they are so keen to see, is there to feed into something else, so if the something else isn’t correctly set up then you’re not going to see the full benefit of the work you produce. Certain things need to exist first. It’s a bit like when you see someone stick spoilers on an old fiat punto. You sort of feel like they’ve missed the point.

The most common examples of this that we see online include:
- A lack of a coherent brand visual identity
- Poorly designed websites that aren’t going to convert
- Weak technical or on-page optimisation that means even as you grow the authority of the domain, the site still won’t bring in targeted traffic
- The lack of a strong email capture as this is often an important secondary objective of a website
- Goal and event tracking that enables you to make sense of what’s happening on the site

Until these foundations in place, forget the content calendars, press releases and media plans, as the return you will get from them will be just a fraction of what it could be.

This is a lot easier said than done as these decision makers by their very nature are highly impatient, they want to see things happening yesterday. All I would suggest to help alleviate this pressure is to try and get a direct response campaign up and running as quickly as possible. That could be Adwords PPC, Facebook direct response, or an offline lead generation campaign, but something that will drive results early so that you can then justify to that decision maker the need for serious investment in the brand, the user experience, and all of the optimisation surrounding the website, so that moving forwards they get the greatest possible return for every pound spent.

See you next time.

Dan


Red Light Marketing - Proven to get you traffic

Red Light Marketing - Proven to get you traffic

Are you struggling to bring people to your site? Is your engagement low? Are your google analytics results the stuff of nightmares?

Here at Boss Digital, we understand that successful marketing is all about visibility. So this April 1st, we’re launching our new ‘red light’ plan - proven to get you traffic. Our specially designed program, which has been in development for months, is available in three foolishly good packages:

Rush Hour

Designed to bring as many people to your site as possible in a short time period, this special marketing algorithm condenses all your daily traffic into a one-hour time period between 8-9am or 5-6pm for maximum exposure.

Gridlock

What use is getting people to your site unless you can keep them there? Improve your bounce rate with our exclusive line of code which traps visitors to your site on specific pages for unspecified lengths of time.

Tailback

Good websites have a streamlined navigation map to help visitors move easily between different pages. Great websites employ our new tailback feature, which redirects visitors back to the original landing page they arrived on for an extra click-through boost.

Want to find out more about what our red light marketing schemes can do for you? Contact us at afools@boss-digital.co.uk


Old farm - content marketing

One of the greatest examples of content marketing, and it’s over 120 years old

Transcription

As digital marketers we have a dickish tendency to hijack methods that have been used forever and pass them off as inventions of the digital era. This is particularly true with content marketing. We talk about quality content as if it didn’t exist before social media. As if prior to the last 10 years marketers just depended on nothing but promos and special offers. Obviously that’s not true. Content has always been at the heart of great marketing. The only things that have changed are the channels through which we communicate it.

For evidence of this then we need look no further than John Deere and his magazine The Furrow, first published in 1895. The Furrow was packed full of educational content in order to offer extra value, position his brand as the experts and nurture the relationships towards becoming loyal customers. Sounds an awful like a content strategy in 2018 doesn’t it, only I would argue a hell of a lot more sophisticated than 90% of content strategies that the digital world produces.

In fact it is an online content strategy now, with its own online magazine, email list and literally millions of engaged followers on social media.

The perfect example that demonstrates if you get the brand and content right for the audience, the channels will take care of themselves.

See you next time.


A comprehensive guide to selecting typeface for business

All too often, decisions over typeface seem to be based on little more than what feels right. A degree of subjectivity in all aspects of design is inevitable, but I do believe that (as with colour) creativity at its best is built on a foundation of facts and logic. That's why I've trawled through the ocean of detailed but chaotic information on the web and created a simple guide to selecting typeface for business.

 

Definitions

Developing an understanding of typeface at times feels a lot like learning a second language. Here are some of the more common terms that you’ll need to get familiar with:

  • Font - each typeface has a family of fonts - bold, italic, etc.
  • Stroke - any line within the letter.
  • Stem - the main vertical stroke.
  • Kerning - the process of adjusting letters so that the white space between them feels comfortable on the eye and optimises legibility.
  • Stress - the way it leans.
  • Serif - the little flick that appears on the end of some letters. As we will see, this little flick defines a whole family of typeface.
  • Axis - an imaginary line drawn from top to bottom of a letter that shows the degree of stress (how much it leans).
  • x height - literally the height of a little x. A term used to refer to the bottom half of your type.
  • Brackets - a curved or wedge-like connection between the stem (main vertical line) and serif (little flick) of some typefaces.
  • Baseline - the imaginary line the letters are sat on.
  • Glyph - the variety of designs of a certain character. If you have 3 different designs of the letter A, for example, you have 3 glyphs.
  • Aperture/Counter - a bit of space partially or entirely closed, such as in an n, s or c. The larger and more open it is, the better for legibility.
  • Ascender - the bit that rises above the x height.
  • Descender - the bit that drops below the baseline.
  • Apex/Vertex - the top and bottom points where two strokes meet.
  • Terminal - the end of a stroke (but not a serif).
  • Hairline (or hair stroke) - a thin stroke, commonly found in serif typefaces.
  • Legibility vs readability - legibility is concerned with the details of individual letters, while readability is concerned with the overall appearance of whole bodies of text. It is a very small distinction (illegible letters cannot be made into readable words) and in this guide I'll be using them pretty much interchangeably.

 

Serifs

We'll begin with the serif, which applies to those typefaces that have a little flick on the end of the letters. They are generally considered traditional and often found in books.

 

Old Style (Humanist)

Origins - Popular from the 15th century to the 18th century, these are typefaces based on the scripture of Ancient Rome and are sometimes also known as humanist serifs due to the fact that they represent a natural (human) stroke.
Design - the serifs are bracketed, the axis tends to be curved to the left, the x-height is small and there is little contrast between the thick and thin strokes. They sometimes have a diagonal cross stroke across the e, as that’s naturally how a person would write.
Examples - Garamond, Goudy Old Style, Centaur, Perpetua and Minion Pro.
What it communicates about a brand - it communicates tradition, history, conservatism and reliability.
Legibility - their simple and natural style assists in legibility although this can be offset slightly by their small x height (which reduces the size of the counters).

 

Transitional

Origins - John Baskerville, the English printer, established this style in the 18th century. It includes elements of both the old style and the neoclassical designs that followed.
Design - There is no sense of it being handwritten, with the stress perfectly vertical, weight contrast is pronounced and serifs tend to be bracketed. The curvature of serifs is more gradual. It is elegant and sharp.
Examples - Baskerville, Georgia, Caslon and Times New Roman.
What it communicates about a brand - like old style, it can communicate tradition but with a greater elegance. It is commonly used within law and academics. Baskerville in particular is considered an extremely trustworthy typeface as many believe it presents a certain British formality.
Legibility - generally considered highly legible.

 

Neoclassical (also known as didone or modern)

Origins - created in the late 18th century, it represented a significant shift from previous typefaces. The classification name Didone is a combination of the names of the two most common modern fonts at the time - Didot and Bodoni.
Design - vertical axis, high contrast between thick and thin strokes, and flat, hairline serifs. Tends to be little or no bracketing.
Examples - Bodoni, Didot, Elephant and Kepler.
What it communicates about a brand - sophisticated but could be considered cold. Regularly used by fashion brands and magazines.
Legibility - tend to be distinctive but harder to read, making them great for headlines but not body copy. Dazzling can occur where thick lines become prominent and thin lines almost disappear.

 

Slab (often called square or egyptian):

OriginsSlab type - this style first appeared in the nineteenth century as the printing of ad material was expanding and it offered a more attention grabbing appearance.
Design - geometric, block like appenditures. Very solid and confident. They have minimal or no bracketing, and heavy serifs. Stroke contrast is minimal.
Examples - Rockwell, Courier, Beton, Tower and Memphis.
What it communicates about a brand - it communicates confidence, strength and durability. They tend to be authoritative but still friendly. Courier in particular is typically regarded as the typeface of nerds and librarians.
Legibility - generally considered highly legible as they benefit from strong serifs while still offering a high contrast that we'd usually associate with sans serif typefaces. They produce extremely well defined lines of text.

 

Glyphic:

OriginsType Glyphic - they are derived from engraved letters, so appear like they’ve been created with a chisel rather than a pen.
Design - contrast in stroke weight is minimal. The defining feature os the triangular shaped serifs and the flaring of the strokes when they terminate. Sometimes only contain uppercase. The axis is vertical.
What it communicates about a brand - tradition and strength. Often used by luxury brands and products with a high price point.
Examples - Trojan, Beaufort, Americana and Friz Quadrate
Legibility - legibility can be quite variable. Counters can be small and some glyphic typefaces only appear in upper case. They tend to be used more for display type than body copy.

 

Sans serifs:

The sans (or "without" in French) means that there is no serif, or finishing stroke. This simplicity creates a more modern feel and is a little more common on the web.
 

Grotesque:

Origins - it was the first sans serif to be popularised and use lowercase. It began with Caslon (William Caslon IV) and they were called grotesque because they were considered quite ugly compared to their more ornate serif predecessors.
Design - Influenced by Didone serif fonts of the period, these were often quite solid, bold designs suitable for headlines and advertisements. They are generally very similar to serif typefaces.
What it communicates about a brand - an informal warmth. Smooth and balanced.
Examples - Quartz grotesque, Ideal Grotesk, Akzidenz-Grotesk and Monotype Grotesque.
Legibility - very strong due to its simplicity and large apertures.

 

Neo grotesque:

Origins - a direct evolution from grotesque, it began in the 1950’s with the aim of creating rational, almost neutral typeface designs.
Design - They have a relatively plain appearance in comparison to grotesques. Less variation and irregularity.
Examples - Helvetica, Folio, Arial, Univers and Roboto.
What it communicates about the brand - modern, safe, perhaps a little generic. Great for body copy, hence why Arial and Helvetica are the two most common typefaces on the web.
Legibility - tend to be highly legible. In fact Helvetica is believed to be the best typeface for people suffering from dyslexia.

 

Geometric:

Origins - it originated in Germany in the 1920’s and remained popular throughout the 30’s. Various revivals have been made since.
Design - based on geometric shapes, mono linear lines and circular shapes. It is very simple and very modern.
Examples - Universal, Erbar, Proxima Nova and Futura.
What it communicates about a brand - it suggests the brand is modern, open and transparent. Great for tech companies.
Legibility - not often used as body copy as the letterforms tend to not be too distinct, but great for headings.

 

Humanist:

Origins - emerged in early 20th century, essentially carrying over all the principles of humanist serif type over to sans serif.
Design - more calligraphic than other sans serifs so they have a greater variation in line widths and sometimes even have a slight stress, giving the more natural appearance of how someone would actually write. The lowercase a and g tend to be two story.
Examples - Frieght Sans, Adelle Sans, Gill Sans, Geneva, Tahoma and Verdana.
What it communicates about a brand - it communicates a more natural, human and personal tone.
Legibility - these are highly legible as they have high stroke contrast and highly distinct letterforms.

 

Script:

This class includes all those that appear handwritten, often calligraphic, and give a sense of style and elegance. In an experiment, diners were presented with two menus, one using fancy script typefaces and one using plain, sans serif type faces, and they assumed that the chef behind the menu with script type possessed greater skill than the other. However, greater complexity isn't always the right message for a brand to communicate!

Formal:

Origins - they are based on 17th and 18th century letterforms and created by a quill or metal nib.
Design - there is a high contrast between fine and thick strokes, and the letters often join together. They are commonly found in wedding invitations and certificates as they give an almost stately appearance.
Examples - Snell Roundhand, Compendium, Ambassador and Balmoral.
What it communicates about a brand - elegance, formality, tradition, opulence.
Legibility - tend not to be legible so use should be limited to large header and display copy.

 

Blackletter and lombardic:

Origins - was used in the Guthenburg Bible and its appearance immediately conjours up thoughts of Medieval Britain. It was common from the 12th century across western europe and in Germany right up to the 20h century, and is often associated with Nazi propaganda.
Design - dramatic thin and thick strokes, elaborate serifs
Examples - Frakto, Notre Dame, Old English and Luminari.
What it communicates about a brand - it communicates history and tradition, but also strength and mystery. Often used by heavy metal bands (also Corona, Disney).
Legiblity - legibility is poor which is why it soon went out of fashion as body type and is now only used for headings and logos.

 

Casual:

Origins - they emerged in the early 20th century and then became increasingly popular in the 50's and 60's.
Design - they appear as if drawn quickly and tend to be loose and informal with the appearance of having been painted with a wet brush rather than via a nib.
Examples - Brush Script, Kaufmann, Swing and Mistrai.
What it communicates about a brand - gives an informal, relaxed and even intimate appearance.
Legibility - legibility is often poor so should be limited to large header copy.

 

Display/Decorative:

Origins - became popular in the 19th century and was often used on posters and in ads as it was considered more exciting than previous typefaces.
Design - as their name suggests, they are highly deocaraitve and therefore should be used carefully and sparingly. They come in a vast array of styles. The only common theme being that they tend to stand out and grab people’s attention.
Examples - Estilo, Marzo, Letterpress and Pitcher.
What it communicates about a brand - the great thing about decorative fonts is that anything is possible. They can communicate far more than conventional type faces as there are no limits, as illustrated by some of the examples here.
Legibility - these fonts are not intended for body copy. They should only be used for type over a certain size such as for headers or posters.

 

General rules about body copy

  1. Font should be kept between 8pt to 10pt.
  2. Font should always be left aligned and jagged on the right.
  3. Always favour lower case.
  4. Lines should be 50-60 characters wide, including spaces. Too short and it forces the reader's eyes to travel back to the start of the next line too often. Too long and it makes it difficult for the reader to focus on the correct line.

 

A few other interesting facts about typeface:

Finally, I'd like to share a few facts that I stumbled across while creating this article, for no other reason than I think they're pretty interesting and this has admittedly been a fairly dry (albeit hopefully useful!) article.

  • The ampersand (&) is actually the letters e and t combined - from the latin word "et"!
  • Eric Gill, the creator of Gill Sans, was known for his sexual exploits with his sister, two eldest daughter and his dog. As tribute to him, Barry Deck, the designer of Template Gothic, released a type face in his honour called Canicopulous.
  • Comic sans came about as a type designer called Connare was supposed to find a better font for Microsoft’s 1994 extra user friendly Bob software. It turned out to be the wrong size for the programme but was used instead for movie maker and following positive feedback was added to Word. It soon became wildly overused and is now perhaps the most hated of all typefaces. It really just comes down to appropriate use. A child’s birthday card is fine. A gravestone is not.
  • You may have noticed that the phrase the "The quick brown fox jumped over the lazy dog" is often used to display typeface. This is because it includes every letter in the alphabet.
  • The man who designed the world's most familiar font, Helvetica, was paid a flat fee, received no royalties and died virtually penniless.

  • Offline marketing

    The growing importance of offline marketing in an online world

    Video Transcription

    As digital marketers we can sometimes be guilty of acting like the entire world only exists online, but actually, if we're to engage our audience, it can sometimes make sense to go offline first. In fact, and this surprises a lot of people, but one of the greatest areas of budget spend in the last few years has been event marketing. There are a few simple reasons for this:

    • There is SO much communication going on online now. We are bombarded with thousands and thousands of messages every day, and as targeted as we make those ads the fact is it’s really really difficult to engage people. Whereas if you go offline and actually talk to them, you have their undivided attention.
    • Secondly, the most effective way of getting emotional buy in is to create an experience and place the consumer at the heart of it. That can of course be achieved online, but it tends to be most easily achieved within an offline context.
    • Thirdly, if your product or business is not yet commonly understood by your audience, and there’s a level of education and engagement and feedback required as you evolve your offering, then that again tends to be most effective from an offline perspective.

    One of the examples I tend to give when illustrating the importance of the offline world from an online point of view is the world’s largest social media networkk. People tend to think of Facebook as something that’s exclusively online, but how did it actually grow - it was exclusively offline word of mouth.

    So if operate in a market where people understand the products or services you’re selling and they’re out there searching for them Google or going onto the app store and searching for an app that’s a bit like the one you’re selling, then by all means, that’s where you should be focusing your efforts. However, if you actually need to engage your audience and build those relationships then very often it makes more sense to go offline and have real conversations with real people.

    See you next time.


    The marketing genius archive - #1 Claude Hopkins, the man behind the perfect American smile

    Transcription

    The most powerful principles of marketing don’t change, which is why I like to look at the early advertising campaigns that shaped the industry.

    In the early 1900s an advertiser called Claude Hopkins was asked to work on a new toothpaste called Pensodent. This was at a time when only a very small minority of people regularly used a toothpaste. Initially he refused on the basis that it was a technical product, but eventually he was persuaded. What Hopkins did next would not only transform the toothpaste industry, but advertising at large.

    • Firstly, he realised that people weren’t going to buy technical detail, they weren’t even going to buy the promise of prevention of a decay in the future, they would only buy one thing, and that was a cure because a cure was the only thing that offered an immediate benefit and that’s what people buy - benefits. In this case, a beautiful smile.
    • Secondly, he identified a trigger that would make people think of the need for this benefit. He did this by asking consumers to run their tongue across their teeth and to notice what he called “the film”
    • Thirdly, and entirely by accident, he created a craving, which is essential if you are to develop a habit. You see there was an ingredient within the toothpaste that created a tingling sensation once people had finished brushing their teeth, and it was that tingling that gave people the sense of having clean teeth. This association was what people then craved and what in turn developed a daily habit for millions of people across the country.
    • Finally, during the launch phase he used coupons to test little variables on sales. For example, whey added the word “free” and actually found that sales plummeted by 75%. In another industry that might have had the opposite effect, but this was perceived as cutting edge stuff at the time and clearly people believed the word “free” undermined the scientific integrity of the product.

    Soon Pepsodent were selling so many tubes of toothpaste that their operations could barely keep up, and within three years they had gone international. Virtually all competitor brands replicated the tactics, all adding ingredients to produce that tingling sensation, and also to create more foam while brushing. Again, it has no impact on the teeth, but it makes us feel like we’re achieving something.

    That was all a hundred years ago but these principles are all just as true today and as marketers I think we can all learn a thing or two from Claude C Hopkins.

    See you next time.


    Finding your killer customer insight

    Finding your one killer customer insight

    Transcription

    When we conduct customer research, we have a tendency to want to go into loads of detail, creating audience profiles and giving them all names and daily routines and behavioural habits and brands they engage with, etc, and that’s all really good stuff. It’s going to help your content marketing, or whatever activity you’re engaged in, be 5%, 10% better, than would otherwise be the case. However, if we want to do something truly transformative and have half a chance of leading our market in the months and years to come, then we need something more.

    I want to illustrate this with an example from the gym market just because it’s one that I’m very close to. For years, the gym market operated a certain way, until one day, a smart cookie somewhere made the observation that the vast majority of their customers weren’t that bothered about the swimming pool, or the tanning salon, or the cafe. In fact all they really cared about was the gym kit. So they decided to strip out all those frills that accounted for 70-80% of the cost which meant that they were then able to reduce their costs by a similar proportion. Overnight the budget sector was born and within a couple of years the mid market had all but vanished. And it all came down to that one killer customer insight.

    What i particularly love about that example is that it had nothing to do with technology and so often when we talk about disruption now we assume that it has to come from a place of technology and so often that isn’t the case. It just came down to one person understanding their audience better than anyone else and in hindsight it almost seemed obvious, but isn’t that so often the case.

    Another example that I read just yesterday, is that this year the most successful pop name in terms of ticket sales was not Justin Bieber or Drake or Ed Sheeran, but a 1980’s British band called Depeche Mode. And therefore perhaps not surprisingly the most successful festivals this year weren’t the big names, but the specialist festivals targeting the over 35’s. So another key consumer insight with profound implications for the markets around it.

    So yes. conduct lots of research and create detailed audience profiles, but ultimately, if you want to do something truly different and truly remarkable, then you need to find that one piece of killer customer insight.

    See you next time!