Now we know how essential modular design and email editors are. The next step is to define the type of orientation you want the content to have. The orientation has a clear objective: to reflect the reading dynamics of the recipients. This may sound like a theoretical topic, but it actually has profound practical implications for how the brand creates the email and how the recipient uses the message. Assuming that recipients are much more likely to skim an email than read it line by line, four general groups of orientations have been identified. We'll take a look. The inverted pyramid This is the best known and most frequent layout criterion for certain types of emails, i.e. those that are limited to an overview: a teaser of offers, products, news . Here is an example. As you can see, orientation accompanies the reader to different levels of reading: Main copy , which offers the first context Description , which includes the essential points of the offer Call to action , which prompts the recipient to learn more.
The outline of the inverted pyramid is quite clear: It offers a functional reading model, because it adheres to the kind of ultra-fast reading (the skimming mentioned above) that characterizes the use of electronic mail today. Modular Complexity: ★ Content E-Commerce Photo Editing Service Density: Click Orientation: ★★★★★ The Gutenberg Diagram The following composition techniques were created for website and landing page design , but we consider them valid thoughts for the email world as well. Let's start with the Gutenberg diagram , which describes a model in which the reader's eyes move among evenly and uniformly distributed content . It is a particularly functional composition template for emails with dense content including text and images.
This model was made popular by Edmund C. Arnold , considered by many to be the father of modern editorial design ; he is responsible for over 250 layout projects for newspapers and magazines in the United States and New Zealand. The Gutenberg diagram divides the layout into four sections: Primary optical zone Top left, where playback normally begins Strong fallow Top right Low fallow Bottom left End area Bottom right where skimming ends The model assumes that the eye flies over the page in a series of horizontal movements called orientation axes , but that the general movement starts at the primary zone and ends at the terminal zone in a diagonal direction: this tendency is called reading of gravity . Considering that uncultivated strong and weak areas fall outside of the read gravity,