Ray worked with B-2-B and Consumer clients throughout the world ... including USA, Canada, Mexico, Asia, the South Pacific, Europe, the Middle-East, Central & South America, Africa.

This website is a compilation of Ray's 10 years on the Web.


Power Direct Marketing: The Book

Getting Started with Creative by the Numbers:
A List of 99 Creative Ideas

71. A mix of photography with illustrations in many cases will work best.

A photo series showing people in action using your product. Plus, illustrations that outline the technical characteristics of the "black box," which may be very important to an engineer or architect or other technical person. These can be effective together.

72. Photos should be used to add to your message.

Art for art’s sake in direct response is NOT necessary. Many lead-generation packages are void of all art/graphics. Copy only.

If a picture is worth a thousand words, show me a picture of the Constitution!

Make sure there is a reason for the graphics—a sales reason.

73. Use illustrations or line art to show quality details, product benefits, and suggested applications of your product. Especially where good photography is impossible or impractical to obtain.

Line art does work very well in the presentation of technical products, certain food products where print reproduction quality is questionable (such as in newspapers), for architecture, fashion, and for any easy-to-understand product. And, for services where there is no tangible product to picture.

74. A good picture works to support good copy.

Pictures with people should be used in your catalogs, brochures, and in print to add interest, invite inspection, dramatize problems.

Packages with people pictures are always more interesting than those without. Many of your select audience will be open to helping attractive-looking people. Use good photography.

75. In every case where photography or an illustration is used, a caption under or beside is a necessity.

Don’t leave the picture or drawing "hanging" for the reader to guess what it is, and why they should look at it, or to determine what it means. Without a caption you have a 50–50 chance your prospect will miss the benefit you are showing.

76. Use easy-to-read type.

A clean, clear, crisp typeface. Serif typefaces are much easier to read—they include the feet. Like the typeface in a well designed book.

77. Use type that's large enough to read.

Many of your readers wear glasses. There is a reason—they can’t see too well! Make certain the type size is large enough to read easily. The type size in this book is 11 point.

78. Don't go wide.

Just as paragraphs should not be too long—to make for easier reading—blocks of body copy should not be too wide. One measure is to keep each line of copy to a length of 40 characters or less.

79. Break up large blocks of copy.

Break copy blocks with bold subheads, columns, photography or illustrations, and other means of design. Graphics can play a very large part in making your message easy to read and understand.

80. Avoid reverse type—white on dark background—because it is very hard to read, even with large serif type.

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