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How To Design An Effective Billboard

Here are two pieces of feedback that I got about my billboard manifesto: 1) “Sonya, more people have watched Office Space than you think.” 2) “This post is like the billboards that you’re criticizing.” Although I had good points (if I do say so myself, which I do), my suggestions weren’t presented in a clear, actionable manner. Hopefully this post will amend that. Most of the following design ideas apply to other types of display ads, like magazine ads or even web ads, but my specific aim is to improve billboards.

The process is slightly different for new brands versus established brands. (You are a new brand if most people have never heard of your company/product. You are an established brand if everyone already knows who you are and what you do.) The advice for new brands largely also applies to established brands, but not vice versa.

celebrate 125 years with Coca Cola
Photo by Elliott Brown.

Billboard Checklist For New Brands

#1: Define your objective. What do you want people to do after they view your billboard? Do you want them to visit your website? Buy your product next time they see it at Target? Simply remember your company when they’re prompted to think of your industry? It’s important to pin this down so that later you can evaluate whether the billboard accomplishes what it’s supposed to. Keep in mind, as a new brand, that getting your name/logo/image in people’s brains is CRUCIAL before you can expect anything else.

#2: Include essential information. These things MUST be on your billboard, and they must be big and readable: the name of your company, what your product is/does (if there’s room, also why people should want it), and where people can get it. Textually, here’s an example:

Safer Dog Leashes
made by Company Name
available at companyleash.com

Accompanying the text would be a picture of the dog leash. That’s it. Simple is good! People need to be able to process the information quickly, with little attention and zero intention. Prioritize clarity, and when in doubt, enlarge the font!

blowing a giant bubble
Your text should be as big as this bubble. Photo by Thangaraj Kumaravel.

Billboard Checklist For Established Brands

#1 is the same: Define your objective. How do you want people to react to your billboard? What do you want them to do? As an established brand, you may be playing a longer game, oriented toward perception as well as action. Do you want people to start associating your product with luxury, business, fun? Etc, etc.

#2: Signal your brand. You don’t need to lay out everything about the company and what you do, but you still need to show whose billboard this is. In a legible way! Depending on how well-known you are, this can mean putting your company’s name in a corner, or in some cases just the logo. Make sure that people can tell, from far away, what brand the billboard represents.

shot on iphone 6
Photo by Elvert Barnes.

#3: Core message. Suppress your desire to be clever. Jokey or sarcastic billboards can be done well, but it’s so infrequent that statistically speaking, you’d do better not to even try. Be straightforward. To use the example of “Shot on iPhone 6”, the core message is, “The iPhone 6 has a really good camera.” Boil down your core message to be as simple as possible. If you use text, use LARGE text.

HELLO light art installation
Artwork by Peter Liversidge; photo by See-ming Lee.

Now I gotta backtrack. Before you do anything: Step zero in any kind of marketing endeavor is to consider, “Is our [product/service] valuable? Why should people want it?” If whatever you’re offering isn’t useful and desirable, go back to the drawing board before you try to sell it. If you’re in a position where you can’t amend the product to make it better, your job is going to be a hell of a lot harder. More on that here: “The single worst marketing decision you can make” by Ryan Holiday. Also, this memo from Stewart Butterfield to the internal team at Slack (a workplace communications system) is a must-read. Salient quote:

“Just as much as our job is to build something genuinely useful, something which really does make people’s working lives simpler, more pleasant and more productive, our job is also to understand what people think they want and then translate the value of [our product] into their terms.

A good part of that is ‘just marketing,’ but even the best slogans, ads, landing pages, PR campaigns, etc., will fall down if they are not supported by the experience people have when they hit our site, when they sign up for an account, when they first begin using the product and when they start using it day in, day out.”

That’s it! Let me know in the comments, on Twitter, or via email (sonyaellenmann@gmail.com) whether you think this post is correct, super wrong, or how it could be more helpful. Feedback is welcome. Thank you!

In the Future Everything Is a Committee

Recent developments in “trends I find disturbing”… Farhad Manjoo interviewed Stewart Butterfield, one of the co-founders of Slack, an intra-office messaging service that’s being touted as the replacement for email. I don’t really care about email being supplanted in the workplace. What bums me out is this description of Butterfield’s worldview:

“He is betting that solo work is on the wane and that as all of our jobs become more complex, more and more creative and technical feats will be accomplished by teams rather than lone practitioners.”

Ughhhh. This is just like high school, being forced to participate in endless group projects. I am a perfectionist—thus a control freak—when I care about something. Working with other people is the worst. We almost always have differing standards. I want to be a lone wolf! My concern is probably really immature, but I can’t help it. Collaborating is so fraught.

Printmaking Linocut Childhood Angst and Frustration
$20 print of Childhood Angst and Frustration by Stage Fort Press.

Paying For Free Content: Cynical But Optimistic Reasons

Today I paid for something that I could have gotten for free. The process was kind of annoying but I still did it. Usually people put up with extra hassle to avoid paying, like when they install a program in order to pirate media. On the other hand, I voluntarily underwent hassle to pay $10 for something I didn’t need to pay for. What was it, and why?

It was a blog, which positions itself as an online book, called Practical Typography. I read an article that Matthew Butterick wrote about Medium, a platform that I find insidious. Then I clicked around the site a little. I saved an article about the font Times New Roman to read later. Crucially, I found the page “How to pay for this book” and read it. Butterick explains that he doesn’t like paywalls but wants to be compensated for his work. Basically, he asked me to donate. I didn’t—and don’t—plan to read all of Practical Typography. But I donated $10 because I respect what he’s doing and I want it to continue.

TYPOGRAPHY
Art by Scott Ogle.

I can’t put my finger on exactly what motivated me to chip in. This isn’t a website that I read often and am devoted to. It’s just something I came across while browsing, after following a link from Twitter. I wouldn’t pay $10 for a physical version of the same thing. And yet I voluntarily, at slight inconvenience to myself, gave the guy money. (The inconvenience was entering my debit card information, which I still haven’t memorized.) Maybe I did this because the author holds a view that I agree with:

“The im­mutable law re­mains: you can’t get some­thing for noth­ing. The web has been able to de­fer the con­se­quences of this prin­ci­ple by shift­ing the costs of the writ­ten word off read­ers and onto ad­ver­tis­ers. But if read­ers per­ma­nently with­draw as eco­nomic par­tic­i­pants in the writ­ing in­dus­try [by refusing] to vote with their wal­lets—then they’ll have no rea­son to protest as the uni­verse of good writ­ing shrinks.”

Quote from “The economics of a web-based book”. As a writer, I have a vested interest in convincing readers to pay for good writing. So of course I agree with Butterick. I think that’s probably why I donated. The other factor is identity.

People are fundamentally self-interested. We don’t do things that benefit other people for the sake of benefiting other people, but because of how the actions make us feel. Our culture prizes magnanimity, finds it to be publicly laudable, so there’s an advantage to being generous. Even if you don’t brag about it and nobody else knows, you know that you possess a personal quality regarded as admirable. That makes you feel good.

Free Form embroidery on recycled silk
Embroidery by Jacque Davis.

Everything I do that seems largehearted is actually selfish. For instance, giving out my zines for for free—I just want my writing to be read widely. Paying the other people who contributed to Balm Digest—I want to live in a world where the work of artists and writers is materially valued, so I take steps to create that world. All of it makes me feel good about myself.

Patreon succeeds not only because people realize, “If I don’t pay for this thing to continue it will stop existing, and then I won’t be able to enjoy it,” but also because being generous boosts their identity. Our culture commends that behavior. Which makes evolutionary sense: generosity nurtures strong communities, which enable our species to better survive and propagate.

(See also: Simon Owens on why publishers should pay writers even when they don’t have to.)

Freelancing Downsides

This post has been sitting around as a draft for more than a month. Whatever.

I’ve decided that I don’t want to be a freelance writer. Even if the effort-to-pay-ratio were better, I still wouldn’t want to freelance. I’m not interested in the kind of writing that brings in freelance money. (What’s lucrative? Business writing of various kinds.)

Freelance Ain't Free
Illustration by Mikey Burton.

I want to write to entertain, which means that I’m competing with a million other kids who can turn a phrase. We all want a slice of the limited pie. I have to figure out how to make myself prominent, how to jostle to the front. Consumers must be convinced that my work is valuable.

The original subtitle for this website described me as an “independent writer”. That’s still how I identify. It describes my outlook, both practically and philosophically: I’d rather control the whole process, without catering to anyone else’s strictures.

Obviously I can’t completely do that. For example, I don’t know how to build a website, so mine is made with Blogger. I don’t know how to make printer ink, so I buy it. The list of things that I can’t do entirely by myself is endless. Even when it comes to the simple writing, I need support. One or both of my parents will read each first draft; often Alex does as well.

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