The Design of Sentiment: Part 2

Greeting Cards and Gift Books Compared

 

I have heard gift book development sometimes referred to by publishers as package-driven publishing. Package here is referring to design/art as well as the physical product format and associated processes such as foil-stamping, ribbon markers, gilded edges, etc. As was discussed in the first part of this article, design is a key part of what makes a gift book a gift book. It was also observed that perhaps to an even greater degree this is true of greeting cards as well. While there is such thing as a greeting card with art or photography on the front with no sentiment inside, there just is not such a thing as a sentiment without a package. Well, I suppose we would call this a whisper in the ear, but likely that would not cost anyone three dollars and ninety-nine cents. Still, with content plus packaging equaling a greeting card or a gift book, this article will further define these two product types by discussing how their categorization is defined by styling and by purpose.

 

Decoration. Both greeting cards and gift books decorate the content to make it ready to sell. With greeting card design leaning disproportionately toward existing as a component of product rather than packaging, it is no surprise that greeting card design often follows marketplace visual trends in decorating industries. There can be occasions when a greeting card wears design as a communication tool, but it primarily decorates. Similarly, a gift book is by nature a decorative expression of content. But, in contrast to greeting cards, a gift book’s leaning toward design as packaging introduces a branding component and purpose of its design as well. First, a book’s title is the editorial hook that summarizes content and lures readers into the content, and the design of this title often is approached like other branding disciplines in which the words become a recognizable logo that acts as a trustworthy and memorable banner over the rest of the content. But, also imagery and other design elements on a gift book cover tend to serve the title, illustrating it for strength of communicating a message or decorating it to help define the audience for which the title is targeted.

 

Social Expression. A greeting card is a message from a sender to a receiver while a gift book often presents content from a viewpoint that can be read independently of a giftable occasion. So, it makes sense that sometimes gift book purchases are self-buys rather than gift purchases. But, both of these product types can very comfortably coexist in the social expression industry. The similarity may be a relational content focus, personal inspiration, or it may even be a design approach that is personal and emotive. But, the contrast between the product types may very simply come down to two words: to and for. A greeting card is still a content vehicle in which a message is given to another person in relationship. And, a gift book is a content vehicle with a message for a certain person such as a dad, friend, or wife.  For example, a mother may pick up a wonderful little gift book on motherhood as a purchase for her own nightstand whereas she would not likely buy herself a mother’s day card. In summary, the first- or second-person message of a greeting card is generally a second- or third-person message as a gift book.

 

This article is a broad generalization, and there are many exceptions—especially in a specialty publishing retail environment spawning so many subcategories of gift books. But, this discussion attempts to split some of the fine hairs of similarity and difference between greeting cards and gift books. An upcoming blog article will attempt to recast this whole discussion through another lens.

The Design of Sentiment: Part 1

Greeting Cards and Gift Books Compared

A mentor told me nearly fifteen years ago as a young designer new to social expressions that designing a greeting card was not the same as designing an advertisement. This statement was the foundation for an ever-growing awareness of the complex world of communication design.

Here is a question that lays on my desk alongside my coffee cup and work: How does the design discipline of creating a greeting card compare with that of designing a gift book cover? I will describe some objective observations that begin to answer this question, but I will concede that there are just as many subjective debates to be had as well. In this first of a two-part article, we will look at content (apple core) and packaging (the peel).

Content. Design can not be effectively discussed without a close look at content. Both a greeting card and a book are primarily—though not exclusively—by nature content. This is a given. There is a rule of thumb in greeting card creation: a consumer picks up a greeting card because of design, but they will take it to the register because the words are right and are what that consumer wants to say to another person. I have found it interesting through the years that this proves to be true in gift book publishing as well. Consumers pick up a gift book because of the cover, but they buy it because of the content. However, the content of a gift book offers general inspiration that can be consumed independently of whether or not the product was gifted to or from another person. And, greeting cards involve a giftable occasion. A bride-to-be would not likely buy herself a wedding card. On the other hand, gift books ironically do not necessarily require this occasion. Imagine a gift book that is simply a collection of quotations about hope. Finally, there is an interesting distinction between a general trade book and a gift book that helps bring to light another similarity between greeting cards and gift books: a trade book inherently is content that can be sold independently of design. But, a gift book is in the same category as a greeting card in that its content can not easily be sold independently of design. A book cover is inseparable from the product as is true with a greeting card. Cover and content are literally joined at the spine. They could be surgically separated, but neither would survive the operation.

Packaging. Accepting that greeting cards and gift books both share a need for design as a key ingredient, a thought-provoking design question to mull over is whether or not these two product types utilize design as packaging [of the content product] or as actual product. While a package of Oscar Meyer hot dogs are blister-packed together with a printed label, this vehicle completes it job once the branding has secured distinction in the marketplace and its subsequent purchase and then when the plastic is discarded by the consumer accessing the real product inside. There is a slight distinction between this sort of a product and that of an inverted plastic shrink-sleeve bottle of Heinz Sweet & Zesty Mustard. The product is inside of the bottle, of course, but the packaging will live inseparably with the contents for the duration of its use. Does this elevate the status of the mustard bottle—designed, by the way, to look great displayed on your dinner table—to being considered part of the product? Perhaps. So, like the bottle of mustard, the design of a gift book arguably could be characterized as both packaging and product in varying degrees. What about a greeting card? Content is the product and is the reason the card exists in the first place. But, is the artwork and design part of what is considered product? I think most people would answer yes. While content is still king, my experience places design and content together as two parts of the whole product with design serving the dual role as packaging as well. I would weigh the design component of these two product types in formulaic proportions: greeting card design is 60% product and 40% packaging. Book cover design is 40% product and 60% packaging.

Bravo!

Listening to a symphony orchestra perform is just a remarkable experience. Brass lead the charge, each according to their kind and their key. Percussion affirm the tempo and accent the harmony for drama. Woodwinds weave personality and character into the layers. Strings create both an ambient backdrop for the other groups though occasionally take the stage and define the melody. Melody, harmony, volume, and tempo. The conductor manages the varied parts and provides a focal point around which the musical structure revolves.

The performance is a singular beautiful experience that captivates an audience and manipulates its emotions—by design!

This eleven minutes and twenty-three seconds of amazement is the product of countless hours of individual practice followed by groups of musicians carefully synchronizing their parts into clusters of sounds. These are finally assembled into a final structure that can just be heard and enjoyed. Deconstructing, the entire symphony orchestra is broken into groups of similar instrument types (such as brass), these groups into yet smaller sections (such as tubas, trumpets & cornets, and trombones). And, finally, each and every instrument is held by a musician that meticulously practices his or her individual arrangement. The individual melody—or complementary harmony—is far less amazing when isolated and listened to by itself. A single tuba’s oompa oompa oompa can be expertly performed. But, when joined by a trombone’s whomp whomp-whomp whomp, and a trumpet's sharp melody, all of a sudden an unexciting, isolated sound grows to a larger experience that is more dynamic and interesting.

There is a clear structure to musical arrangement. It is demystified when broken down into its carefully arranged components. But, in contrast, when played as a whole, the sounds blend together and grow into a simple and powerful moment for the listener.

The parallels to visual design are endless. 

A simple book cover design may capture an intriguing idea and emotion that is executed with attention to minutia that when broken down would probably fail to impress but when simply experienced as a single expression can capture the eye of an audience that just “gets it.” As with music, that is the goal at least. Nuances in editorial tone (choice of words that already carry cultural associations), typography (flavor, history, and culture), color (intensity, lack of, trend, history, culture, combinations, emotional perception), and imagery (subject matter and it’s relation to the concept, lighting, mood, contrast, focus) all labor together combining their individual parts to construct a larger perception of the whole work. The final result is simply experienced by the viewer and reader. 

It is no wonder that just as one could get lost in the emotional playground of a music store, he or she could find an intellectually and emotionally engaged experience that is similar in many respects when browsing tables of books—before cracking one open and reading, too! But, that is a whole other topic.

www.thinkpendesign.com

No Average Joe

McDonalds officially launched its McCafé brand this past year in an effort to go head to head with Starbucks for leadership in the gourmet coffee market. So they said. Granted, I have not visited one of the premium McCafé test restaurants residing outside of the United States that confirmed to McDonalds that success was within reach. But, as a consumer I have grabbed a few quick caramel lattes from McDonalds when in transit at times when a Starbucks or other worthy alternative such as Einstein Bagels or Panera Bread could not be found. In a couple of cases, I was pleased to note the McCafé branded sign within a McDonalds location that let me know without a doubt that gourmet coffees could be found there. Another occasion, on the other hand, McCafé appeared to be the brand name of the automated, push-button, three-drink serving coffee machine from which the untrained “barista” retrieved my fast food product. The cup it was served in was a little nicer than the ubiquitous McDonalds fountain drink cup: it had a McCafé logo on the side instead. Well, maybe it wasn't much different. I wonder if I were dining in if the java would have been served inside a nice, white ceramic coffee cup as seen on the www.wakeuptowhatsnew.com website that promotes the McCafé launch. Okay. Beyond trying to get in touch with my feelings about how I perceived my whole experience, the dissatisfying part was my slight disappointment that the drink reminded me of the java I had grabbed on the run for utilitarian purposes one hour previously at a gas station during a long drive to Dallas. Not much difference in quality.

Quality? Packaging?

I had the opportunity to fill-r-up again upon entering the Metroplex at a Starbucks. “Make it a Venti Caramel Macchiato with an extra shot please.” When I walked in the store, I was welcomed by the multi designer hues of the walls, the tile on the floor, the casual chair and table-for-two vignettes, the framed art over table, the newspapers, the baristas crafting drinks through multiple stage processes. . .and of course the aroma. I think I already knew what to expect when the rigid paper cup with logo partially covered by a designed kraft corrugate sleeve was handed to me. Mmmmm. That's what I expected. Starbucks kept its promise.

Quality. Packaging. 

If Starbucks were a publisher, the coffee beans sold would be called “content” and it would be served between two covers called a “book.” It is a given that the content they would sell would have to be good. At the end of the day, a good read is part of what I want as a consumer. But, just as I began enjoying my cup of coffee before I had even ordered it, I bet the content Starbucks published would be packaged so that I would just know it would be good once I experienced it. The wafting aroma. The ambient and accent lighting with Herbie Hancock's jazz piano setting the mood in the background competing slightly with the sound of compressed water brewing a fresh roast. Inside this book cover would have to be a good read. And, when I would walk by the book store with a Starbucks title face-out, I would not be able to avoid seeing and smelling the promise of something really good and would be reminded that I am not interested in simply buying “content.” Rather I am drawn to a whole experience that I can't get somewhere else. There are other books on the shelf, but I want the one that is well-packaged.

www.thinkpendesign.com