How 3 Big Brands Went Hard Core With Content Marketing (And the Lessons You Can Learn From Their Success)

In spite of all the hype that surrounds content marketing these days, many businesses still have lingering questions about exactly how to use content as a viable marketing strategy:

• What exactly is content?
• How do I know if this approach is right for my business?
• What resources do I need?
• How do I measure the return on our investment?
• My company sells widgets, so why would we need it?

In the face of such uncertainty, it's human nature – and therefore the nature of business – to look to those around us for guidance and inspiration. This is especially true for brands that have earned our respect. We may not always have access to the carefully guarded data behind their decisions, but where and how those organizations invest their marketing dollars is telling.

So let’s look at how three top brands – a lifestyle products company, a professional services association and an e-commerce behemoth – are investing in content to build relationships with customers and drive sales.

Cooking up content with Williams-Sonoma

Known for its high-end kitchen products, Williams-Sonoma has crafted a customer experience that’s far different from buying discount cookware off the rack at big box stores. Instead, the company has built a lifestyle brand around the idea of just how rich life in the kitchen can be.

As a result, it's no surprise that Williams-Sonoma's website is well stocked with content about the food-lover lifestyle, including recipes, wine, entertaining ideas and gardening tips.

The brand, however, has taken content-as-marketing-strategy a giant leap further by developing a website dedicated solely to kitchen design and remodeling – Cultivate.com – with features like premium photo galleries for design inspiration and a database of remodeling professionals aimed at helping readers create their dream kitchens.

Cultivate content partnerships Williams-Sonoma style

With Cultivate, Williams-Sonoma has done something noteworthy by forming strategic partnerships with both premium brands and remodeling professionals. As a result, they've created both a high-quality remodeling resource for consumers and a powerful sales tool for business.

It's a win/win/win scenario.

First, Williams-Sonoma wins because these partners, incentivized to provide great content for the site, bring additional expertise and value to readers while simultaneously easing the resource burden of producing so much high quality content. Williams-Sonoma can equip your kitchen with gadgetry, but "A Shopper's Guide to White Marble Counters" is outside the brand's focus. Fortunately, premium tile company and Cultivate partner Walker Zanger has the expertise and credibility with customers to fill that content void.

Second, the partners win because William-Sonoma has created a micro-marketplace and platform for engaging with customers already primed for their products. The site's powerful photo gallery feature lets users search kitchen designs by color, layout, style and cost, and all of the content is professionally produced by design and architectural firms eager to feature their services.

Last and most importantly, readers win because they get a better resource for kitchen remodeling, with professionally written content, expert advice, special offers and carefully curated products – all in one convenient package.

Even if you don't have a Cultivate-sized budget, your business can still take advantage of content partnerships and the benefits they provide. The key is to identify other companies that compliment – not compete with – your products or services.

For example, a business law firm could partner with both a CPA and management consultancy to create an advice blog serving local business owners.

Or, as a starting point, consider having other businesses provide some guest posts for your company blog. This toe-in-the-water approach allows you to test how well their content resonates with customers and which potential cohorts are the right fit, all before diving into a content partnership.

Just like cooking, gardening and most other things in life, it's often wise to start small, learn from both your mistakes and your success, and then grow from there.

Content from REALTORS that really hits home

The National Association of REALTORS (NAR) has long positioned itself as the foremost authority on home ownership, and its impressive credentials back up that message. It's the largest trade association in the U.S. with over 1 million members and its own political action committee.

So it makes sense that its brand message to potential clients is that Realtors, as experts on everything from property values to legal issues, are essential to navigating the complexities of buying or selling a home.

The challenge when selling professional services, however, is that you are, according to best-selling marketing author Harry Beckwith, "selling the invisible." There's no product to return for a refund if the customer is dissatisfied, and the stakes are often higher, both in cost and risk. So building trust with your clientele before they sign a contract is critical.

NAR is using content to build this trust and reinforce the perception of its brand as a network of specialized experts through HouseLogic.com, an exhaustive information resource dedicated to all areas of homeownership, including:

• DIY home improvement and maintenance
• Working with contractors
• Outdoor and green living
• Understanding insurance, home financing and taxes
• Education about home ownership legislation and causes
• Working with a Realtor

Want to gauge whether to tackle a home improvement project yourself or hire a contractor?

What's the difference between a standard home equity loan and an FHA 203(k) loan?

Who are Fannie Mae and Freddie Mac?

HouseLogic holds the answer. So what key content lessons does HouseLogic hold for the rest of us?

Build content the REALTOR way

First, build to your brand. HouseLogic draws visitors in with content about curb appeal and customized kitchens, but it doesn't stop there. Rather, it moves beyond these themes common to thousands of other sites and addresses issues more critical for homeowners – issues only the NAR could speak to. This depth and breadth reinforces the REALTOR brand as the definitive information resource for homeowners.

If you're a product company, create content that mirrors the space where your products intersect with your customers' lifestyles. If you provide services, make sure your content approach supports the emotions that you want customers to associate with your brand, whether trust, enjoyment, security or convenience.

Second, hire pros as much as possible. Realtors want you to rely on their professional expertise, so HouseLogic follows that thinking by using experienced content creators who are knowledgeable about the topics they're covering. For example:

One writer covering home decor and improvement, is a "HouseLogic contributor and builder of luxury homes in McLean, Va. She’s been a Homes editor for Gannett News Service and has reviewed home improvement products for AOL."

Another who writes about DIY repairs and remodeling, "has written or edited over 60 books on home repair and remodeling for The Home Depot, Lowe’s, Better Homes & Gardens, Sunset, and Reader’s Digest. He's a former contractor with decades of hands-on experience."

Your organization may not have NAR's resources, but that doesn't mean you shouldn't invest in creating as much great content as your budget allows. In these freelance-friendly times, there are writers and editors aplenty. Or save yourself the hassle and outsource your content entirely to a trusted digital marketing firm that understands the intersection of the Web, content and customer experience.

And don’t forget about photography and video production – two other content areas where it's typically better to hire a pro than to do it yourself. For some brands, a slick video may seem to sales-y while a more amateur style video could come across as more genuine.

Keep in mind, the main objective is not to simply to look professional but to build your reputation as an expert in your field, and hiring a professional can help you find that focus.

Content to cart with Amazon.com

While Amazon.com has built an e-tail empire hawking content such as books, movies and music, the brand's approach to connecting with customers through content is just as impressive.

Unlike Williams-Sonoma, NAR and probably 99 percent of other companies using content to grow their businesses, Amazon has chosen to buy rather than build, to purchase a stake in pre-existing communities and their rich content rather than producing their own. And boy have they picked winners.

IMDB.com (Internet Movie Database) is essentially the Wikipedia of film and television. The content is entirely created by the user community, covering cast lists, photos, trailer clips, script overviews, production notes, trivia, industry news and much more. It's the destination site for lovers of film and television.

Similarly, DPReview.com (Digital Photography Review) has been providing in-depth reviews of cameras and photography equipment for years, building a large and engaged community of pro and amateur photographers who share their questions and insights in forums and their photos in galleries.

It's not difficult to see why Amazon would want to tap into these content communities. Ads and obvious calls-to-action allow site visitors to easily move from an article about a movie or camera to the corresponding product page on Amazon.

But Amazon has very impressively exercised much restraint here, choosing to be present in the content but not dominate it. In other words, Amazon didn't start meddling with what the community had built. To do so would have meant a breakdown of user trust and therefore site traffic and sales. They don't care which camera or movie you buy, as long as you're buying it from Amazon.

Connecting with content communities

Amazon is a trail-blazing company in many ways, and their decision to to plug in rather than publish on their own is a path worth considering, especially for organizations just starting out with content marketing.

You don't have to build a great content site if you can buy one that's already providing great content and has a loyal following. If that sounds too expensive, then look for a small but respected blog in your niche market to use as a test project.

If you can't buy at all, you can still make the most of other people's content by growing your own presence in their communities. Engage in forums and contribute content to their sites.

If you do buy a site, stay out of the way. DPReview's press release about being acquired by Amazon includes a reassuring "we-won't-break-it" quote from Amazon CEO Jeff Bezos: “DPReview.com is by far the most authoritative source anywhere for straight talk about new digital cameras. We at Amazon.com have been their fans for a long time, and we extend a big welcome to the dpreview.com team.” The release goes on to reassure everyone that the site "will continue to function as a stand-alone operation."

It will be tempting to try to bend the conversations and content in your favor and promote your products extensively, but such heavy handedness is a quick way to kill an online community. Don't ruin the trust that's already been created between the site and its followers.

These themes of building trust and providing value are the common threads that connect Amazon, the National Association of REALTORS, Williams-Sonoma and every other company that's doing content marketing well. It is without a doubt the most important lesson we can learn from their examples.

---

Get it Type: Six Fundamentals of Good Typography in Website Design

Typography is often one of the least appreciated – yet most important – aspects of website design. So much more than just the “font” that is used to present your site’s content, the choice of typeface does as much to set the tone of the site as the colors, images and other visual components of the design. If the content on your website is your brand’s message, then the typography is the voice with which your site speaks that message. The study of typography has a long and rich history. While designers work for years to perfect this practice, by cultivating an understanding of a few basic principles, you can more effectively communicate with your design team as you work collaboratively to make the right typography choice for your website and, through those choices, find the perfect voice for your site. Here are six fundamentals of good typographic design that will help you avoid potential pitfalls and make sound aesthetic choices that will strike the right tone and support the delivery of your message:

1. Know what’s possible.

If you’ve been involved in a website design project in the past, then you’ve likely heard the phrase “web-safe fonts.” For years, limitations in web browsers forced us to utilize a very small group of fonts for our websites. If you requested the use of a font that fell outside of this select group, you would have been directed, instead, to one of these web-safe fonts so that the site’s text could be reliably displayed across a wide variety of browsers. In the past few years, however, this restriction has been greatly minimized as a new feature called @font-face (pronounced “at font face”) has been introduced, allowing us to make use of thousands of new fonts on our websites in a reliable way. This is both a blessing and a curse. The blessing lies in the ability to use the wide array of wonderful typefaces available to us today to create incredibly rich and unique designs. The curse is that, with so many options, it’s all too easy to overdo it and create a muddled mess with competing typefaces that obfuscate the message you are trying to send. Also, despite all of the advancements made in web fonts in the past few years, there are still limitations to what we can and cannot do with fonts on websites, so ask your web design team about these limitations to ensure you make choices that will work on a technical level.

2. Make strategic use of different font classifications.

Different font classifications have different feels and serve different purposes, so developing an understanding of these classifications is a good place to start.

Serif

A serif is “any of the short lines stemming from, and at an angle to, the upper and lower ends of the strokes of a letter.” If you look at a font like Times New Roman, you will notice the little flourishes that hang off the ends of each letter, adding an extra embellishment to those letterforms. Besides Times New Roman, other popular serif fonts include Georgia, Baskerville, Garamond and Palatino. Serif fonts are often used when you want to convey a sense of history or tradition in a design. Historically, serif fonts were used in the body text of printed works because they made large blocks of text easy to read. For computer screens, serif fonts are very versatile and can be used effectively for either body text or headlines. The accounting and business consulting firm KLR uses the serif font Georgia throughout their site to create a look that conveys a sense of professionalism, trustworthiness and experience.

Sans-serif

Sans-serif, or “without serif,” fonts feature letterforms that do not have the extra embellishments found on serif fonts. Common sans-serif fonts include Arial, Helvetica, Verdana, Futura and Tahoma. In printed text, sans-serif fonts were typically used only as headlines because it was easier to read body text set as a serif font rather than a sans-serif, but for computer screens and websites, sans-serif fonts are equally as readable and versatile as serif fonts, so they can be used either for headlines or body text. The straight lines of sans-serif fonts and the lack of extra ornamentation often make these typefaces good choices to create a sleek, modern look. An example of sans-serif fonts can be found here on Fame Foundry in our navigation, our main billboard message and throughout our site in both headlines and body text.

Slab-serif

Similar to serif fonts in that they have extra embellishments added to them, slab-serif fonts often feature thicker, chunky letters whose serifs are blocky with little, if any, contrast between thin and thick lines. Typical slab-serif fonts include Rockwell and Clarendon. The bold letterforms and serifs of this font classification often give them a strong, impressive weight when used as headlines. These fonts are typically not used as body text but are often set in large sizes as headlines. An example of slab-serif fonts can be seen in the logo, navigation and main headlines of Brown Family Seafood’s website, which uses a typeface called ChunkFive.

Display

Display fonts are typefaces that are typically only used at large sizes and are therefore better suited to headlines and large messages than body text. Display fonts typically have lots of character to them and are richly designed. With a wide variety of looks and styles available in display fonts, these fonts can be an excellent choice for headlines since they will add that character to the design, but these fonts are also easy to abuse or overuse. Typically, more than one display font in a design is too much. A few examples of display fonts are shown below:

Grunge

Grunge fonts are typefaces that are designed to show artificial wear, almost like the printing on a vintage t-shirt that has been through the wash many, many times. These fonts, which are also typically used only in headlines or for large, short bursts of text, are a great choice when you are trying to add a worn, textured feel to your design. The city locations listed in the billboard text on Zombie Charge, which tries to recreate a worn and battered look for their zombie-themed adventure runs, uses a grunge font called Umbrage.

Script

Script fonts have a classy, elegant feel to them. These fonts typically have long, flowing characters and very thin letterforms. Because of this, script fonts are often only used for headlines and at larger sizes, because if you set these fonts too small, the thin letters become unreadable. Script fonts are a great choice when you are looking for a high-end, elegant feel and tone. You can see a script font, Allura, used in a number of places in the design for Concord OB/GYN, including in their navigation and main billboard messaging.

Hand-drawn

Fonts that are classified as “hand-drawn” have an organic, if perhaps flawed, look to them. If a script font is drawn by a master artist, then a hand-drawn font is scratched out by an everyday writer who may be in a bit of a rush. These fonts can be used to add a human touch to a design and make it feel like an actual person, and not a digital computer, wrote out the words. The font Mathlete that is used on the billboard message for Sweet Nina’s Nom-Noms has an organic, hand-drawn feel to it that reflects the handcrafted desserts that the company offers.

Novelty

Novelty fonts are often made to replicate popular brands and their distinct characteristic look (think Coca-Cola or Harry Potter). Because of their inextricable association with a well-known brand, these fonts are rarely appropriate to use on a website for another company. Other novelty fonts simulate things like dripping liquid, wood pieces or bones to create the letterforms. While these display fonts are not immediately associated with another brand or company, their overly stylized design also makes them a poor choice for most applications – although if you are going for this type of overly stylized look (for a Halloween-themed billboard message, perhaps), then they can be considered. A few examples of novelty fonts are show below:

3. Always preserve readability.

As you undoubtedly noticed in perusing the above overview of font classifications, most of these fonts are meant to be set at large sizes as headlines. Only serif and sans-serif fonts are versatile enough to be used effectively for both headlines and body text. This is because of readability. If the font you use for your website is your site’s voice, you not only want to be sure the voice is appropriate for your brand but also that the voice speaks clearly. In this case, “speaking clearly” means having text that is easy to read. The overly stylized letterforms of grunge or display fonts and the thin letters of script or hand-drawn typefaces make them difficult, if not impossible, to read when set at smaller sizes. Since body text is set at smaller sizes, using these fonts would be an inappropriate choice. Regardless of which font you use, be sure to view it at the size that it will be set at for the actual website and in the colors that will be used. This will allow you to see the contrast that font has when set against its background so you can determine if the choice you have made provides an easy reading experience for your audience.

4. Avoid overused fonts.

Certain fonts carry a stigma with them due to how they may have been used, or overused, in the past. Fonts like Papyrus have been used in so many – often poorly applied – ways that they immediately have a negative association attached to them. In the case of Papyrus, there is even a website called Papyrus Watch that will show you many examples of how this font has been used and abused. Other fonts become overused in a relatively short time. The typeface Gotham was used by the Obama campaign in 2008, and it quickly started showing up everywhere as other designers jumped onto the bandwagon of this suddenly popular font. As a result, Gotham quickly hit the saturation point and now feels cliched. Some fonts may not be overused in general but only in your niche or market. If your competitors all use the same type choices, there is an easily forgettable, vanilla quality to that approach. By choosing a different typeface, you can set yourself and your site apart from your competition right from the start.

5. Practice restraint.

The wealth of fonts available to use today makes it very easy to overdo it, but by practicing restraint and limiting your site to maybe two or three different font choices at most, we can work to avoid overuse. As Robert Bringhurst says in his definitive volume, The Elements of Typographic Style, “Don’t use a font you don’t need.” By limiting your site’s design to only a couple of choices, you’ll create a clean, clear visual rhythm and ensure that the variety of type styles do not create a confusing mess.

6. Choose complementary fonts.

One way to limit your font choices is to select a pair of fonts that contrast and complement each other, perhaps with one choice for headlines and another for body text. This contrast, and the restraint demonstrated by your choices, will help create a professional and readable presentation. A look at my own personal website shows this contrast. The site uses two fonts, the thick slab-serif ChunkFive for the navigation, main billboard message and logo, and a contrasting sans-serif font, Roboto, for the body text. The thick, chunky letterforms of the slab-serif work well alongside the thin, clean letters of the serif, creating a presentation that is easy to read with font choices that do not overpower the messages I am trying to send.

In summary

With a basic understanding of typographic best practices, you can better communicate with your design team to select font choices that work best for your organization. Some basics to remember include:

1. Despite the advancements made in web fonts in the past few years, there are still limitations to what we can and cannot do with fonts on our websites. Ask your web team about these limitations to ensure you make choice that will work on a technical level.
2. Understand the different font classifications and make choices that reflect the personality of your brand.
3. Always remember that readability is key and choose fonts set at a size and color contrast that make them easy to read on the screen.
4. Avoid overused fonts or fonts that carry a negative association with them from the very start.
5. Don’t overdo it. A few judicious selections should be all you need.
6. Look for fonts that pair well together. Using one font for headlines and another for body copy is one way you can the number of fonts while still maintaining nice variety and contrast.

---