Creative Cut

The Literary Calligraphy catalog’s product collection is a blend of poetry and nature’s finest images, captured by calligrapher and designer Susan Loy. After reading its story cover to cover, I was hooked. I found the merchandise charming. Each piece appears specially chosen for its grace and inspiration, pulling messages from the Bible and much-loved authors. Art and copy teams work together beautifully in creating the items.

Ironically, they weren’t as successful assembling the catalog, which just isn’t an effective sales tool.

As a direct mail vehicle, Literary Calligraphy’s catalog needs to use the best practices of direct mail. The artwork inside the frame and its poetry are the prime reasons for selecting these gifts, but neither art nor text are showcased in a consistent manner. What dominates is the framing, yet the page that lists all 21 frame styles with pricing is very confusing. Typeface should be readdressed. The catalog’s small format and type size make reading a challenge. Product shots need to be upsized so they can be seen. And that’s just the beginning.

CoversOpening Spread
Opening spreads are typically used to identify brands and motivate customers to buy, but this one isn’t handled as a spread.

On the left-hand page, Susan Loy’s letter addresses the uniqueness of the brand, the inspiration behind her work and an overview of what customers will find within. Below, a special service offering, custom engraving, works as the value-added feature. However, an easy-to-order assurance statement or satisfaction guarantee would help reinforce the brand and put customers at ease with purchasing.

On the right-hand page, the table of contents (TOC) identifies 50-plus products in alphabetical order, which presumes the target audience is specifically looking for the title of a piece. A TOC doesn’t warrant prime selling space in a catalog of this size, and, if used, should group the collections, not list every item.

The hot spot on the spread (upper-right corner) showcases the “Perfect Wedding Gifts” — two framed “1 Corinthians 13” hangings in different artistic interpretations — but in showcasing two very similar products, the buyer will already have a reason to reject buying one of the items. Who needs the same reading framed twice?

• Redesign pgs. 2 and 3 into a hard-working spread;
• eliminate the table of contents;
• edit the designer’s letter to be a quicker read;
• add a customer guarantee; and
• rewrite custom engraving plug in a direct mail style.

Ending Spread
In another hot spot, this spread is well-merchandised in regards to product density, and the page header “Literary Calligraphy Classics” addresses the type of products featured. However, each product headline is not only set in caps, but also bold and quotes. Copy and art are competing for attention as opposed to working together. Pacing is disturbed because eye flow is interrupted. The reader is tempted to just turn the page.

• Avoid caps in product headlines — they’re difficult to read when stacked;
• caps, plus bolding, plus quotes is overkill in drawing attention to an item;
• redesign art and copy so they work together with the merchandise to deliver one powerful message;
• format headlines, specification copy (print size, etc.), product copy and pricing in different types for easier understanding; and
• upsize artwork to show more product detail.

Most Challenging Pages
Pg. 11: Language of Flowers Collection. The purpose of this page is unclear, as it features nine products and 24 listings, with an invitation for the reader to “See these on the Web site.” The reader is challenged to match copy with art and pricing. This is a lost opportunity to sell merchandise due to a lack of creative direction.

Pg. 10: Choosing Prints, Mats, Frames. This page would benefit from using a grid readers could follow in matching letters, descriptions and images. Using the letters as is serves the company better than customers, who don’t understand an OR from a CS.

In addition, this page needed to be proofread better. In one place it says, “The above left seven wood frames ...” but copy is on the left, images to the right. As copy and art often move around during design, it’s understandable that mistakes are made prior to release. It’s not understandable for these to survive into print and customers’ hands.

Center Order Form. One of the high points of the catalog. It’s easy to read, easy to follow, orderly, persuasive, clear, states the guarantee and does all it should to promote sales. The listings of “Gift Selections” and “Index to Authors and Poets” are extremely helpful for anyone searching for just the right item.

It’s obvious this catalog and its contents were put together with much thought and purpose, and no doubt a huge amount of time. All my recommendations are quite doable and will be profitable if selling merchandise is the true goal of this printed piece.

Sandra Cooper is vice president, creative/account service director at Marke Communications, a direct marketing agency. Reach her at scooper@marke.com or (212) 201-0618.