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A few years ago I was working on the Coffee vs Gangs content series. After a successful launch, which saw Kenco help young Hondurans out of gangs by training them as coffee farmers, l found myself in an all agency meeting. After some initial self-congratulatory backslapping, discussion of the ‘raw authenticity’ led to a new addition to the group confidently chiming in.

‘I loved the first series and was wondering if it might be possible to see some of the kids from the gangs drinking Kenco’.

Awkward pause.

We’ll come back to that.

Fast-forward a few years to The Drum Content Awards, of which I recently had the pleasure of sitting on the judging panel. To kick off the day all the judges took part in an ice breaker, where we were asked to share our thoughts on ‘authenticity’ in content.

A question like this is catnip for content professionals. And the 25 of us, all released from our respective agencies formed a warm cosy echo chamber. One which made us feel reassured that we are all saying the same things to our clients and none of us are doing it wrong.

I listened. But I contributed nothing. Because the only thought I had ringing around my head was ‘isn’t all this just bollocks?’ Which wouldn’t have gone down well at all.

That’s not to say that my fellow judges didn’t engage in an intelligent and considered discussion. But this wasn’t about them. It was about the concept of ‘authenticity’ itself.

Before I go on, I dare any current creative or content specialist to review their proposals, treatments and pitches delivered in the last three months and not cringe at overuse bordering on abuse of the word.

The truth is, it’s become a dog whistle we blow on in front of our colleagues and clients to try and sell ideas without thinking about it. But when you actually think about it, it means very little on the outside world.

When was the last time anyone saw a piece of content and said ‘I love it because of its authenticity’?

Never.

Because no one ever says that.

Alongside ‘disruptive’, ‘authentic’ has become a nonsense husk of a word that means nothing and everything to us in our comfy communications and marketing circles.

That’s not to say that Kaepernick or Patagonia Black Friday didn’t come from a truly brilliant place. In the same way that featuring a bunch of troubled kids from gangs drinking Kenco obviously comes from a hideous one. But let’s not over inflate the sentiment behind this too much. Or to bastardise the words of Scroobius Pip –

Nike. Just a brand

Patagonia. Just a brand

Kenco. Just a brand

When a consumer engages with any form of content made by a brand or business an unspoken contract is entered into. ‘I know you are trying to sell me something or make me like you so I eventually buy something. But I’m willing to let you do that in exchange for getting something back’.

And this is far more authentic than authenticity. Because authenticity may be dead, but the authentic value exchange is very much alive.

I am willing to engage with your marketing, communication or advertising in exchange for you entertaining me. Making me laugh. Teaching me something new. Helping me with utility that enables me to do my job better.

Authentic value exchange. Much better. Not hiding behind the fact that something is authentic just for the sake of it when we all know what’s going on. Consumers are not stupid.

And that’s what was great about judging The Drum Content Awards. To see so many examples of exceptional work that creates a compelling value exchange between brand and consumer.

Examples that used comedy in exchange for brand trust around online security (Santander), that answered fuel economy questions in exchange for consideration of an electric alternative (Nissan Leaf) and that showed future parents what having children really looks like to build market share of their baby wipe brand (WaterWipes).

And by the way, in case you were interested.

We never featured any gang member drinking Kenco.

Now that’s authentic.

Feature Image Credit: ‘Who actually loves authentic content?’ Brands need to understand their value exchange

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Ryan Reddick, creative director, Edelman is a judge for The Drum Content Awards 2019. A full list of the finalists can be found here. The awards ceremony will take place in London on October 30 at The Marriot Grosvenor Square Hotel, tickets can be purchased now.

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Australian publishers Seven West Media, Network 10, SBS, Foxtel Media, Pedestrian Group and Daily Mail have joined forces to launch a programmatic ‘Editorial Video Marketplace’.

The new marketplace, run by Telaria, aims to simplify buyers’ access to this professionally produced premium content with daytime audience reach and scale, as per the official statement.

Luke Smith, head of programmatic sales and audiences at Seven West Media said: “The demand from advertisers has been clear – that there is a need for quality video delivering high viewability and completion rates within brand safe editorial environments at scale.

“It is important that the premium value and impact of editorial video is able to differentiate itself from other forms of short-form like social video. This marketplace, available programmatically, will be a means to make that easily accessible for buyers and advertisers at scale,”

Flaminia Sapori, head of partnerships at media agency Cadreon said: “It’s encouraging to finally start seeing publishers working collaboratively to provide alternative independent options in this space — creating ease of access, and most importantly, a new narrative for editorial video, giving it the credit it deserves, and perhaps start influencing more social budgets being redirected to new premium ecosystems.”

The news comes after the Australian Competition and Consumer Commission (ACCC) released its final digital platforms inquiry report in July calling on the government to act against the tech giants.

ACCC had raised concerns, at the starting of the year, about the market power of Facebook and Google including the companies impact on Australian businesses, particularly their ability to monetize content, as well as outlined concerns about the extent that consumers data is collected and used by companies to target advertising.

Feature Image Credit:The marketplace aims to simplify buyers’ access to this professionally produced premium content.

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Media veteran Mike Soutar, a former editor of FHM and co-founder of Shortlist Media, has been appointed chief executive of The Evening Standard.

The news brand, edited by former chancellor George Osborne, has suffered a turbulent time financially and has brought Soutar aboard to course correct.

Having co-founded Shortlist magazine (now defunct but survived by sister title Stylist), Soutar brings expertise in managing a print product distributed freely in cities, which is the model deployed by The Standard. He starts in the newly created role on 7 October.

Evgeny Lebedev, owner of the Evening Standard, said: “We are delighted that Mike has joined the Evening Standard at this important time for the company and wider industry and are confident that his vast media experience and leadership skills will make a great success of this new role.”

Soutar added: “I’ve been a regular reader of the Evening Standard since the late 1980s when I first moved to London. I look forward to working with the talented team to grow an even stronger business that will continue to play a central role in shaping and reporting the cultural and political development of the greatest city in the world.”

The title recently made editorial cuts and spoke of knitting digital and print teams closer.

Soutar, who has also served as a director at Ti Media and editor of Smash Hits, previously talked The Drum through the evolution of lad culture, having seen how profitable it was at the height of his FHM reign.

Feature Image Credit: Mike Soutar, media exec, featuring on BBC show The Apprentice

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It can be difficult for SMEs to remain competitive today, but AdRoll’s new report ‘The Ultimate Guide to Growth’ provides a detailed step-by-step guide to help small to mid-sized businesses, solopreneurs and entrepreneurs to accelerate their growth. The robust report is split into seven categories with each providing case studies and takeaway lessons.

Identifying audiences

The report stresses the importance of marketers to first determine their ideal customer, knowing this then allows them to accurately target them. It cites various characteristics to look out for when compiling customer profiles and suggests that marketers should also tap into customer geographics and work on understanding their online behavioural habits. Empathising with their customers’ needs will help marketers to capitalise on their audience’s activity.

Understanding competitors

While getting to know your customers is important, the report also urges marketers to understand how their competitors operate, so that they can have a strong understanding of their positioning in the market. Marketers should conduct research and analysis on their competitors to work out where marketplace opportunities and threats lie, as well as keep a close eye on their opponent’s messaging.

Know your USP

Key differentiators set companies apart, so identifying these – no matter how big or small they are – is vital. The guide advises marketers to focus on your key attributes but encourages them to avoid concentrating on replicable differentiators such as new technologies or competitive prices as these can easily be beaten by competitors.

Marketing strategy creation

Marketing strategies should act as a roadmap for growing businesses with clear steps as to how to reach and engage new and existing customers. Working out the company’s value proposition will help. Marketers should consider where their customers are struggling and how they can help relieve their pain through the services they offer. They should then develop messaging to reflect this strategy, set attainable goals and create a realistic marketing budget to ensure that progress can be tracked.

Using marketing tactics

The marketing strategy set out earlier in the guide will provide marketers with clear business goals and budgets. Working out actionable tactics and which marketing channels to push marketing messages out on is essential. The report suggests looking at AdRoll’s digital advertising tactics and offers marketers the opportunity to sync up their e-commerce website with their growth platform to attract new visitors and convert existing prospects.

Creating content assets

Marketers should work out which type of content asset will suit their strategy best; the report provides pros and cons of using visual, written and ad content formats, with advice on how best to combine content assets to save on time and avoid duplication. The guide reminds marketers that ad sizes and formats also vary according to each platform, so messages need to be punchy and to the point for them to be effective.

Implementing and testing

Testing is one of the most important steps in the digital marketing growth journey. The report suggests that ads don’t need to be perfect before going live and encourages marketers to experiment with different renditions of ads to see how audiences respond. Various techniques for testing are listed, ensuring that marketers can get the most out of the experiments they do on ads, so that they know what to look out for.

Measurement

The guide advises marketers to build quantifiable KPIs and metrics that correspond to the business strategy and goals outlined earlier. Marketers should look at various analytics tools and work out which would best suit their business, but the report urges them to continue testing tactics to ensure that processes and information are consistently refined throughout the journey. Attribution models can also help marketers to gain better insight into consumer purchase habits.

Feature Image Credit: The Ultimate Guide to Growth report, with AdRoll

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Prominent UK journalist Carole Cadwalladr, who led the reporting on Facebook’s Cambridge Analytica data scandal in 2018, has cautioned the advertising industry that it has a collective responsibility to tackle the issue of data misuse.

Speaking during an unscheduled event at Cannes Lions last week (20 June), the reporter called out the advertising ecosystem for its role in funding the platforms she accuses of undermining democracy – including Facebook – as well as a perceived lack of action in tackling the issue head-on.

“It’s really funny being here in the heart of the ad industry and seeing the yachts, the money and the beach clubs – while its central, central role in what’s going on here is being ignored,” she said.

Accusing the adtech yachts parked in Le Viex Port of “monetising a total surveillance apparatus” that was “exploiting [people] in invisible ways,” Cadwalladr said the lack of discussion around the issue on Cannes Lions’ main stage was “depressing”.

“In terms of responsibility, there’s something really key about Cannes Lions and the ad industry’s involvement in this,” she explained. “This is where the money is coming from. It is kind of depressing that there’s not a single talk happening in this entire week [about data misuse] with money swishing down through the streets.”

While there were talks hosted in the Cannes Palais around data and marketing technology, there were none with a specific focus on data misuse or ethics.

Cadwalladr said: “I know that individuals here are really troubled by what’s going on but as a collective industry level, it just seems to be that it’s being swept under the carpet.”

The Guardian and Observer journalist, who has been fiercely critical of Facebook, also called out chief operating officer Sheryl Sandberg for attending the festival but failing to “give answers to MPs in parliament” about Cambridge Analytica.

“As far as I’m concerned, Facebook is a foreign company which represents a national security threat and it shouldn’t be anywhere near our elections,” she said.

Sandberg appeared on the main stage on the Wednesday of Cannes where she simply said it needed to be “clearer” about the way it uses data. She was also invited to speak at WPP’s Beach event where, in conversation with chief executive Mark Read, she admitted that Facebook had to “earn back” trust.

Hacking Nix’s Cannes appearance

In one of the most controversial events at Cannes, former Cambridge Analytica executive Alexander Nix had been scheduled to appear on the main stage on Thursday (20 June).

The headline event was billed as his first speaking appearance since the firm sunk into administration after allegedly harvesting Facebook user data to influence the outcome of the 2016 US presidential race.

However, Nix pulled out the day before he was due to appear following criticism from various corners of the industry – including one ad director who penned an anonymous letter to organisers, describing the inclusion of the exec on the programme as a “monumental act of self-harm.”

His withdrawal also followed on from Cadwalladr announcing she was to host her own event during the festival.

Gillian Tett, The Financial Times’ editorial board chair and US editor at large, had been due to chair the discussion with Nix on “the morality of data” but instead found herself hosting Cadwalladr’s ‘Great Hack’ event with BBC journalist Jamie Bartlett in which they screened a documentary taking a deeper look into the Cambridge Analytica data scandal.

Tett said she had hoped her conversation with Nix was going to be a way to focus the topic of data misuse that was lacking throughout the festival, and get answers to some of the “bigger, more existential” questions.

She detailed how Nix had been “on and off” and “back and forth” with her in the weeks before Cannes Lions, finally withdrawing from the appearance.

“I’m not sure as to why he pulled out – you’d have to ask him,” she asserted. “We’ve been up and down and round the blocks on that one, he’s been cross with me, then not cross with me and there’s stuff I’ve written he doesn’t like.”

Discussing the practical ways in which the ad industry could help ensure people got real value in handing their data over to advertisers, Bartlett – who covered the use of data and tech in the 2016 elections – said GDPR was too reliant on consumers issuing companies with requests.

“People need to be aware of what they’re trading and what they’re getting back in return. At the moment it’s very one-sided and not very informed,” he said.

“People have no idea, they give away their data for a good Google search result or product recommendation, but they don’t know what the scale of that trade is because they don’t see what’s on the other side of it and they don’t fully understand who is going to misuse it in future.”

Bartlett said he wanted people to make informed choices about when they give their data away and for it to be as easy as possible for them to get it back.

He suggested that the advertising industry had the power to build the technology that could allow people to do just that – bundling up consumer data and repackaging it in a way that it could be sold, with both parties getting a share of the profit.

“We need the private sector to incentivise people to make money out of their own data. You can’t do it on your own, it’s not valuable but it is if you do it collectively. It will take decades for that to happen, the culture needs to change.”

As well as the Nix controversy, Cannes Lions 2019 was disrupted by protesters from climate change activist group Extinction Rebellion, who crashed spots like the Palais and Facebook beach, urging the ad industry to act on the climate and ecological emergency facing the world.

With a heavy theme of brand purpose and business for good running throughout the week, the lack of interest from ad execs in supporting the group’s mission has been lamented as “hypocrisy” by Extinction Rebellion’s team and other industry commentators.

Feature Image Credit: Cadwalladr called out the advertising ecosystem for its role in funding the platforms she accuses of undermining democracy / TED/YouTube

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Stop Funding Fake News, the social movement pressuring brands to boycott newsbrands that it believes routinely spread misinformation, is turning its attention to media agencies.

Anonymous officials from the activist group told The Drum that for it to achieve its goals of demonetising fake news sources, it has realised it must court the middlemen between brands and publishers.

Inspired by Sleeping Giants in the US and Stop Funding Hate in the UK, the group operates anonymously, claiming activists could be at risk if their identities were known.

Adobe, Chelsea FC, Harry’s, Experion, eBay, Moonpig and Manchester United are among the 40 brands and charities that the group has convinced to block out a number of sites off the back off a campaign it launched March 2019.

Now, it’s looking to advertising and media agencies to engage in a dialogue about the news industry. A spokesperson said agencies have approached the group, keen to grasp what sites should be considered for blacklist.

This is particularly beneficial for Stop Funding Fake News’ cause as agencies handling multiple clients ought to be able to widely blacklist offending sites – a step-up from the brand-by-brand approach the group previously took.

It said it is now expanding its network to help “persuade” ad agencies that it is “bad for their clients to be associated with the lies and racism found on these sites, so it’s in the interest of ad agencies to ensure they don’t put them there.”

It urges agency figures to get in touch at [email protected] for discussion.

Misinformation has been linked with deaths around the world, not to mention that fact that generating clickbait lies can be a lucrative trade. Earlier this year, The Drum explored the harms fake news causes globally, talking to misinformation experts, Wikimedia, and BBC News about how to curtail the issue.

As a largely ad-funded media, greater scrutiny is being placed upon the brands that are enabling these stories.

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Social media started out with Myspace and Bebo (oh the nostalgia) before graduating to platforms such as Twitter and Facebook. Here we are now in 2019, ‘hashtagging’ and ‘storying’ like it’s nobody’s business.

What’s next for the social media industry?

1. A shift in focus: less on feeds, more on private messages

The feed is such an integral part of social media networks that it could never just vanish overnight. Regardless, people are using social media more and more as a way to get in touch with people and have instant message conversations.

To remove the feed entirely could be problematic though. The feed is the main source of incoming for many social media networks as most people will spend their dwelling time here. It’s also used as a key space for advertising. With visual formats such as Stories and Facebook Watch gaining speed, it’s likely that advertising will inhabit these forms in the absence of a feed. After all, IGTV is in the midst of discussions on adding advertisements to the content as we speak.

We have no doubt that the feed will start to play a smaller role in the growth of social media networks, but it’s here to stay for a long while yet.

2. Despite numerous industry worries, influencers aren’t going away

2018 / 2019 has been a tricky time for influencers with a lot of bad press and finger-pointing documentaries. However, not all influencers are deserving of the bad rep.

Influencers who are troublesome in the industry will become extinct over the next few years. Their followers will lose trust and begin to diminish, while brands will ‘wise-up’ to influencer red flags and learn how to find influencers who will work more effectively with their brand.

Although social media networks are still likely to be saturated with #ad and influencers galore, it’s not really the end of the world. If trustworthy and authentic influencers are all that reminds then the odd paid promotion will be much less problematic than it is today.

One trend we expect to see more of very soon is brand marketers educating themselves more about the influencer marketing supply chain. This will enable them to only work with influencers who promote their brand effectively and actually sell their product. Watch this space for further developments.

3. Brands will be making more of an effort to plan their content and be more consistent across channels

As social media continues to be an incredibly saturated space, the quality of content must also rise.

Brands that are smart will invite a social media specialist to take a look at what they’re currently doing, as well as give advice on where social media (and the internet in general) is headed. This will enable them to get a leg-up on future trends and plan ahead for the next five years.

Brands not able to identify what works for their business will lose customers to their competitors.

Plan, execute, analyse and repeat what works.

4. Small communities will trump big networks for most businesses (even more than they already do)

We all know that Facebook Groups and messaging apps have become so very popular over the last couple of years as a way to unite people with similar interests in thousands of niche topics. Whatever your tipple, there’s a group for it, filled with like-minded individuals posed for a heated discussion.

The general public is bored of seeing the same story over and over again. But having the context of a group changes things. A post about a new coffee shop only becomes interesting and relevant to you when it’s posted within a Facebook Group specific to your location.

Furthermore, the average person is usually more comfortable participating in conversations and sharing opinions within a smaller community, without fear of judgement from the entire world wide web. This ‘safe space’ atmosphere will continue to help groups become a hub of activity and engagement.

One thing that won’t change is that social media is the cheapest, fastest and the most scalable marketing channel available to most companies. That isn’t going away, period.

Welcome to the next five years of social media marketing.

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Digital publisher Joe Media has unveiled a new logo and identity as the brand looks to deliver a more coherent look across its numerous sub brands.

The company, founded in 2010 by Irish entrepreneur Niall McGarry, has largely held the same identity for the last decade. Its look has been updated by an in-house team to run better on mobile and evolve to better reflect the intent of the company.

In particular, it has expanded from Joe Media to also encapsulate verticals such as Football Joe, Sports Joe, Politics Joe, Comedy Joe, MMA Joe, Fit Joe and Rugby Joe. As a result, it required an identity that can better adapt across numerous platforms and audiences.

Rebecca Fennelly, head of brand and communications, told The Drum: “The new design reflects our heritage as much as it does our growth, evolution and big ambitions for the near future. We are still the same Joe – same mission, values and personality. We want to enrich lives by entertaining and inspiring through our original content. We still pride ourselves on our continuous investment into legacy journalism and modern-day storytelling. But we are always innovating.

“It is something we’ve become known for. When it comes to new logo designs, there tends to be knee-jerk assumptions made that they mean a ‘rebrand’ or a move away from a previous identity. When others may need to change up shop in big ways, Joe is building on something we’ve been working hard on from day one. ‘Brick by Brick’ as we say here. We are very proud of our roots and the distinct brand heritage we’ve built for Joe, and it is all enveloped into the carefully calculated subtleties of the new logo design.”

The project was led by Joe’s head of design Jack Homan, having previously worked at Channel 4 and Channel 5, and was delivered by an in-house team.

On the work, Homan said: “Breaking out from Joe’s old box means we can be more playful with our logo. For big editorial and commercial features we’ll look to build bespoke artwork featuring our logo, using the word-mark itself as the boundary box. The old Joe logo was boxed in, we wanted to break out and let the typography speak for itself.

“The logo now has a balance that the old did not. The ‘J’ and the ‘E’ are the same width. The aperture of the ‘O’ is the same size as the top bar of the ‘J’ and the middle appendage of the ‘E’. Turn both the ‘J’ and the ‘E’ in on themselves and they will meet in the middle of the ‘O’. This balance allows us to more easily lock our new logo up with commercial partners and our sub-brands.”

He concluded: “Whilst a lot of work went into this new design, it was important we didn’t move too far from our original logo, but rather embrace the best of it in the new iteration.

Late in 2018, The Drum sat down with the title’s, head of content Evan Fanning, to learn about how it is scaling up promising talent in order to take on more-established media players.

He said: “Going to a place like Joe with the freedom to attack things without the newspaper deadweight was really exciting. We say we do ‘traditional media, but digitally’.”

 

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Channel 4 and Publicis Media have failed to resolve a multimillion pound dispute over ad prices, leaving big spenders like Asda without airtime across the broadcaster’s portfolio of channels.

2019 planning talks between the pair broke down in December, after Publicis took issue with Channel 4 upping ad prices despite a decline in audiences. It is believed Channel 4 wants to link ad prices to the wider figure Publicis Media spends with its sales arm, instead of basing the cost on audience share.

Last month, the Guardian placed the potential loss of the ‘blackout’ to Channel 4 at £210m, although a source with knowledge of the matter told The Drum the number was significantly lower.

The network and media giant were geared to reach a solution in eleventh hour talks held at the tail end of last year. However, it’s understood that Publicis Media clients will now be kicking off 2019 without a deal in place to air commercials across Channel 4’s 26 linear channels and three on-demand platforms.

Channel 4 and Publicis Groupe were unable to comment.

The hold up means rivals like ITV, Sky and Channel 5 could stand to benefit from ad spend being diverted their way.

Starcom, Spark44 and Blue449 are among Publicis Media’s cohort of agency brands. Clients include Samsung and the world’s biggest advertiser P&G – although the latter will be unaffected by the blackout since as it has its own deal with Channel 4.

In December, Channel 4’s chief commercial officer Jonathan Allan took the unprecedented step of penning a letter to Publicis Media clients to inform them of the tussle.

In a statement to media in December, Allan said Channel 4 had “put forward competitive proposal to Publicis” and would continue discussions to “hopefully reach an agreement that suits both parties”.

The duo’s inability to reach a compromise ahead of the new year follows on from a similar row Channel 4 had with Denstu Aegis Network in 2018 which seen clients pulled off its inventory for just over a week until a resolve was agreed.

Channel 4’s portfolio includes E4 and Film4. It also sells inventory on behalf of BT Sport and UKTV’s multitude of channels.

The news comes amid huge pressures from advertisers on agency holding groups to drive down costs and break down internal silos.

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2019 is set to see ecommerce sales increase by 19.5% globally, offering an opportunity to savvy brands who are up to speed on the latest web design trends and developments to drive significant additional market share.

But what do brands need to bear in mind in 2019 to ensure that they continue to deliver relevant standout online design, and therefore sales?

Mobile First

It’s vital to implement mobile first design in 2019. In 2015 mobile searches overtook those on desktop, making mobile search the highest search form worldwide. In accordance with this, Google has changed which sites they index first — they now prioritise mobile sites over those that aren’t mobile friendly.

However, it’s worth bearing in mind that this push toward mobile first design isn’t just based on ranking factors or SEO, the visual result must enhance the user’s experience on the device that they will most likely be searching from.

This focus on mobile first requires a fundamental shift in the way that websites are designed. It used to be that a site would only be created for a desktop or laptop computer and a mobile-friendly or mobile responsive design might be added as well. Today, it’s critical to design the site for the mobile user first, before creating a version that will also standout for those on desktops.

Micro-animations/movement

Using moving micro-animations along with feedback loops – that deliver movement when hovering over an icon – help make websites more usable and engaging. The details of the micro-interactions: the button clicks and the page transitions can greatly improve a user’s experience on your site, meaning they are far more likely to return. It’s this meaningful motion, connecting an action with a reaction, that satisfies a user’s desire for interactivity. And with touch interfaces, especially on small screens, it has never been more important to deliver motion in micro-animations and feedback loops to make the interaction smooth and guide users on their journey to checkout.

Custom and classic fonts

Expect a move back to custom and classic font design – clean but formal – with bigger and bolder typefaces, and a move away from humanist fonts as brands aim to standout against the proliferation of humanist typefaces.

Colour

Bright colours should be used more liberally in 2019 to deliver greater standout. The last two years has seen an explosion of big, bold colour across the internet with an increasing number of brands choosing to use their core packaging brand colours as backing for their graphics, with clashing tones moving away from the edgy start-ups into the mainstream. Those who have embraced arresting colours include The Premier League, Sky and eBay. Though bear in mind a classic font design and bright colours won’t be suitable for all. The choice of font and colours has to be right for the values of the brand and resonate with the audience they are targeting.

Optimise for search

As is always the case, making sure the design of your website is optimised for search algorithms is vital. Developments in web design will be driven by what Google’s constantly evolving search algorithm looks for. To this end, make sure that the content being communicated is relevant to your target audience and written as naturally as possible. Google looks for honest, human generated content. Of course, this must be quality content to encourage others to have weblinks back to your site to aid your SEO efforts. If users want to share your copy this highlights to Google that you are a valuable resource and the reward for your efforts will be an improved organic search ranking.

Speed

With research revealing over half of consumers leave a website if it takes more than three seconds to load, websites must be designed with speed in mind. Also, the faster your site loads the better it will rank in search results, particularly in Google search. This is not to say that websites should be sparse affairs with limited content and imagery for the purposes of speed. With better broadband it’s much easier to have image and content heavy sites that can load quickly. However if you have an app it’s seriously worth considering hosting it on a Progressive Web App (PWA) for speed purposes. A PWA can be launched from a home screen and can be ready in less than a second, often beating native apps in load times.

All brands need to constantly evolve their web design to continue to standout and deliver an engaging experience to their users that generates sales. By recognising and having these six web design points front of mind, brands will be well placed for a profitable 2019 online.

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James Pruden is studio director at Xigen

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