Issue #60
September 20, 2007

Welcome to Inside Freelance Design (IFD), your free, bi-weekly e-letter from American Writers & Artists Inc. Every other week, you can receive this special alert with secrets, tips, and insights from AWAI's graphic design pros to help you improve your skills and reach your goal of becoming a professional graphic designer in the fastest time possible.

IN THIS ISSUE:
  • Lift Notes for Boosting Response
  • Quick Tip: Kerning for Natural-Looking Typography
  • EXTRA! EXTRA! News and Job Opportunities
The Lift Note: Direct Mail’s Secret Weapon to Boost Response
by Kristin Schwarz

Today, I’m going to talk about a component of direct-mail packages that usually doesn’t get the attention it deserves: the lift note.

In a recent article in “The Newsletter on Newsletters” (August 8, 2007), Craig Huey – president of the Creative Direct Marketing Group – called the lift note “direct mail’s secret weapon to boost response.” He points out that it can boost response by an impressive 5 to 25 percent.

A lift note is a short, handwritten or typed letter, often from someone other than the writer of the main letter. Its sole purpose is to “lift” response, hence the name. And it often does so by talking about the product from an entirely different perspective.

What does this mean to you as the direct-mail designer?

1) If the direct-mail envelope package you are designing does not have a lift note, you may want to talk to your client about including one. Adding a lift note not only benefits the client by boosting response, it also benefits your pocketbook since you get to design another component.

2) Lift notes increase costs for things like printing and insertion. However, they don’t have to break the bank.

For example, to inexpensively add extra pop to your design, you could use colored paper for the lift note and black or dark blue for the text. But choose the paper color carefully. For instance, stay away from pink when the lift note targets a male audience.

3) When designing a direct-mail package, you’re often under tremendous deadline pressure. Your client spends a lot of time with the copywriter getting the copy just right. As a result, there’s little time left for you to do the layout.

So even though it’s tempting to treat the lift note as a last-minute component, remember the statistics. Because a lift note has the potential to increase response by as much as 25 percent, make sure you give it enough time and attention before submitting to the client.

4) The lift note should be simple and clean. You don’t need to use any fancy design tricks or graphics. However, make sure the copy is easy to read, with breaks in the right places.

5) A lift note is a great place to add testimonials or endorsements in a way that makes them really pop. If you see that the sales letter does not contain many testimonials, suggest this to your client.

6) One final consideration about the lift note: If the package you are designing mails First Class, adding even a small element like a lift note may push the weight over the 1-ounce limit. And that can mean a dramatic increase in postage costs.

Check with your client. Pointing this out will make you look good in front of him … showing that you care about his costs.

If it turns out that adding a lift note will, indeed, push the package over the weight limit, that doesn’t mean you have to eliminate it. And here is where your direct-mail design knowledge really sets you apart from other designers.

One way to solve the problem is to suggest bringing the weight down by using slightly thinner paper for the sales letter. If your client tells you that’s not an option, consider designing the main components of the package slightly smaller, and have the printer trim them. Aside from lowering the weight, there’s a bonus benefit when you do this: The slightly smaller dimensions make your design stand out from all the typical 8.5 x 11 inch letters.

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QUICK TIP: Kerning Text to Make It Look More Natural
by Will Newman

Certain combinations of letters look better when the characters are moved a bit closer together. This is called kerning.

InDesign gives you three choices for kerning … two automatic and one manual.

Automatic kerning
You can automatically kern type by using metrics or optical kerning.

Metrics kerning is based on built-in information about the spacing between specific pairs of letters. Some of these are: LA, P., To, Tr, Ta, Tu, Te, Ty, Wa, WA, We, Wo, Ya, and Yo. InDesign uses metrics kerning by default, so specific pairs are automatically kerned when you import or type text.

Optical kerning adjusts the spacing between adjacent characters based on letter shapes. When a font includes only minimal built-in kerning, or if you use two different typefaces or sizes in one or more words on a line, use optical kerning.

To set automatic kerning: Set the text insertion point between the characters you want to kern or select a range of text. In the Character panel or Control panel, select “Metrics” or “Optical” on the Kerning menu.

Manual kerning
Use manual kerning when adjusting space between two letters or when setting large type for headlines.

To set manual kerning: Place the text tool insertion point between the two characters. In the Character panel or the Control panel, type or select a numeric value in the Kerning menu.

Or press Alt-Left/Right Arrow (Windows) or Option-Left/Right Arrow (Mac) to manually decrease or increase kerning between two characters.

Turning off kerning
Select the text you want to remove kerning from. Press Alt-Ctrl-Q (Windows) or Option-Command-Q (Mac) to reset the kerning. The kerning will be reset to metrics, regardless of which option you previously applied.

* * * * * * * * Advertisement * * * * * * * *

Get Paid What You’re Worth…

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You’ve presented your carefully thought out fee for a project. The client looks interested but says, “I can’t spend that much money.”

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EXTRA! EXTRA! News and Job Opportunities
  • GRAPHIC DESIGNER – North is a design firm that specializes in branding. Located in Toledo, OH, they have clients based all around the world. They are looking for an experienced designer capable of planning and executing a sophisticated design strategy. Candidates must have a background in both print and Web design. A degree and agency experience is preferred. You’ll need to be skilled with the Adobe Creative Suite and have a solid understanding of the print process. Send your information to david@northdesign.com.
  • GRAPHIC DESIGNER – Novelty Inc. is a forward-thinking product development company in Greenfield, IN. They need a talented graphic designer who’s ready to let his or her imagination run wild. You should have a portfolio that demonstrates your creativity and your ability to grab attention through design. Industrial design knowledge is a plus. Apply through the company’s website http://www.noveltyinc.com.
  • GRAPHIC DESIGNER – Smoothstone, an Internet communications company in Kentucky, has an opening for a graphic designer to join their team. You need to be energetic and detail-oriented, with experience designing for both print and the Web. You must also be a skilled writer. You’ll design for marketing materials, the Web, and branding strategies. Send your information to jwellspatton@smoothstone.com.
COMING NEXT ISSUE:
  • Working With Copywriters for Maximum Benefit
  • Quick Tip: Designing E-Book Covers
* ABOUT INSIDE FREELANCE DESIGN *

Inside Freelance Design is a FREE bi-weekly newsletter from American Writers & Artists Inc., available to AWAI members and friends.

© 2007-2008 American Writers & Artists Inc.

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