Email Marketing

Sweat The Small Stuff

We were recently asked to talk at an Email Marketing Summit by Figaro Digital and our C.O.O. Tony MacPherson presented on “Sweat the small stuff”. A look at all the nuances, the 1 percents that make the difference in email marketing campaigns. The attention to detail that really makes a difference to your bottom line, not a silver bullet but a long term strategic change.

Depicts a lozenge button in email

A look under the hood

So, this week with Black Friday in full throw we thought we would give you a sneaky look into what the presenter sees when you go to an event to see a talk on Email Marketing or CRM or any of the wonderful seminars out there. You can download Tony’s presentation here… However, this time we’ve left the presenters notes, the explanation, what Tony was seeing as he presented. This will explain the slides in a way just looking at them doesn’t.

Take a look and let us know your thoughts.

Email Design

It’s just a [colour] theory

Do you work in marketing? Then there’s a good chance you’ll have seen a colour theory chart like this one:

Colour theory chart

There are a few variations kicking about, and they can often be found doing the rounds on LinkedIn. These charts all follow much the same pattern: emotions are grouped by colours, and an assortment of brand logos are cherry-picked as examples.

The trouble is that it doesn’t take much scrutiny to spot weaknesses in the logic or think of contradictions. Ferrari with its yellow logo is in the optimism and warmth group, but I doubt anyone would argue against exciting and bold as better descriptors. Even their cars are rosso corsa. Or what about BBC News? It does have a red logo, and yet would seem more at home in the blue sector of emotions.

So, it’s easy to poke holes in this. Does that mean that colour theory (in marketing) is all wrong?

The age of oversimplification

The answer is no. It’s not all wrong. Things are rarely so black and white.

But we’ve inadvertently highlighted the problem. Social media is the land of brevity and bite-sized absolutes. Content candy is addictive, and reality is inconveniently complex. On an algorithm-driven platform like LinkedIn, engagement is valued above education.

Armchair psychology

On the topic of education: professional psychology is a field that demands years of study. I can’t claim to know the precise stats, but I’m willing to bet that ninety-nine point something percent of marketers are not qualified psychologists. Marketing techniques like split testing can certainly yield insight into customer behaviour but I would hesitate before labeling Monday’s A/B test as a psychological study.

Colour psychology is a subject that can fill a 764-page, professor-authored book. Is it possible to condense such an expansive topic into a meme-sized infographic?

Hue are you?

Let’s go back to a design and marketing perspective on this. Colour is certainly an intrinsic element of branding. It’s often a simple way to differentiate competing brands within a particular sector at a glance.

Back in the day, the big three UK mobile networks were Orange, O2 and Vodafone. The orange one, the blue one and the red one. I can’t say I ever thought of them as the friendly one, the dependable one and the passionate one.

The scope of these colours extends beyond the logos. Their websites and marketing in general predominately feature each colour. It’s colour-coded brand recognition.

A visual key change

Brands can capitalise on this colour familiarity. If there’s an important announcement to be made – perhaps a product launch or an off-topic statement – a one-off change of palette can be an effective attention-grabber.

Context is everything

Colour associations vary depending on context. A blue sky is positive, but feeling blue is not. Green can signify safety, but you wouldn’t want to be green around the gills.

Likewise, the colour of a brand’s logo or a piece of advertising is just one factor in the overall mood. An important one, of course, but one that contributes alongside typography and shape and imagery and tone of voice.

True colours

There is certainly an element of truth to these simple colour charts, but design is a broad, complex topic. It deserves better insight than like-farming posts for social media. The real world is far more colourful.

Artificial intelligence

What does AI mean for human creativity?

Great art is special. Despite the gratuitous overuse of superlatives on the internet, very few works can truly be described as awesome. A masterpiece is a rare thing, as it should be.

In order to produce a work that merits such a lofty accolade, the artist must possess a world‑class level of skill and talent. Nobody can compose a symphony for the ages or brush a Louvre‑worthy painting without first dedicating thousands of hours to mastering their craft. In short, it is hard work.

But what if it wasn’t?

The age of generative AI

When I first heard about Midjourney, I was intrigued. A platform in which you could type anything that pops into your imagination, and it will conjure up an image? It sounded too good to be true.

And in a way it was. After the initial novelty wore off, the glitch‑riddled results became tiresome. With the site’s communal nature, it quickly became apparent that the vast majority of requested images were inane dross. Keanu Reeves eating a bowl of baked beans? Hold my sides!

Things have moved on since then. Midjourney is much improved. In addition to drawing pictures, there are generative AI applications that can answer questions, offer advice, assess your writing, tell stories, generate code, create a logo, compose music, and produce full‑motion video. The creative results are usually blatantly unconvincing and have a telltale artificiality, at least without some post‑processing. Nonetheless, we’re talking about a technology in its early stages and one that is developing rapidly.

AI-generated illustration of a robot painting a picture

Technology’s role in art

Generative AI is far from the first catalyst for a technology‑versus‑talent debate. The camera was considered a threat to painters. Why go to all the messy palaver of a canvas and paints when you can simply press a button and capture a scene in an instant? Electronic music was – and sometimes still is – criticised as a rigid and soulless form of aural creativity.

But for every detractor, there is an advocate. There’s a convincing case to be made for the use of the tool being what matters, rather than the existence of the tool itself. Few would deny that Ansel Adams is a masterful photographer, or that Vangelis is a talented musician who had the vision to explore modern technology.

There’s another important point: despite initial fears, these new technologies did not replace their more traditional cousins. It seems silly now to imagine that synthesisers might have made acoustic instruments obsolete. There’s plenty of room in the creative world for painting and photography, both analogue and digital.

Art versus design

Art is subjective, and not only in terms of personal tastes. The very nature of art is a matter for eternal debate. Arguably the most important single value of art is expression. Expression of thoughts, and ideas, and emotions. These are innately human qualities that a computer cannot replicate. Not yet at least.

Design, on the other hand, represents a more functional dimension of creativity. There’s usually a defined objective, in contrast to the nebulous experience of art. While there is often an overlap between the disciplines, design is more clinical, and art is more interpretive.

Tearing down barriers

The challenge with any creative endeavour is taking the vision in your head and making it a reality. Skill therefore is a barrier. By virtue of being difficult to produce, a work of creativity is worthy of our attention.

But not everyone has the time, natural aptitude or even physical ability to become a great painter or musician or moviemaker. I doubt many people would consciously want to block someone’s desire to create. Therefore a more accessible point of entry is surely a good thing. Generative AI offers a means of creation from pure imagination, without a long and arduous path of learning.

Imperfectly perfect

Many years ago, I had an impromptu conversation with a stranger in a bar about AI‑generated movies. It was largely what if. At that point in time, I didn’t really expect to see such a thing become a reality in my lifetime.

One of the talking points was the concept of tailoring an existing film to personal preferences. I’m sure we’ve all watched films that were so close to greatness, were it not for a few niggling flaws. Well, what if a computer could refine it? Out with the immersion‑breakingly overblown finale, in with the ending of your dreams. It’s perfect now, right?

But is computer‑generated perfection really a desirable goal in art? Flaws are part of the human condition. Art is a thing to be discussed, warts and all. If everything is ‘perfect’, nothing is special.

A creative tipping point

We’ve established that technology in itself doesn’t negate artistry. A paintbrush or a violin is a piece of technology. Even the scratching of a mammoth into a cave wall requires a tool. So, unless we consider anything beyond melodic human wailing to be cheating, technology is a part of art.

Generative AI can often serve as a creative aid. Output can be influenced, refined and repurposed. That demands human creativity. And if there’s a human at the helm, then the finished work will still carry some kind of meaning. Something is being expressed.

But what happens when the tool becomes so sophisticated that the need for human input is thoroughly diluted? Right now we can tell a computer what we want it to generate. Maybe next we will only need to think it. Perhaps the technology will advance to the point that we can skip even that mental exertion, and instead wait to be served creations that the computer already knows to be to our liking. At some point, the balance swings towards computer-generated rather than computer-aided. Perhaps we are already past that point.

The WALL‑E warning

From Metropolis to The Terminator to Black Mirror, our storytelling has often incorporated themes about the dangers of technology. But the one that stands out to me as the most prescient is Pixar’s WALL‑E. For those that haven’t seen it, it depicts a future in which humans live a coddled but empty life. Machines cater for mankind’s every need, creating an existence of pure consumption while human connection and knowledge are lost.

Back to the real world. Current AI technology is primitive compared to the examples we’ve seen in fiction. Artificial general intelligence (AGI) has yet to be achieved, and perhaps never will. Nonetheless, it’s not unfeasible to imagine AI advancing to the point where our technological dependence becomes a serious concern. Creativity is just one aspect of our lives that is already influenced by AI. And while it’s correct to say that it is human ingenuity that brought us to this point in the first place, that is too indirect a factor when considering the potential long term effects.

The best of both worlds

AI isn’t going away. Humans by nature push forward and strive for more. Onwards and upwards!

But it’s always nice to ‘get away from it’. Modern life takes place in the digital world to an unhealthy degree. Maybe it’s time to turn off the computer, dust off the old drawing pencils set, and create something a little more pure.

Email Marketing

User experience in email design

Email is a fantastic graphical way of communicating with others. But so often in email design the primary function of an email is forgotten. It may be time for a fresh look at user experience in email.

Sure, some emails are just to pass on information, but nearly every single other email is about selling. It is currently impossible to complete a purchase with just an email but this is no bad thing, it streamlines the email’s function. The email exists solely to drive traffic to a web page.

The email exists solely to drive traffic to a web page.

Email is not website-lite

This key idea is so often lost in email design. Often it is closely tied to reproducing a similar or lesser version of a website instead. I think this is a terrible waste of space, and poor design that doesn’t challenge the ways email should look.

Instead of the ubiquitous ‘view in browser’ link, the logo, and a site navigation bar, why don’t designers just go straight into some products? The Subject line, Pre-subject line, From address and Friendly From address could all be used to establish the brand. The ‘view in browser’ link doesn’t have to be at the top. Lastly the navigation bar is just a poor version usually of what is on the site. Furthermore it nearly always links away from the main campaign … which is the primary purpose of the email!

Emails are ephemeral messages, they focus on what’s happening now. Including links in a navigation bar at the top of an email design just takes the user away from the sale that is happening now. This is a bad user experience. It’s equally bad for the sender because the click has been wasted. The purpose of the email was to get the user to go to the sale section and now they have clicked something else in the navigation bar.

Link with purpose

Emails also need to consider where they are driving traffic to. If it is easy for people to complete a purchase from nearly any page, that’s great. However if the email can misdirect users to contact pages or other areas of the site before the reader has even seen the primary content of the email, that’s not great. There would be an argument to say the content is incorrectly ordered.

Large full-width images are also a component that can affect the overall user experience of an email. First, it must be said stated that they are necessary and often provide some much needed beauty and spectacle to a design. However, they can be tiresome to scroll through and take up a lot of space for a single link. Consider their use carefully.

Text links form the backbone of the internet and were the first types of link on the internet. In email design, however, designers don’t always stick to the rules and sometimes only use bold links or just colour them differently. Always apply underlines to text links. Format them with sufficient font size and line height so that they can be clicked easily. Unfortunately, it is not uncommon to find many text links all squished into a paragraph of small text. This makes it very hard on some smaller screens to click the link you intended.

The primary message must be the focus in order to provide a good user experience in email design. Links that might scatter users all over the website should be kept to a minimum and collected at the bottom of the email. Analysis of email heat-maps always show the vast majority of clicks happen toward the top of an email. They gradually decrease as you move further down the email. With this in mind, email designers should focus on making the primary message content of the email as close to the top as possible. Migrate all other types of content towards the bottom.

The courage to break convention

This could mean a layout that reverses the content order completely would be a better email design. Start with the products you want to focus on, then any other content and finally add the branding and any footer content necessary. This would be designing in a manner that takes into account where the most clicks happen and relying on people to know who sent them the email. This is a step designers have so far been too scared to take.

To this date I have not encountered a brand that has been brave enough with their email design to use such a forward thinking approach. There are some examples, though, where brands do drop superfluous components such as navigation bars, however I have never seen one brand completely flip the email design.

Design for clarity, not confusion

Individual components in email design often provide terrible user experience. For example, an email might be trying to sell a high cost item. Instead of solely linking to that product, the email links to all sorts of other things relating to that product. For example, the product might be a new car. Rather than taking the clicker to the new car page it links to the car accessories page. It can be argued that at least the user is on the website, but the point of the email was to sell the car. The goal wasn’t to sell windscreen wipers for their existing car. Polluting the layout with complementary links to add-ons or related products only decreases the traffic to the main intended link.

To have the best user experience in email design, the email’s components need to be concise and link to a single location. Prioritise content order and remove superfluous components. Subject lines and From addresses should factor into the email design. Place recurring content at the bottom of the email.

Email best practice

Email accessibility: are you leaving anybody out?

Communication. That’s what email is all about. The same is true whether you’re using it to apply for a job, or to seek help from customer services… or to market your product to thousands of customers.

Marketing emails typically go to lots of different people using lots of different devices. Your objective is to convey an equally intelligible message to all of them. That brings us to the concept of accessibility.

Defining email accessibility

Firstly, here’s what accessibility is not:

  • An inconvenience
  • An afterthought
  • Exclusively a matter of visual impairment

And now for what it is. Mozilla (the developers behind the Firefox web browser) describe accessibility as: the practice of making your websites usable by as many people as possible.

Applying this thinking to our favourite medium, it means emails that can be easily understood, navigated and interacted with. We want our mailings to render optimally in any application on any gadget. They must impart a clear message and invite a defined action from the customer. And accessibile emails are open to people whatever their level of physical ability.

Email accessibility is a huge topic, encompassing many human and technical factors. Let’s take a look at some of them.

Clarity in message, design and function

A marketing email usually performs two main functions:

  • Communicates a message to your customers.
  • Invites them to take action in response.

Concise copy and a user-friendly structure support those objectives. Worry not – that doesn’t mean your email needs to be sterile and unimaginative. There’s still plenty of scope for characterful writing and vibrant imagery. The art is in creating an eye-catching design that supports your message rather than overwhelming or obscuring it.

Accessible copywriting begins with the subject line. Good, honest information beats vague open-bait every time.

Image of good and bad versions of an email subject line

I like big buttons and I cannot lie

There’s a tendency in email marketing to go link-crazy. Every heading, every subheading, every image, every block of text… and even empty space – all clicking through to web pages. That usually means ambiguous destinations and multiple links to the same places. The technical term for this is a mess.

The solution: buttons. Big ones. Big ones with clearly defined calls-to-action. Your customer should know in advance what sort of content to expect upon pressing it. And don’t forget to include plenty of breathing space around those buttons. You don’t want links to different places squashed up against each other, especially on touch-screen devices.

Don’t get left in the dark

Dark mode took off a few years ago, and remains a popular display option among those who care about things like battery life and corneas.

It can have a dramatic effect on the way your email is rendered. And often not in a good way. Images can be camouflaged against recoloured backgrounds, or left floating in unsightly squares.

Email being email, the rendering methods for dark mode are not consistent from one email application to another. It therefore requires an assortment of coding and imagery techniques to create dark mode-friendly mailings. Dark mode-specific CSS classes are possible. PNG format images with border effects help them stand out, should they be unexpectedly displayed atop a dark background.

Comparison of a logo as seen in light and dark modes

The technical details are a complex topic for another day. But let’s be clear on the objective – you want to optimise your email for dark mode, not override your user’s preferences.

So many apps, so many devices

Sorry in advance, but I’m about to throw a bunch of words at you. Here goes.

Desktop computers, laptops, tablets, mobiles. Screen sizes, model versions, display settings. Desktop software, webmail services, mobile apps.

My point: there are many software and hardware combinations out there, and your marketing emails could be viewed on any one of them. You want your email to be just as legible on a dusty old laptop running Microsoft Outlook 2016 as it is on a brand-new iPhone.

Responsive email – i.e. that which is coded to fit to any screen size – is the answer. It’s standard practice nowadays, but that absolutely does not mean that it is always handled adequately. All too often, mobile rendering remains a secondary concern – leading to visual problems like tiny text and confusingly mismatched imagery. We’ve written extensively about responsive email in the past, but let’s sum up some of the most important points:

  • Plan your responsive design from the outset. The mobile layout should never be a secondary consideration.
  • Support for HTML and CSS in email is extremely varied and somewhat limited. An email developer must understand how to code effectively for all major devices and email services.
  • Be prepared to simplify an overly-ambitious design. Fanciness for the sake of fanciness is not in the spirit of accessibility.

Even if you’re confident that your email is perfection itself, always include a link for it to be viewed in a web browser.

Hear me out: your emails could be confusing to screen readers

I mentioned earlier that accessibility is not all about visual impairment. It is however an extremely important aspect, and will largely be the focus of the remainder of this article.

A screen reader is a piece of assistive software that will audibly describe the content of an application, web page… or indeed an email. You probably have a screen reader right in front of you right now. Press COMMAND + F5 if you’re on a Mac, or CTRL + WIN + ENTER if you’re on a Windows PC. While the use of a screen reader takes time to master, this will give you a helpful insight into how a visually impaired person might be interacting with your content.

As technically incredible as screen readers are, it is unfair to expect them to do all the work. A website must be designed and coded in a way that a screen reader can navigate and interpret. The W3C Web Accessibility Initiative (WAI) publishes extensive guideance on this topic, and a lot of the advice carries over to email.

Let’s take a look at some ways to develop emails with screen readers in mind.

Write semantic code

Do you shop in supermarkets? They have signage to help you find your way around the array of aisles. ‘EGGS’ here, ‘HOUSEHOLD ESSENTIALS’ over there. If those signs didn’t exist, your shopping experience would be a lot more frustrating. An email without semantic code is a bit like a supermarket without signs.

Semantic email code can be defined as meaningful HTML tags. These are the basic elements behind the scenes that make up a mailing. Here are a few important ones:

  • <header>
  • <nav>
  • <section>
  • <article>
  • <h1> (the main heading on the page)
  • <h2> to <h6> (increasingly minor headings – seriously, I don’t think I’ve ever gone past h3)
  • <p> (a paragraph)
  • <strong> (bold text)
  • <em> (italic text)
  • <footer>

But there are also multi-purpose, non-descriptive HTML elements:

  • <div>
  • <span>
  • <table> (for the presentational purposes of email, that is)

Those last three are far from invalid. But it’s easy to be lazy in web and email development alike, and rely on them too heavily. In fact it’s actually somewhat rare to code particularly semantically in email.

But guess what – descriptive HTML tags help screen readers know what’s what. Say your main heading is just sitting there in a generic <span> tag. A screen reader won’t know that it’s any more significant than any other text that happens to be floating about on the page. If it’s wrapped instead in an <h1> tag, the screen reader will announce it as “heading level 1”. Now the user better understands what is being communicated. Construct your entire email with semantic code and you communicate useful information to those who can’t see it.

Similarly, sequence is important. Screen reader users will often be using a keyboard to navigate through the email. By default this will jump from item to item in the order they appear in your code. Make sure it makes sense.

And while there is actually a way to override this sequence, doing so is so far removed from best practice that we will discuss it no further! Far better to construct an email that follows a logical sequence in content and structure.

Mark your bricks as bricks

Modern websites are constructed with the finest materials available – divs, spans and all sorts of CSS-styled goodness.

Emails are built using a more… rustic method. They use HTML tables for structure, just as web pages did once upon a time.

When a screen reader encounters a table, it assumes that it is a table of data. Something like this:

Image of a table showing populations of capital cities

A screen reader may therefore produce confusing results when dealing with the structural table of an email. There’s an easy fix for this. Just apply the following HTML attribute to all of the tables that comprise your email:

role="presentation"

Congrats – you’ve just told screen readers what your tables are for, and made your email immediately more accessible.

Let text be text

When you write a text message to a friend, do you take a screenshot of it and then send it as an image? Unless you’re charmingly eccentric, I suspect the answer is no.

The same principle applies to email. And yet countless companies – sometimes even the biggest of corporations – produce marketing emails in this roundabout manner. Paragraphs of text are drawn up in a design application, saved as JPEGs and dumped into HTML emails. Why?

This practice is so widespread that phrases such as ‘live text’ have sprung up. Let’s get out of that way of thinking. It’s just text.

There are probably multiple factors at play here. Brand guidelines and typography. A desire to achieve complex layouts in a medium that doesn’t make it easy. Or it could be the it’s-always-been-done-this-way mentality.

Accessibility and usability trump all of those things. There are all sorts of reasons to use proper text. It renders sharply and at a consistent size, whereas images shrink and grow. Users can zoom in without the letters becoming blurred. Chunks of text can be selected and copied. And it’s the purest form of copy for screen readers to detect.

Web fonts are reasonably well supported in email these days, so you don’t even need to lose your brand typeface. Now all of the boxes are ticked.

Animated comparison of text and image versions of the same content being scaled

Pictures speak a thousand words

But only if you let them. And you should probably cut that down to a handful of helpful, descriptive words.

HTML comes equipped with a thing called alt tags. That’s short for alternative. These tags allow you to attach text content to any image on the page. We can use them to describe what is pictured or relay copy from a heading. Normally the alt tag goes unseen.

They are however of critical importance for users who cannot see your image. That might be someone who has chosen to turn pictures off, or perhaps the file has failed to load, or it could be a person with a visual impairment.

Take a look at a few examples:

Overhead aerial photograph of a hotel's outdoor pool, surrounded by trees and rooftops

alt="Overhead aerial photograph of a hotel's outdoor pool, surrounded by trees and rooftops"

Watercolor painting of a pink flower in a plain background

alt="Watercolor painting of a pink flower on a plain background"

Example heading saying SALE NOW ON

alt="SALE NOW ON"

Without these descriptions, the content of these images would be completely concealed to a screen reader user. By typing just a few words, you have produced an immeasurably more inclusive email.

One more thing – emails often include some purely decorative or spacer images. Just leave the attribute as alt="", and screen readers will know to ignore them.

Self access-ment

We’ve covered a reasonable amount here, but this is a topic too broad to fully explore in a single article. There are plentiful accessibility resources online, even for the relatively niche branch that is email.

Among those are tools to analyse the accessibility of your web page or email. Some of these are commercial products, but there are also some handy free ones.

Paste in your email code at accessible-email.org and you’ll see an instant report with suggestions for improving accessibility.

You might also wish to try WAVE – web accessibility evaluation tool. As the name states, this is intended for web pages. But much of the feedback also applies to email, so there’s nothing to stop you popping a ‘view online’ link in there.

Perhaps most useful of all is a simple checklist. That’ll let you score your emails consistently according to your particular requirements.

Here’s to more inclusive emails

Making your emails accessible is a complex task – but it doesn’t need to be an extra one. Accessibility standards are intertwined with email best practice. By putting accessibility at the core of your design and development process, you automatically produce better emails all round. Everybody benefits.

Perhaps the key to accessibility isn’t to think of it as a separate subject at all, but simply the act of making a good email.