The Plight of B2B Marketing Collateral
At a recent trip to OpenWorld in San Francisco, I collected printed brochures from over 70 companies to see how businesses small and large are represented themselves through the printed medium. And while there are a few bright spots, the vast majority of the companies lacked any unique brand voice to separate themselves in the market.
I recently spent a day in San Francisco at the OpenWorld conference, which is Oracle’s big annual meeting of application users, server admins, database nerds, consultants, Larry Ellison fan boys, and about a jillion vendors all hawking some technology related to the red mothership. Since my company was represented in the latter group, I traveled to the Bay City to see our big booth in action and to do some reconnaissance on competitors.
There were two full conference halls of vendors, and booths ranged from small 10’ x 10’ footprints to monstrous 60’ x 60’ three-ring circuses hosted by Intel, HP, and other major sponsors. It took me a full four hours to walk every aisle.
At the end of the day, my show bag was straining with datasheets, white papers, case studies, corporate profiles, and folders stuffed with technology specs, business cards, flyers, and more. Overall, I collected the following:
- Printed collateral from 73 companies, plus two CDs
- Ten pens and one automatic pencil
- A dinky USB hub that I promptly gave away
- One stuffed monkey
Not all companies stocked brochures, and I’m sure I missed a few others. But I tried to get as fair a representation as possible. Since I lead the print designers at my company, I am intensely interested in how companies both smaller and larger present themselves through business collateral. It’s a fascinating subset of the design field, but unfortunately not for the right reasons.
Looking at my new collection from a bird’s eye view, I see three categories of material. First, a few of the top-tier companies like HP and EMC had classy, professional stuff. At the bottom dwelled non-designed, color-photocopied datasheets that just looked like crap, several of which belonged to multi-million dollar businesses, like Perot Systems.
In the middle, and comprising the vast majority of companies, was a sea of conventional, redundant, and totally uninteresting material — completely indistinguishable from each other except for the logos. Common characteristics of this taupe wall of “business design” include the following:
- Companies either do not understand or do not care about true branding. A few take some baby steps with consistent colors and some selective type choices, but there is no effort to take it the next level through unique design elements, unexpected use of color, differentiating photography or illustration, or out-of-the-box typography. It all just runs together like oatmeal.
- Stock photography is a tool that is misused by almost every single designer. The same photos appear over and over, and almost invariably include some JC Penny fashion reject staring with conviction into the camera because she — more than anyone else — understands your business needs and knows just how to leverage your infrastructure investment to deliver enterprise-wide ROI. No one is using stock photography with any attempt at originality.
- The abuse of typography continues. How designers routinely and predictably fail Typography 101 and still retain jobs is beyond me. The scourge of Arialvetica continues unabated. Kerning is a lost art. Rags are jumpy, over-hyphenated, and replete with widows. Text runs to the edge, fills every nook and cranny, and sends white space running to the corners. Worst of all, stuff is just hard to read.
- Production values ranged from pretty good to last-minute Kinko’s run. There were a few bright spots — nice paper choices, spot varnishes, and even silver foil stamping on one. But most were printed on crap stock on a crappy offset by a crappy pressman who could not even match colors in the same piece. Worse were the companies who had a decent design but just printed it out on the office laser.
- Content is as bad as ever. Overly complex language continues to run rampant as writers struggle to inflate the importance and impact of their products and services. Clarity is rare. Humility is rarer. Brevity, lightness, and even humor are nonexistent.
Every company in the middle is piddling forward with their no-nonsense, quasi-religious approach to business-to-business marketing. Some have better designs, some have stronger content, and some have a stronger over-all presentation. But they are mired in a swamp of taking themselves too seriously, and they all stubbornly refuse to relinquish the bad habits of stock photos, the color blue, and fucking Arialvetica.
I blame this vast middle ground of mediocrity on creative management. The creative department is quick to blame marketing management clamoring for big headlines and blinking starbursts and no white space. But it is creative management’s job to drive forward-thinking design, brand voice, and a unique visual identity. B2B designers are not being challenged. The status quo reigns. Creative directors, art directors, and senior copywriters must get out of this rut.
Those that make the effort to elevate their collateral will be rewarded with success in the market, because visual branding, presentation quality, and clarity are noticed by prospects, and ultimately a contributing factor in attracting new business. It’s not easy having a unique voice, which is why so many don’t bother, or fail at trying. But good creative leaders will take their companies to the next level, and probably never look back on that doe-eyed stock model staring into the camera.