Creative

After the plane landed with the photo crew, stylists, art director and models aboard, I was the first one off. I spotted the client waiting at security, all smiles. “Did you get all the permits?” I asked. The client’s smile faded. “Can we shoot downtown?” “Not quite yet,” the client said. “The national park location?” I asked. “Not exactly.” “The heliport?” “Well ...” When shooting on location, assume you’ll need a permit for everything, and each permit will take longer to get than you hoped. As a commercial venture, you have none of the freedom ordinary tourists have to take photos (especially

Focus On: Merchandising & Creative The year was 1943. World War II was raging across Europe. Norway was occupied by Germany. The Nazis needed access to open ocean and the deep-water fjords to shelter their great ships. Next door, Sweden remained neutral and relatively untouched by the conflict. In the town of Elmtaryd, Sweden, in the parish of Agunnaryd, an ambitious 17-year-old boy named Ingvar Kamprad traveled from farm to farm selling seeds from a box on the back of his bicycle. He had other items to sell—fountain pens, pencils and matches—but couldn’t inventory them all on a bicycle. So he hit on

Ensuring quality color reproduction in your catalog is not a black-and-white issue. To get the accurate, rich color you desire, procure the right combination of technology, equipment and skilled human labor. And not just on press: The color process starts the minute your photographer sets up and lights the shot. “Color is a dynamic issue. Every device from electronic to ink on paper, has a full range of color possibilities it can produce,” says digital photographer Glenn Martin, of Digital Outback in Reno, NV. Today, digital technology has added a new set of challenges and opportunities to the color-quality issue. When it comes

Catalogers know the Web can be a valuable place to sell product. However, it’s likely that many are missing the chance to generate even more sales via the Web. To boost your chance at success, pay as much attention to closing the sale online as you would in your print catalogs—perhaps even more so due to the nature of the Web. Therefore, to convert more of your Web shoppers into buyers, consider three key points in your Web-shopping process: online customer service; shipping and handling; and order-taking and processing. Online Customer Service Here are two commonly held misconceptions about online customer service:

Photography is one of a catalog’s largest expenses, particularly for smaller startups that are still developing their product lines. While you want to save as much as you can on your shoot, the photography essentially is your store window. If it looks appealing, with beautiful detail and clarity, your product is more likely to sell for a fair price. When selecting photography services, it’s often difficult to know what you’re buying unless you’ve worked with a specific photographer before. Of course, a referral may be able to give you more information, but it takes a high level of communication and detail to truly understand

“I’m embarrassed to be seen with my products.” The catalog was filled with attractive young models playing in the snow. It looked very nice, except ... “You sell camping gear, right?” I asked. “Absolutely,” said the catalog manager. “Which none of these models is using?” The manager smiled. “Our products are so ugly and boring, we realized the only way to sell them was to show something else.” “So how are sales?” “Not great.” I’m amazed by how many catalogers are embarrassed by the products they sell, and I see it in all product categories. It doesn’t correlate with the products themselves, either. They’re

Catalogers looking to improve their workflow and productivity have much to celebrate these days. With the introduction of Adobe® InDesign® 2.0 and the much-awaited upgrade from Quark—QuarkXpress® 5.0—you now have significant improvements in page layout production applications. Both InDesign 2.0 and QuarkXpress 5.0 added upgrades that will save catalogers time and money. Both programs support tables, export to PDF, offer image and content libraries, produce pages for the Web, and support XML. Your design staffers will love the layers for versioning and the automatic table of contents creation and indexing. But after those similarities, it’s evident that Adobe’s InDesign, with its

It turns out you can judge a book by its cover—if it’s a catalog. Even small books must make big first impressions. “You need to get [customers] to open your book, and you’ve got about three seconds to do it,” says John Rossiter, a senior sales representative from printing company R.R. Donnelley and Sons. And while design and copy undoubtedly play larger roles in grabbing customers’ and prospects’ attention, without the right paper stock a catalog cover may go unnoticed or misrepresent your brand. Following is a rundown of what to examine when selecting a cover stock. Brand and Basis Weight Many consultants and

The nations of the European Union enjoy well-developed mail-order markets; much of the continent now shares a common currency; and the Internet’s rise has dismantled many of the perceived barriers to international trade. U.S. catalogers have much to offer Europeans, too. American catalog executives well understand the power of branding and have developed niche offerings that are only now beginning to be exploited across the Atlantic. That said, however, there are differences between the two regions that can make your navigational efforts difficult. Below, we’ll identify those challenges and explore ways around them. Creative Challenges While language differences are more apparent when

One night in 1950, a truckload of grapefruit was late in arriving at Ed Cushman’s tiny fruit packing business in West Palm Beach, FL. Cushman was there supervising as the grower’s truck was being unloaded. As the last 20 bushels came off the truck, Cushman asked the workers, “What the devil is this? These aren’t grapefruit!” Said the driver, “I don’t know. I just deliver what they give me.” Turns out this particular grower had a few trees of Mineola tangelos, and they almost looked like orange bells. “My dad came up with the name ‘HoneyBell’,” says Allen Cushman, now president of