Folklore of the German-Wends in Texas
On the morning of December 16, 1854, the immigration authorities at Galveston went out to meet the Ben Nevis, an English sailing ship, which had arrived in the harbor. On board they examined the papers and the physical condition of the five hundred some Wends who had come to settle in Texas. Although seventy-five had died after the migrants had left their homes in Germany, none on board was ill and the authorities permitted the settlers to disembark.1
Although these Wends were citizens of Prussia and Saxony, they were not Germanic, but the Slavic descendants of the Veneti of ancient times and the Polab Slavs of the Middle Ages. They called themselves Serbs or Serben, but to avoid confusion with the Serbs of the Balkan region, anthropologists named them Serbo-Lusatians, Sorbs, or Wends.
The homeland of this once-numerous throng had become more restricted in area until it was ultimately surrounded by Germanic tribes, and as far back as 1346 the Germanization of the Wends had begun. The Wendish culture was not related to that of the Germans. Their language resembled that of the Czechs, Poles, and Russians, and their dress, folklore, and literature were more Slavic than German. In 1815, however, the Congress of Vienna divided Lusatia, giving Upper Lusatia to Saxony and Lower Lusatia to Prussia. That was the beginning date of an organized and persistent program launched by the Prussian government to make the Wends German.2
The most isolated part of the Lusatias, and thus the part that resisted Germanization longest, was the Spreewald, in Lower Lusatia, where the Spree River divides into hundreds of small streams, brooks, and marshes. Here the houses were built on islands, and flatboats furnished transportation during the warm months. The signboards gave the distances from one place to another not in kilometers, but in the time required for the pushing of the boat. In winter, when the canals froze, travel was by sled or skates. The occupation of the Wends here, as well as of those living outside the Spreewald, was mostly agriculture. They grew primarily vegetables and fruits, and in addition cared for domesticated animals and captured the eels that crowded the streams in the spawning season.
The folklore of the Serbo-Lusatians was among the richest in Europe—possibly as a result of their late conversion to Christianity. It was basically the same as that of other groups in Europe, but it was more varied. Included in their beliefs were remnants of the preceding centuries such as animism—the belief that all objects possess a natural life or soul—and the worship of early pagan deities, the personifications of forces of nature. Two of these gods were Bělbog and Černobog, the white and black gods standing for Life and Death, Light and Darkness, or the Good and Evil Spirits. As Christianity slowly became the accepted by these people, this dualistic conception of good and evil was carried on, and the names were changed to God and Devil. The poetic temperament of the Slavic people molded their interpretation of life and nature into stories possessing great charm. These people also expressed themselves so freely in songs that the Wends had one song for every 150 people. The Poles were second in this respect, having one song for every 1,000 inhabitants.3
The only feature that the Wends and Germans held in common was religion. They were either Lutheran or Roman Catholic. Most of the Wends were Lutheran, but they were not united with the German Lutherans, because the writings of the church had been translated into Wendish and the services were conducted in that language. However, under the Germanization policy, when a parish needed a pastor, and there was a possibility that a portion of the congregation would accept a German clergyman, the government would immediately send a German-speaking pastor. By 1848 only thirty-six Wendish preachers remained.
The Germans also discriminated against the Wends in economic activity. The Wends had little capital for investment, and any attempt on their part to improve their lot was opposed by the Germans. The majority had to labor with their hands, only a few being able to break through restrictions to become professional men.4
Even though the Wends may have chafed under German discrimination, there was not much they could do. However, in 1830 when the Prussian king, the “Pope in Berlin,” forced the union of the Lutheran and Reformed churches into a single state church, not only the Wends, but also many Prussians became sufficiently incensed and some looked at emigration as an option. As the tide of European migration swelled, Wends also thought of other lands and in 1854 approximately 580 Wends under the leadership of some laymen called John Kilian to be their pastor and left their homes for Texas.5
After landing in Galveston, they quickly took a boat to Houston, thus avoiding contact with the yellow fever epidemic in the Island City. From Houston they crossed the fertile prairie until they came to the Post Oaks near Rabbs Creek in what was then Bastrop County. For one dollar an acre they purchased the 4,254-acre Delaplain League and set aside a portion of the land in the center for their church. Instead of recreating a European village they adopted the Texas system of separated homesteads. Although the soil of the Post Oaks was not fertile, the trees provided the raw material for houses, fences, and fuel.6
Even though the majority of the Ben Nevis Wends settled in Bastrop County, many found permanent or temporary homes in other places such as Houston and New Ulm. When one considers the scattering of the immigrants together with the arduous physical task of creating a homestead, it is not difficult to see why the Wends retained little European folklore.Much of their folklore had been associated with trees, animals, and land; so when they saw mesquite, scrub oak, and oleanders instead of birches, chestnuts, and alders, and coyotes, skunks, possums, armadillos, scorpions, and tarantulas instead of the few wolves, rodents, and deer of Europe, the stories must have lost their meaning.
And how could one possibly imagine that spirits and fairies would exist in the same woods with the wild Indians? A significant casualty was the loss of the ornate and colorful folk costumes, or Trachten. Their value and even their weight discouraged shipment to Texas and the primitive conditions on the frontier made their preservation unrealistic.
As a result, the folklore that developed in Europe was almost completely lost in this new environment, with the exception of those customs that were practical and necessary, such as cures, planting and harvesting ways, and those practices associated with the church. This loss can probably be illustrated by an incident related by my grandmother. Once when her father was telling the children some stories, the mother interrupted the storytelling because she wanted the children to amount to something and not waste time on stories. By that she meant that she wanted them to work or learn something that would yield financial returns.7
Ironically, the Wends did not escape from German influence. There were Germans in Texas when the Wends landed in Galveston, and in 1860 a large migration of Germans brought many to the vicinity of Bastrop County. In this instance the church was the unifying factor for the two groups and fraternization and intermarrying resulted. The question of language was the only real problem, but the pastor and the people were bilingual, knowing both Wendish and German. Services were conducted in both German and Wendish until the 1920’s, when German became the only language used in public worship.8 Folklore, as a result, is a combination of the two cultures, and it is difficult to separate the German from the Wendish folklore.
The most common and rich category of German-Wendish folklore is that of the folk cures. My first memories of these cures go back to my childhood when I stepped on a nail. In the hot summers of central Texas going barefooted was taken for granted, and along with the pleasure went the occasional injuries from grass burrs, mesquite thorns, and goatheads. A wound from a rusty nail, however, was a different matter, and in modern times the injured person would be punished further with tetanus shots. In the days when doctors were far away and the transportation was slow, the remedies had to be applied at home. In this case the treatment was painless and effective. A piece of bacon rind was placed on the wound, and then the foot was set in a shallow pan containing turpentine. The combination of the two caused a drawing effect on the wound, and the strong odor of the turpentine had the desired psychological effect. This remedy was said to be good not only for wounds, but also for curing boils and chest colds. For curing the chest colds, strips of fatty bacon were sewn on a woolen cloth, saturated with turpentine, and then applied to the chest of the patient. The uncomfortable person had to sleep all night with the sticky, gooey, and evil-smelling poultice, but in the morning the cold was broken.
Our skins suffered not only from the sharp spines of the thorns, but also from the sharp stingers of yellow jackets and bees and the painful bites of big red ants. These were unavoidable. Sometimes we asked for it by standing on the anthill while holding our breath, or by knocking down the yellow jackets’ nest from underneath the eaves with fishing poles, but at other times we were innocently playing or picking cotton. If we were near my uncle, we would go to him for aid, and he would remove part of his chewing tobacco cud and place it on the bite. If we were closer to the house, we would run in to Mother who would then place a teaspoon of baking soda on the wound and pour on a little vinegar. It fizzed, and the cooling relief was felt immediately.
Not all the remedies were from materials in the home; occasionally the adults ordered some from Germany or bought them in town. One such medicine, called Blitz Öl (Lightning Oil), was, in my grandfather’s opinion, the final word in pharmaceutics. If any of the children hurt themselves, he would administer the medicine, even though it was hated and feared because its burn was worse than the pain of the original wound. One day, however, as Grandfather was splitting wood, the ax slipped and grazed his knee. Quickly he went onto the back porch, for this was his first opportunity to apply the medicine on himself. When he did so, the burning was as fierce as lightning and he gave the bottle a good heave into the pasture. Needless to say, the children were not sorry to see it go.9
If this medicine was not effective, there were others that were. The efficacy of one of them was documented by an injury suffered by my Great-grandfather Schneider. He was binding oats, and it took a great deal of skill to drive the four horses while also operating the machine. In an attempt to obtain additional leverage, he wrapped the lines controlling the horses around his thumb; but on this occasion the trailing lines got caught in the big bull-wheel, and the thumb was wrenched off. All that held it was a bit of skin on one side. He went home, doused the thumb with Heil Öl (Heal Oil), and wrapped it snugly with cloth. The thumb healed, and he regained its complete use.10
A very popular cure was the Lebenswecker (Life Awakener), which was used to cure sore muscles, stiff joints, strokes, mastoids, and nearly everything else. It was a contraption the main part of which was a handle with a head the size of a fifty-cent piece made up of hundreds of little needles. The instrument was placed against the ailing part and the handle was drawn back and then released, causing the many small needles to prick the outer layer of the skin. No blood was drawn, but the area would be red from irritation. Then a little Lebenswecker Öl was applied with a feather. The patient was forbidden to get his hands wet for the next three days.11
The Lebenswecker Öl was also used internally, but with great care. A girl by the name of Alma Leitco was taken to the Hamilton hospital with a severe case of locked bowels. Drs. Beecher, Chandler, and Cleveland tried everything but finally had to give up the case as hopeless. When Oswald Melde heard of it, he got some of the oil from Great-grandmother, went to Hamilton, and asked for permission to use the oil. The doctors said that since they had given up twelve hours earlier, they would consent. The father hesitated, but then gave his permission. Several years before, he had had a constipated mule and had tried the Lebenswecker Öl. A few minutes after the application, the mule had gotten up, jumped, and run, but then dropped dead. The only reason Mr. Leitco now gave permission was that he had prayed for help only fifteen minutes before, and he believed that Oswald Melde was the answer to the prayer. Nevertheless, Mr. Leitco went home. Three drops of the oil were mixed with the yolk of an egg and administered orally. Several hours later the girl passed a tapeworm thirty feet long, and when the father returned she was on her way to recovery.12
Some of the cures that interested me, but were not used by my immediate family, were the numerous teas. The older women in the community placed great faith in them. For general health, tea made from linden, rose, or camellia leaves was good. As a specific remedy Schreck Tee (Fright Tea) was among the most popular. Anyone who was startled or shocked could get sure relief from a drink of this tea. About three heads of dried Schreck Kräuter (Fright Herb) were boiled for about thirty minutes in two cups of water. The patient drank the brew and went to bed, enjoying complete relaxation. The part of the plant that was boiled resembled the blooms of a thistle. It was not purchased, but usually grown in the comer of the garden, and after it was dried, stored in a fruit jar.13 Some people say that for added effect, the patient should take part of the object that startled him and boil it along with the tea. If it was a dog, he should take one of the hairs, place it in a tablespoon, roast it, and add it to the tea.14
Few of the cures are as unpleasant as the cure for bedwetting. The ingredients are several newly born mice without hair. These are chopped up (without being cleaned), fried, and fed to the child. To keep the child ignorant of what he was eating, the cook would chop up steak in a similar way and give it to the others.15
Unpleasant in odor was the preventive measure used especially during epidemics. Asafetida was carried either in a bag around the neck or in the pocket. It was used to ward off the germs. Because it was an evil-smelling resin, the nickname for it was Teufel’s Dreck.16
Present in several of the cures is the element of mysticism. It is most difficult to find a complete recitation of any of the curing verses. Most seem to mention the name of Jesus and the number three. Here is one used to cure bleeding:
In meines Jesu Garten Stehen drei Baumelein, Eins heist …
Das zweite heist … Das dritte heist … Blut halt stille.
(In my Jesus’ garden there are three small trees, One is called …
The second is called … The third is called … Blood stop.)
The bleeding would stop almost immediately, but this cure should only be used in extreme cases, because while this verse would stop the bleeding, the healing of the wound would be slowed.17
Since there was also a verse to promote healing of the wound, possibly these two should have been used together. The only line known is: “Est stehn drei Blumen auf Christi grab …”18 (“There are three flowers on Christ’s grave …”).
Many of the mystical cures of the Wends centered on a woman named Mutter Spielert, who lived in Giddings. Great powers were attributed to her, including the ability to cure erysipelas, a common Wendish disease.19
The cure for warts requires a person to hold a silk thread over the wart and tie a knot in it. The thread is then buried next to the house where there is moisture. When the thread rots, the wart will be gone.
The remedy for side-ache caused by walking is even simpler. To cure the side-ache, the person should stop, pick up a rock, spit on it, and replace it.20
When you ask the Grossmutter (Grandmother) if the cures are any good, she will smile and say, “Sie leben noch.” (“They are still living”).
Home cures were also used on animals. There was usually a man or woman in the community who had power over the worms in animals. This was a helpful person, for young calves often get worms at the navel before the navel dries. In most cases the owner merely went to the person and described the calf. When he returned home the calf would be walking around the lot bleeding at the place where the worms were. The owner then applied some salve on the wound so the flies could not get to it. If the wound was at the navel, it would be necessary to pull some of the skin together with a string.21
In curing a sick horse, the healer drew blood from the horse, fastened cotton on a stick, and daubed the blood with the cotton. Then he placed this cotton in the hole of a tree.22
To prevent their stock from being stolen, the Wends called upon a Mr. Drosche for help. He made the sign of the cross on the ground in the middle of the lot and as he mumbled something he would make signs on the animals and on the ground around them. After this treatment the horses would throw the thieves or refuse to be driven by them. Another way to prevent the stock from being stolen was to nail horseshoes to the ground and drive the cattle over them.23
The immigrants had to have some kind of diversion in their life of hard work, and they found that diversion in church. Sunday service, or any function of the church, was time for worship and many other activities. The customs observed at marriages and funerals shed a great deal of light on the life of the people.
In the years immediately after the migration, the marriage customs were almost identical with those used in Europe. Wedding celebrations usually lasted three days. Announcements and personal invitations were issued weeks in advance. The wedding party assembled at the bride’s home, and before they left for church they would sing a hymn and say the Lord’s Prayer. The bride was dressed in a very tight-fitting black gown, which symbolized the sufferings of the new life ahead of her. (In the1890’s gray was substituted for black, and after 1900 white was accepted.) Flowers generously decorated the carriages, the horses, the church, and the attendants. There were usually ten bridesmaids and ten groomsmen. After they had taken their places at the altar, the congregation sang a hymn, and the pastor preached a short sermon. The vows were then exchanged and the groomsmen laid money on the altar for the pastor and the organist.
After the ceremony, everyone rushed to the bride’s home for the celebration. Usually some children had the road roped off, and the groom had to bribe the children with small change so they would lower the rope. When the party and guests arrived at the house, the pastor and cantor led the people in hymns and a prayer, and the feasting began. Since there were few tables, the wedding party ate at the first table, and then the rest of the people ate in shifts late into the night. The bride and groom remained at the table until midnight. During the course of the evening someone would pull off one of the bride’s shoes, which would then be passed around and the guests would contribute for another shoe. Beer and whiskey, bourbon for the men and Kümmel for the women, helped make the celebration lively.24
If the parents wanted to be sure that the daughter and son-in-law would never go hungry, they would get a barrel (196 pounds) or four sacks of flour, and use it all for the wedding celebration. Every kind of pastry was baked; any not eaten was given to the guests as they departed.25
Good fortune was also predicted if drizzle or fine rain fell on the bride’s hair as she entered the house. Another saying favored marriages in cold weather:
Heirat in Januar wenn’s eisig und kalt
Erlangs du Reichtum wenn auch nicht halt.
(Marry in January when it’s icy and cold
Eventually you will become rich if not quite soon.)
Bad fortune, however, was indicated if the string of pearls the bride was wearing should break, for she would cry one night for every pearl on the string.26
Weddings held in the rural communities in later years have changed somewhat. The celebration now lasts only one day, but the relatives who have moved out of the community return for a few days before the wedding. The weddings continue to be held in the church, but with much smaller parties. After the ceremony, the guests follow the wedding party to the bride’s house in automobiles. After greeting the parents of the bride and all the friends, the guests gradually work their way to the woodshed where the beer is dispensed. Soon the coverings are removed from the tables and barbecue and all the accompanying dishes are served. Later in the evening, with the beer still flowing, guests play dominoes, 42, and Schafskopf (sheepshead). Occasionally the Hungry Five, a small band consisting of a trumpet, baritone, clarinet, trombone, and snare drum, play some old German songs such as “Gerade aus das Wirtshaus.” When the players get thirsty, they play “Bier Hier” and the bartender answers immediately with five schooners. Most of the guests leave between twelve and three in the morning, but some celebrate much later.
Sometime after midnight the newly married couple will steal away and go to their home, or to some other home in the area. About half an hour later the young men will follow with plowshares, hammers, and any kind of metal that will produce vibrations. The “charivariers” approach the house quietly and suddenly begin the Katzenmusik (cat’s music). Sometimes they are invited in, but in most cases they give up and go back for more beer.
Many different customs are connected with death. In Europe one custom is to cover the mirror with a cloth and scatter the clothes of the deceased person over the floor and leave them for four weeks.27 Some still cover the mirror when a family member dies. Others have been known to keep the doors to the room where the person died closed for a period of one year and then ask a neighbor to open it.28
The tolling of the church bell signals the death of a person. It is rung for a minute, followed by a brief pause, then rung for another minute, followed by another pause, and then rung for a third minute. This practice symbolizes the Trinity. Then the age of the person is counted out with the bell strokes. The people in the community know who is ill, and from the number of bell strokes can usually guess who has died. The burial takes place as soon as possible in the afternoon. The schoolchildren sing, and after the sermon the body is viewed. The pastor and teacher lead the procession to the Kirchhof (cemetery) followed by the pallbearers and the members of the congregation. At the grave another hymn is sung, led by the cantor.
There are other folk stories or customs that are without a doubt related to some in Europe. Great-grandfather Schneider was a blacksmith, but he learned his trade in Germany. Usually the Meister or master craftsman would take several boys and teach them the trade as they worked without pay. One Sunday when the Meister was at church the boys looked around the shop and in some of the cupboards that the owner kept closed. In one they found a book, supposedly the Seventh Book of Moses, which they began reading. Soon a crow flew in through the window and lighted on a beam. The boys continued reading, and another crow flew in. More crows came until there were crows outside as well as inside the shop. When the boys noticed this, they became frightened and replaced the book. At the same time the owner came out of the church and saw the crows. He went to the shop, took the book, and began reading it backward. As he did so, the crows flew away in the same order in which they had come, and when he reached the first word all were gone.29
In Europe great confidence is placed in the water dipped from a spring or stream on Easter morning, a belief that also exists among the Wends of Texas. One woman I knew would rise before dawn on Easter morning, draw some water from the well, and make a small trail of water around the house. This would keep out insects the rest of the year. Another belief is that water dipped on Easter morning is healthful and that even though kept for some time it continued to taste good.
Other stories are definitely of American origin. Many of the Wends and Germans also came to America to avoid the draft. When they came to Texas they were faced with the draft for the Confederate Army. They did not want to fight, and if they did they would rather fight against slavery and thus eliminate the competition of slaves in agriculture. Many stories are told of how the young men evaded the draft. Most of them hid out when they heard that strangers were in the community. If work had to be done they wore dresses and sunbonnets in the fields. My Great-grandfather Moerbe was caught one day and was about to be drafted when they noticed his bowlegs. People say he was so bowlegged that a pony keg could have been placed between his knees. He could not be taken into the army, but when the officials discovered that he was a tailor, he was encouraged to go to San Antonio to sew uniforms for officers.30
A final major category of folklore is of dubious parentage. Many of the beliefs regarding planting and agricultural activity are also found among the English-speaking people, but since these sayings are widely accepted by the German-Wends, they should be included.
It is generally believed that the moon has a powerful influence on the earth, for no one questions the moon’s control of the tides. It is logical, therefore, that its power would be felt in areas other than the tides. If both plants and humans, as the scientists tell us, consist of a large percentage of water, why should not the moon dictate to plants and man the courses they must take? People who are close to nature are strongly conscious of this influence. If, for example, the corn is planted on the decrease of the moon, the ears will be large, but if it is planted on the increase of the moon, the stalk will be large. It is also true that if calves are branded on the increase of the moon, the brand will grow, whereas if they are branded on the decrease of the moon the brands will either keep the same size or diminish in size. Farmers and ranchers also know that if trees are killed on the decrease of the moon they will not send up shoots as they would if they were chopped down on the increase of the moon. This influence is even true of hair. If hair is cut on the decrease of the moon, it will grow more slowly, and it will not be necessary to return to the barber so soon.31
The signs of the zodiac also regulate farm activity. Animals should be castrated under Pisces, but never under Cancer. Potatoes should be planted on February 22 and cucumbers on Maundy Thursday.32 If the cucumbers continue to grow too much foliage and not enough cucumbers, a shoe should be buried among the plants.33 Insects will damage crops planted under Cancer. Any pest, such as Johnson grass, is best killed under the sign of Cancer.34
Finally, there are some folk-sayings of various kinds:
“If you walk backward while talking you will push your mother and father to hell.”
“Do not burn old clothes, bury them.”
“Do not move a broom along.”
“Do not move or marry on Friday.”
“If a bird flies into the church or the house, it is bad luck.”
“If the procession bearing the corpse from the church to the graveyard is stopped, someone will die from the same house as the deceased.”
“Do not eat a lunch wearing your hat, even outside, or the devil will laugh.”
“After you eat, an angel waits for the prayer of thanks to take it to heaven.”35
- Anne Blasig, The Wends of Texas (San Antonio: Naylor Co., 1954), pp. 27-29.
- George C. Engerrand, The So-Called Wends of Germany and Their Colonies in Texas and Australia (University of Texas Bulletin, No. 3417; Austin: University of Texas, 1934), pp. 11, 13, 22.
- Ibid., pp. 14-17, 47-58.
- Ibid., pp. 29-31.
- P. E. Kretzmann, “The Early History of the Wendic Lutheran Colony in the State of Texas,” Concordia Historical Institute Quarterly, 1930, p. 47.
- Blasig, pp. 29-31. Although Blasig states that the price per acre was fifty cents, recent research reveals the price as one dollar per acre.
- Interview with Mrs. E. F. Moerbe, Pottsville, Texas, November 2, 1958.
- Blasig, p. 82.
- Interview with Mrs. Esther Gromatzky, Pottsville, Texas, November 2, 1958.
- Interview with Martin Moerbe, Taylor, Texas, November 16, 1958.
- Interview with Mrs. Eleanore Schneider, Austin, Texas, December 10, 1958; interview with Oswald Melde, Aleman, Texas, January 11, 1959.
- Interview with Arthur Moebus, Serbin, Texas, October 18, 1958; interview with Mrs. Mitschke, Serbin, Texas, October 18, 1958.
- Interview with Robert Malke, Serbin, Texas, October 18, 1958.
- Interview with Oswald Melde.
- Letter from Mrs. Wm. H. Nielsen, Vernon, Texas, December 2, 1958.
- Interview with Oswald Melde. Mr. Melde did not know the names of the trees, but believed that no other names could be substituted.
- Interview with Martin Moerbe.
- Interview with Oswald Melde.
- Interview with Arthur Moebus.
- Blasig, op. cit., p. 59.
- Interview with Oswald Melde.
- Blasig, op. cit., pp. 54-56.
- Interview with Oswald Melde.
- Engerrand, op. cit., pp. 49-51.
- Interview with Oswald Melde.
- Interview with Arthur Moebus; interview with Robert Malke.
- Interview with Otto Schneider, Austin, Texas, September 3, 1958.
- Interview with Mrs. Arthur Melde, Aleman, Texas, January 11, 1959.
- Interview with Otto Schneider.
- Interview with Oswald Melde.
For more information on Wendish folklore read Mato Kosyk’s letter found in the Johann August Urban entry in WENDS WHO BROKE THE PATTERN in George’s Journal at WendishResearch.org.
See also George R. Nielsen, In Search of a Home: Nineteenth-Century Wendish Immigration (College Station: Texas A&M University Press, 1989), 119-124.


Librarians have always served their communities by providing access to resources, instruction for obtaining and using information, and guidance in selecting the most appropriate source for each user’s needs. In the new media age, librarians need to be aware of the continuing evolution of technology, its benefits and drawbacks, and understand how they can incorporate digital media into programming. Children’s librarians should consider the most effective usage of technology in children’s programs, and understand the need to educate both children and their caregivers in the usage of digital media. Librarians can apply different lenses of perceiving children’s multimedia literacy to understand how to evaluate the value of technology in children’s programs, and continue to support children’s exploration and use of new media alongside traditional formats. These perspectives include dialogic reading and radical change theory, in relation to participatory culture. Methods for assessing the merit of various digital media aimed at children, as well as examples of children’s library programs incorporating technology are discussed.
Overview of Perceptions of New Media and Children
As with any resource, children need caregivers and other adults to assist them as they learn to navigate various media, such as traditional books, or new technologies, and utilize them to build literacy proficiency. In 2012, the National Association for the Education of Young Children (NAEYC) and the Fred Rogers Center for Early Learning created a document prescribing the amount of time children ages birth to eight-years-old should spend interacting with digital screens (National Association for the Education of Young Children, 2012). The document described NAEYC’s belief that children under the age of two should have no contact with digital media, and further stated that the guidance of an adult was necessary to providing older children the opportunity to learn from the usage of digital technologies (pg. 2). Children’s librarians realize that the instruction they provide through programs such as story time, and assisting caregivers with finding appropriate materials for their children, helps to promote active learning and the formation of a bond between the child and caregiver. The authors of the document recognized the prevalence of technology in all facets of user’s lives, and suggested that digital resources should be utilized as long as children received time to interact, converse, and play with one another and adults without the mediation of new media (pg. 5). NAEYC’s document also included factors for assessing the development of the child in relation to digital media use (pg. 6), suggesting that children progress from early stages of exploring the technology and its uses, to becoming a competent user of the resource, realizing ways the media could assist them in their lives. With the understanding that children can demonstrate mastery of digital media, and use these technologies in ways that will benefit their learning and literacy experiences, children’s librarians should consider various new skill sets that have arisen from the emergence of new media, to assist children and caregivers in reaching their learning and leisurely goals.
Skills Sets of Children in the Digital Age
Many skill sets that are necessary for children to develop (such as understanding the parts of a book, recognizing genres, and creating meaning and understanding through dialogue with other children and adults) can apply to digital media usage. Della Penna and Lucey (2012) noted six essential literacy skills for young children to grasp as they begin to interact with resources: phonological awareness, narrative abilities, recognition and understanding of letters, vocabulary, understanding of the mechanics of print, and the ability to understand the reading of books can be a pleasurable experience (Table 1). With the influx of new and complex digital devices and media, children’s librarians may find that keeping their own technology skills proficient to be a challenge. However, children’s librarians should not forget the six literacy skills listed above, and should encourage children to build and apply these skills to digital media. However, Prendergast (Children and technology, 2015, pg. 27) argued that librarians and educators spend too much time developing print-based literacy skills in children, in lieu of providing instruction on multimedia literacies and proficiencies. Therefore, children’s librarians should be aware of digital media and technology skills sets as well, to provide children and their caregivers the best scaffolding for learning across all forms of information.
Develop Fine Motor Skills and Expertise of Digital Media Use: Children develop fine motor skills such as holding books, turning individual pages, and selecting materials from book bins. Further, as their interaction with print material continues, children learn the properties of a book, understanding aspects such as chapters and indexes to assist in their navigation of the resource. Multiple authors have recognized that aspects of technology, especially computer mice and touch screens, require that children develop fine motor skills to utilize digital resources (Walton-Hadlock, 2008; Prendergast, Children and technology, 2015; Hicks, 2015). Librarians can support the various motor skill capacities of their users by providing traditional resources, tablets, touch screen computers, and computers with mice. Dresang (2008) also noted that alongside the various digital devices, children must also learn to navigate the unique features of various websites, applications, and textual materials, including comprehending hypertext links (par. 5). Mills (2011) referred to the unique aspects of digital resources (menus, icons, etc.) as sign symbols, and stated that children need to develop awareness of the functions of these features to be able to utilize them efficiently (pg. 62). As children’s librarians, we must help children understand the similarities and differences that exist between traditional formats and digital technologies, enabling them to become technology proficient (Campbell and Koester, 2015, pg. 8); these skills of evaluating novel tools and manipulating them to the advantage of the child will continue throughout their lives. Some educational facilities and libraries have already considered how technology expertise can be incorporated in a children’s setting with the creation of augmented reality (AR) resources that enable children to utilize their swiping, searching, and comprehension skills to find materials in the library without the guidance of a librarian (Meredith, 2015, pg. 73).
Analyze the Textual Qualities of Resources: In addition to understanding the differences between print and digital resources, children’s librarians can also help their community to draw connections between the similarities of the various media. Children can recognize story conventions such as beginning, middle, and end, while also understanding the various characters within the resource. Additionally, children are required to mediate their own understanding of the material they are reading. Jenkins (2009, pg. 49) stated that children come to understand their own identities in relation to the materials they engage with, through reenacting stories, and recreating them through various means. In order to be able to develop a sense of self in relation to a text, Jenkins argued children must engage in, “a close analysis of the originating text, genre conventions, social roles, and linguistic codes. She must go deep inside the story to find her own place within the words” (pg. 51). By demonstrating to young users the various ways a story such as Little Red Riding Hood can change depending on the author, illustrator, and selected medium, librarians can help children recognize that different forms of interpretation of a text occur naturally, and allow them to create a relationship between themselves and the resource that is meaningful and unique.
Play, Teamwork, and Problem-solving: Regardless of the setting, children engage in play and playful communication with one another, growing their abilities to imagine, while also developing communication skills that will be necessary throughout their lives. With the capability to connect with people from around the world through the internet, children must learn how to develop skills of communication, and methods of interaction on a broader scale. Librarians can understand the importance of teamwork, making individual and group decisions, create meaningful interactions and sharing of information, and solve problems (Dresang, 2008; Walton-Hadlock, pg. 52). By demonstrating to caregivers and children the appropriate media to engage in different forms of conversation, children can become competent conversationalists, both online and in person.
Understand Qualities of Digital Communities, Biases, Privacy, and Safety: As children learn to communicate effectively with others in a digital setting, librarians and caregivers alike must assist children in understanding social and cultural differences, while ensuring that children recognize the rights and responsibilities of utilizing digital devices and resources. Jenkins described how the internet and technology can be used as tools to assist children in gaining information from online communities, and supplement their findings with the learning they have completed in classrooms and through face-to-face and textual interactions (pg. 77). Schmit (2013) discussed the need for librarians to show through the incorporation and digital and physical resources, the various voices and interpretations of information authors (pg. 37). Children should realize that each voice they encounter fits within the content of the author’s various worldviews, experiences, and ideas, and that each resource may contain biases due to these perceptions. In addition to sorting out factual and relevant information (Jenkins, pg. 96), librarians should also provide information to caregivers about how to ensure that the information children have access to does not compromise their right to privacy, or otherwise endanger their safety and wellbeing.
Create and Share Information: Besides the ability to access a myriad of voices and ideas from digital resources, children also have the opportunity to create their own works, and make them public to the communities in which they engage. Paganelli (2016) noted that children can become authors in the traditional sense of making their own physical books, or, with instruction, learn digital strategies such as coding, to make their own websites and interactive media (pg. 12- 14). As children become aware of the various methods of producing and disseminating information, Mills argued (pg. 57), they recognize the merits and unique characteristics of each resource. They can apply the skill of creating their own meaning and understanding of another author’s creation, and use these resources to build their own materials. Haines and Kluver (2015, pg. 73), and Hicks (pg. 44) recognized the importance of providing children the opportunity to engage with various media formats, and to encourage children to embrace their individual understandings. Librarians can help to foster children’s creativity and promote children-made works in the library setting, encouraging other users to share their own ideas with others.
Drawbacks of Technology
Alongside recognizing the needs of library users to utilize digital media effectively, librarians must understand the complications and negative factors of technology. One such challenge, known as the participation gap (Jenkins, pg. xi) focuses on the various abilities of children and all people to have the same quality and ability to access digital resources. This includes the ability to receive instruction on how to effectively utilize these materials, and increasing knowledge of credible resources. Walton-Hadlock (pg. 55) suggested that librarians can combat this gap of accessibility by providing digital links to story times for children unable to visit the library on their own. However, Borgstrom (2011, pg. 197) recognized that people may not have equitable access to internet, and that the price of obtaining both quality internet speeds and the materials to access online resources may not allow children and caregivers to participate with the library digitally. Jenkins (pg. xi) also noted that children and adults may not be aware of the biases and perspectives of the authors of information accessed through digital media. Della Penna and Lucey (par. 9) identified the need for librarians and educators to provide all users with equal access to digital devices, alongside giving informational sessions and programs about their usage and understanding of information bias. Children come from a variety of backgrounds, and have different experiences and interactions with media of all types, alongside different learning capabilities— all of which a librarian needs to take into account when providing resources and instruction (Prendergast, The role of new media, 2015, pg. 52). Additionally, caregivers and children alike may view digital devices solely as platforms for gaming and leisurely activities. Borgstrom (pg. 194) argued that creators of digital apps should consider the relevance of the material they provide to children, and its potential to distract users from learning. Librarians too should recognize whether a digital application or device provides educational value to young users, and demonstrate to caregivers how to assess the merit of technological resources. Haines and Kluver (pg. 63-64) provided an overview of potentially distracting or unnecessary elements of digital apps, including pop-ups and links to other websites where children may be encouraged to purchase items, alongside advertisements, the quality of the device and/or resource, and whether or not the app protects the user’s privacy.
The drawbacks and skill sets described above necessitate that the librarian take on the role of media mentor. Inherent in the requirements of being a librarian is the ability to provide users with quality materials, instruction, and the capability to navigate resources effectively. These skills librarians have already fostered can be applied when assessing and discussing digital media and technology resources with children and caregivers. Campbell and Koester called for children’s librarians to recognize, “we have the opportunity to break the paradigm of children interacting by themselves with a mobile device” (pg. 10) and encouraged librarians to help families interact with one another as they engage in the use of new media. Three approaches to media mentorship can be utilized in the library setting: librarian as mentor, student as mentor, and technology and mentor.
The library serves the entire community, engaging all users, and providing them with the opportunity to interact with one another as they also utilize the resources within the library (Dahlen and Naidoo, 2014, pg. 36). Essential to ensuring that library users have the competencies to utilize digital resources, children’s librarians must meet and inform parents and caregivers about the opportunities and problems with using new media. Walton-Hadlock suggested that librarians should seek to meet caregivers on a variety of levels: modelling good practices during library sessions, inviting children and adults to learn about how to use technology, and providing workshops for finding and using digital media and resources (pg. 52- 54). Equally important, librarians should engage children and their caregivers in utilizing traditional and digital resources. Dresang (par. 25) discussed that children need to be able to draw connections across a variety of media to make their understandings of the content relevant. Martens and Stoltz (2014) recognized that children and adults are oftentimes uncertain of what resource of type of media would be relevant to fulfilling their information needs, requiring that librarians provide readers’ advisory and other services to familiarize these users with relevant information. Importantly, librarians help children and adults connect with one another, facilitating the use of media by both groups, while encouraging interactions and dialogue to create enjoyable experiences for both users (Campbell, Koester, Mills, and Romeijn-Stout, 2015, pg. 27; Campbell, Haines, Koester, and Stoltz, 2015, pg. 2-8; Hendricks, 2015, pg. 36-37). In a story time setting, librarians can also demonstrate to young users different print conventions, guiding them to recognize different components of stories in digital and traditional formats, and answering questions to increase understanding (Kuhn and Labbo, 2000, pg. 192). While librarians are seen by children and adults alike as authority figures, Campbell and Koester (pg. 15-21) suggested that children’s librarians provide families with resources and ideas for utilizing various media, but allow the child and caregiver to create their own framework to incorporate this information into their daily lives in a meaningful way.
Children look to one another, and older children for advice, and also recognize that they can be role models. Realizing that young students at an elementary school and middle school children could benefit from working with one another to improve literacy skills, Preddy (2016) created a program where both groups could read with one another through the usage of technology. The author noted that young children anticipated reading with their older partner, while the middle school students enjoyed creating their own stories, taking on the role of author, and sharing their creations with the younger students (pg. 5). Preddy further discussed that younger children need reading role models, realizing that engaging with various texts and media can be a form of enjoyment or learning experiences (pg. 5). With the development of augmented reality (AR) devices, the role of both librarian, parent, and peer can be mediated with technology as a mentor. Children in a library with AR resources could utilize the technology as a mentor; AR may provide guidance in helping children form research questions, navigate databases, and help young users to find the resources in the library (Meredith, pg. 75).
Methods of Viewing New Media Literacy and Examples
Librarians may already be familiar with lenses of interpreting and encouraging digital media proficiency in youth (e.g. dialogic reading strategies, understanding the radical changes of children’s picture books). The following sections are intended to give further insight into these understandings of new media’s place in the children’s library, and provide ideas and examples of library programs already in use to encourage children’s engagement, enjoyment, and understanding of technological resources.
Dialogic Reading: Originally intended for the use of bringing children and caregivers together to share in the experience of reading and interpreting a physical book, dialogic reading can also be applied to various digital media. Miller (2016, lecture) described the qualities of dialogic reading; adults read with a child instead of simply reading the book aloud without questions or discussion; the experience is meant to create a dialogue between the caregiver and child, with the adult allowing the child to lead the experience of the resource; the adult encourages interaction by asking children questions that help children to describe what they see, how the story makes them feel, what might happen later in the story, and make connections to the child’s own experiences, and; adults give children positive acknowledgment for their contributions, expand on the child’s ideas, and demonstrate enjoyment of reading the resource. Quenqua (2014, par. 12) further noted that dialogic reading is a back and forth process, where the child and adult take turns listening to and discussing the story with one another. The author discussed that e-books can be utilized to foster dialogic interaction; however, digital formats can incorporate entertainment qualities that detract from the relationship between child and caregiver (par. 15).
Moody (2010) provided information about a study conducted to evaluate children’s involvement levels when interacting with e-books on their own, and interacting with adults (pg. 295). Children were grouped into three categories, one group reading physical books with adults, another using e-books without adult interaction, and the third using e-books with adults (pg. 297). The author discussed methods of evaluating child engagement with the reading exercises, noting that persistence included children talking with adults about what they saw, and providing discussion of their thoughts (pg. 302), all aspects of dialogic reading. The study results suggested that children showed greater persistence when paired with an adult as they read an e-book (pg. 306), though children interacting with the physical book labelled the illustrations to a greater extent, which may indicate greater conversation between the adult and child as they interacted with the book in this way (pg. 306). When children navigate e-book resources in the company of an adult, and with dialogic techniques of engagement involved in the reading process, digital resources may prove beneficial to enhancing the child’s learning and social experiences.
In another study, children were separated into two groups: one section read traditional books, while the other group engaged with Fisher-Price digital consoles (Collins, Golinkoof, Hirsh-Pasek, Mahajan, and Parish-Morris, 2013, pg. 202-203). Both groups included an adult and child reading together, and the study assessed how the pairs interacted with one another. The results of the study suggested that children and adults were more likely to spend time engaging in dialogue with one another utilizing a physical storybook (pg. 205). The authors provided the conception that e-book interactions may prove distracting to dialogic reading efforts, as adults may spend a greater amount of time instructing the proper usage of the device, and commenting on the child’s behavior than on interacting with the story and child themselves (pg. 207). This study demonstrates that children’s librarians should provide assistance in choosing appropriate digital storybooks and materials that will encourage dialogic interactions, and model dialogic strategies to library users.
Dialogic Reading Activities in the Library: Effective media mentoring can lead caregivers and children to engage in dialogic reading, and to experience digital and physical formats together in an enjoyable process. Martens (2014, pg. 37) reviewed various children’s library programs, including Angela Reynold’s Milk and Cookies story session. In this activity, children and adults visit the library for story time, engaging with iPads and traditional books. Reynold’s incorporates apps such as those that make animal noises, to engage her listeners, while also demonstrating to caregivers how to effectively mediate between physical and digital platforms to promote interaction and dialogue between the adult and child.
On the Association for Library Service to Children’s (ALSC) wiki site, a collection of technology programs can be found. One example, entitled Read with the Browns (Molnar, 2008) enabled children to listen to football players from the Cleveland Browns narrate stories via telephone or online streaming. This program helps to encourage children to enjoy reading by experiencing well-recognized role models engaging joyfully in the experience of reading. This program could be made into a dialogic reading session if the child watched the reading with an adult, pausing the reading whenever the child had a question or idea to discuss with the adult.
Dahlen and Naidoo discuss incorporating technology into cultural programming in the library. Recognizing the Día programming utilized by many libraries, the authors suggested that the librarian read stories to children that highlight different cultures and experiences (pg. 87). As the librarian reads, he or she could incorporate dialogic reading strategies, calling the children’s attention to aspects such as dances and songs. The children are then encouraged to engage with digital apps and resources to research songs, and to create and share their own music.
Radical Change Theory: Dresang began discussing radical change theory as the early influences of technology changed the ways in which children’s picture books were written and illustrated. Dresang and Koh (2009) revisited the theory, examining how both traditional and digital stories possess certain traits unique to the introduction of digital media (pg. 27). The authors noted that current resources need to include aspects of traditional literacy skills, while also providing children with the chance to engage with and utilize the features of digital and technological media (pg. 29). Dresang and Koh recognized that children’s literature now incorporates dynamic and vibrant graphical methods of conveying information, in relation to the ways online resources catch the attention and provide ideas to users (pg. 35). Pantaleo (2004, pg. 178) suggested that some of these incidents of digital influence on children’s literature include narratives that do not follow a traditional beginning, middle, end convention; these media also incorporate various viewpoints instead of a story being narrated by a singular voice, and; the print and image layout of each page may reflect innovative approaches that may mirror those used on websites. The author stated that children need to be able to engage with a text critically, incorporating their own judgement and understanding of the material in order to decide how to follow the diversity of narratives and make predictions and understandings about the story (pg. 179-186).
Instances of digital technology’s influence on traditional storybook conventions can be found in multiple forms. Dresang noted that authors and illustrators often reflect the ideas and environments of the times in which they create their stories, and will incorporate novel new media devices such as hypertext into their works (par. 7). Interaction between people, ideas, and different resources are characteristics of radical change literature, the author suggested (par. 11). Recognizing that the internet allows children to permeate previous boundaries, such as geographical location and language differences, Pantaleo noted (pg. 179) that current literature incorporates unique formats, increased varieties of perspectives and ideas, and mutable boundaries between the book, technology, and reader. Dresang and Koh recognized that one such boundary-shifting digital incorporation into the storybook format could be found in hypertexts; the authors noted that links to various websites could allow children to follow a story across multiple locations, engaging with different cultures and ideas, while giving children the authority to make decisions about the information they wanted to find to further their reading experience (pg. 37-40). Children must now be aware of the textual qualities of printed materials, while also possessing the skills to jump between physical and digital resources to create an understanding of radical change resources and stories. Dresang suggested that it is the role of librarians and educators to act as media mentors, demonstrating how children can utilize both types of formats in conjunction with one another, supporting traditional literacy skills and values while also acknowledging children’s competencies to navigate and utilize digital media (par. 19-20)
Radical Change Theory Activities in the Library: Jenkins described an activity developed by the Massachusetts Institute of Technology (MIT) where students chose to look at a fairy tale, and recreate it utilizing a variety of media sources (pg. 90). The students used technology such as instant messaging, Powerpoint, and video recordings and programs, to retell the fairy tale. To supplement their creations, the students researched how the fairy tales had changed over time and across cultures in traditional formats. The goal of the program was to enable students to understand how to convey the essential meaning and ideas of the fairy tale to an audience, acknowledging the capacities and drawbacks of each digital and technological resource to portray the story. Children in a school setting could collaborate with the librarian to learn about researching fairy tales, find different retellings of the stories, and check out media devices and learn about their usage to create their own interpretations.
Sarah Kepple and Dave Bullock’s (2008) discussion on the ALSC wiki described her Animated Authors program. Children learn how to turn their own ideas into a video to be shared with others. Students would engage with various formats of alternative storytelling such as graphic novels and comic books, as they learned how to create the panels and layout their stories in a storyboard format. Throughout the program, children translated their written and drawn stories into a live-action video, watching other video creations to understand how they could incorporate elements such as music and camera angle into their narrative to create a particular perspective for their story.
Mills (2011) described an activity in which children listened to Roald Dahl’s The BFG being read, then created their own interpretations of the text. Children began by drawing out a scene from a chapter of the story, “dr[awing] on [their] own experiences, and the material texts of [their] own life-world[s], to generate a visual text that interacts with Dahl’s text” (pg. 59). Overtime, children learned how to create various other media interpretations of the text, including storyboarding, scriptwriting, filming, and editing to create an end product of a video clip of the student’s interpretation of Dahl’s text (pg. 60). Such activities as this and Kepple and Bullock’s program, can encourage children to mediate between digital and traditional formats, while including their own perspectives, following their own interests, and utilizing skills that they are already familiar with alongside those they learn through the programs, to create new media that they can share with others.
Despite the trivial nature of the consistent production of new devices and digital resources and platforms, librarians can apply traditional learning methods and strategies to new media to make these resources accessible and meaningful to children and their caregivers. Keeping in mind the skill sets children need to develop in both traditional and digital settings, librarians can find resources that help children to explore all types of media. Librarians act as mentors and models to both students and adults in their usage and incorporation of physical and digital resources in library settings, and can create unique programming to instruct usage of these resources while promoting creativity and children authorship using a variety of tools. When children interact with one another and other people online and in person, they can demonstrate their own understandings and ideas about text, and observe and realize a love of reading.
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Raster vs Vector Graphics
Digital graphics can be divided into two categories: raster and vector. Never heard of them? Here’s how — and when — each should be used.
Raster graphics are composed of pixels, which are tiny squares that make up an image. These little squares of different colors join together to form an image when viewed at normal size. Depending on the media output you plan to use the graphic in, there are standards for how many pixels (or dots) per inch (dpi) there should be to see a crisp, clean picture. For example, most onscreen graphics work well at 72 dpi, but printed graphics should typically have 300 dpi.
Vector graphics are composed of points and lines generated by mathematical formulas. These points and lines are used to compose the final graphic. The computer uses math to determine the shape of the object based on placement of the points and lines. Unlike raster graphics, there are no pixels, which means you do not need to worry about the size of the graphic, it will look crisp at any size regardless of media.
When to use raster and vector graphics
Whether you use raster or vector graphics depends on the type of graphic you’re looking for.
If you’re going to create or use a photograph, graphics with many different effects, or a highly detailed image, you should use a raster graphic. This will give you maximum control over the image and allow for better gradient/color blending. Depending on the use, you can only scale the image up to 100% before you start to see some quality loss. Even resizing a raster image smaller can cause loss of quality, so be sure that whoever is handling the files knows how to properly edit and save the file to avoid loss of quality.
If you’re going to create or use logos, illustrations, graphics with minimal (preferably no) effects, graphics with little detail, line drawings or artwork with clearly discernable shapes, you should use vector images. This will maximize your editing capability, allow you to reshape the artwork endlessly without loss of quality, and resize smaller or larger without quality distortion.
Some common file formats give you a clue as to the type of graphic you have:
- Common raster formats: JPG, PNG, GIF, TIFF, BMP
- Common vector formats: PDF, EPS, AI, SVG
The trick with vector formats is that they can also contain raster graphics alone or in conjunction with vector graphics. Try opening the file in an application like Adobe Acrobat and see what happens when you scale the graphic up past 100%. If all parts stay in focus and clear, then it’s most likely a vector graphic. If things start to get fuzzy and pixelated as you zoom in, the file likely contains raster images, and will not work if scaled too large.
Make sure to use the correct format for the needs of your graphics. One of the biggest mistakes many companies make is creating something like a logo with a photo in it, or making the logo in Adobe Photoshop and saving it in a raster format rather than a vector. This results in distorted or pixelated images, which is never good for your brand.
When in doubt, contact us and we’ll make sure you have the right format for your graphic needs.
How to Make the Most of Your Headshot
Clients often ask us for professional headshots to use in various marketing materials and for PR purposes. If you’re like me, most people hate getting their photo taken. However, it’s easy to get the most out of your headshot and reduce some of the stress that comes along with showing us your pearly whites.
What to Wear and How to Prepare
When we get confirmation that you’re coming in for a professional headshot, one of the things we typically do for people who haven’t had one before is to send an informational sheet over that includes tips for what to wear to a photo shoot. I always say “simple is better.” Don’t come to a photo shoot wearing clothing that has florescent colors or crazy patterns (even if you love them like I do). That’s just a recipe for disaster, and a sure way to bet you won’t be happy with your photos.
For women, it’s usually best to keep your makeup and jewelry simple. Regarding makeup, it is recommended to apply a little heavier than normal as it will enhance your features. Especially things like mascara and eyeliner to help your eyes stand out and face powder/foundation to reduce glare. Making sure hair and facial hair is well-groomed for men will also help improve photos. If you wear glasses and plan to have them in your photo, be ready to take them off in a few shots in case there is glare. We’ll need some photos without them on to help reduce glare via Photoshop (magic!).
It’s usually best to try and stay relaxed. Try taking a deep breath right before we start shooting. It will help release some of your worry and relax your posture. We usually suggest your feet be about shoulder width apart and stand tall — without being a statue (no slouching allowed!). It’s usually best to clasp your hands in front of your body than to leave them dangling by your sides. Try to move your face closer to the camera — without moving your neck/body — and lifting from your chin a bit to reduce potential “double chin” issues. It’s also a good idea to “smize” a term coined by fashion model Tyra Banks (who loves watching America’s Next Top Model — this girl!). It means to smile with your eyes. We don’t want you to look vacant in your photos, we want the viewer to engage with you and see the fire behind your eyes.
Typically, when I take photos I try to engage in some small talk with you to help relax the situation and get some real expressions from you. It’s always best when we can have a conversation to keep from those awkward silences (crickets anyone?). Tell me a joke, or something funny that happened recently; it helps to break the ice. I was just learning from a client I took photos of the other day that she loves zip-lining, something I would never have expected after meeting her. Learning about you helps me get a better feel for your personality and lightens the mood. Coming in uber-serious and un-communicative tends to come across in your photos. Hey, if it helps pretend you are a movie star, pretending you are someone you aren’t can totally help you relax and give you a confidence boost.
Relax, We’ve Got This
We’re going to take a whole series of pictures so that once we wrap up the shoot, we can send you over a contact sheet with some options. You get to pick one, and we’ll retouch it for you. That horrible pimple that showed up last night while thinking about how awful getting your professional portrait taken the next day? Gone. We’ll do our best to help you look your best—while still looking natural and not like a plastic Barbie doll. The moral of the story here is to come in relaxed and positive. The happier you are, the better your photo will come out.
P.S. If you’re looking for more information on what to wear (or not to), give us a ring or email your account rep. We’ll send our informational sheet right over.
The Sales and Marketing Seesaw
Freshly armed with a marketing degree, but desperately trying to avoid returning home to live with mom and dad, I jumped at the opportunity to take a sales gig. While it wasn’t directly related to marketing it was very rewarding, sometimes frustrating and surprisingly educational. Fast forward eight years, and I finally get to put my marketing cap on full-time here at Market Mentors. I still have a “new biz” role here, so I thought I would bring a little bit of my perspective to the table.
Often times when we meet with prospects or are reviewing a campaign with current clients, the conversation naturally turns toward sales. “Making the register ring” is typically the foremost objective for our clients. However, there can often be a disconnect between what the roles are in a revenue generating initiative. Maybe your sales staff says they need more, or better-qualified leads (cue Alec Baldwin). Perhaps your marketing team is seeing the fruits of their labors die on the vine by way of poor closing rates. A well-executed strategy would have a seamless cycle, where everyone knows their role in generating new business. In some instances, the confusion of these roles can lead to inefficiency, frustration and wasted dollars.
Most great results are the product of experience and a solid understanding of fundamentals. The following guidelines may seem simple in nature, but are often misunderstood. Before taking on any business development endeavor, regardless of industry, these principles set expectations for everyone.
- While a successful marketing strategy hopes to target a specific audience or group, a successful sales campaign hopes to distill that audience and communicate directly with one identified lead.
- Effective marketing engages audiences via multiple channels of communication depending on the campaign, but properly qualifying the leads that result should always be a two-way, open conversation with a sales person.
- Valuable items are often offered to promote a product or service as a component of a marketing plan. Case studies, white papers and collateral seek to expedite the education process. In sales, “over-educating” a lead can often stymie the closing process and frustrate both the sales person and the prospect.
- A well-executed marketing effort will inspire audiences to find more information and how the product or service relates to them personally. The sales person then attempts to find the prospect-specific challenges, and leads them to “yes” or “no” conclusions.
- In most cases, a marketing plan becomes more successful with greater frequency, creating more exposure. Conversely, an efficient sales strategy strives to reduce the number of “touches” to reduce the sales cycle.
While these marketing and sales functions are different, both sides rely on each other for success. Have your sales people discovered that the target audience has a specific objection? That may be an excellent opportunity to create a campaign tailored around that particular issue. Market Mentors can help collaborate with your team, and create a case study, printed piece or even web content to aid your sales staff! Or perhaps your sales force might be experiencing a high number of pre-qualified incoming leads, but aren’t converting. This may indicate there is a fundamental flaw in the sales process, that can sometimes be something as simple as not asking the right questions. While we aren’t sales trainers, effective marketing strategies create more demand and opportunity to look closer at your closing rates.
Wrapping up, I promise! Most folks not involved in the sales and or marketing process see them as the same thing. Those involved in one side or the other can sometimes see each other as two worlds apart. Success lies in the middle. These departments should be working in tandem, keeping communication open and continuous. If everyone knows their roles there’s no need for finger pointing. Let Market Mentors work to discover the “secret sauce” to get your sales team tuned in perfect unison with your marketing strategy! It will make your life as easy as “ABC.” Sorry, had to do it.
Categorised in: Marketing
The Inside Story: Case Studies Support Sales
One of the most powerful sales tools marketing can provide is a case study. While case studies can take many forms, from feature articles to testimonial ads and videos, they are one of the most valued marketing investments. Maybe you’re interested in supporting your sales team but you don’t know exactly what a case study is, or perhaps you just need the right pitch to make sure your business earmarks part of the marketing budget to develop your story. At Market Mentors, we’ve drafted case studies that have helped sales teams deliver results across multiple platforms and industries. Here is what it’s all about:
What is a case study?
Case studies are storytelling for sales. Presented in a “problem, solution and results” format, these narratives hone in on the most common pain points of the personas you sell to — and then they offer a real-world solution with demonstrated results. These stories can be crafted in the form of an article and shared with trade press for editorial coverage, condensed into short statements that are just the right size for a print ad or billboard, and they can even be very effective television and radio ad messages… and the best part is that you don’t have to pick just one. Once developed, a case study can be repurposed across mediums that will be sure to reach your target audience, while maximizing the marketing budget.
Why are case studies so effective? The answer is threefold:
- Case studies identify with your target audience first. Sometimes radio or TV commercials are only 15 to 30 seconds long… so it’s easy to use up all that time just talking about your business, products or services. However, that “hard sell” approach can alienate your target audience because you don’t take the time to identify with them first. The same holds true for longer articles. It can be so tempting to write a full-page article about all the great things you do and offer… but people have short attention spans and know when they are being sold. Take a moment to paint a picture for your audience by using a “soft sell.” Show them you understand the challenges they face, and then show them your solution.
- Customer contribution adds credibility. You can say your product or services are the best, but it resonates more when a third party agrees. Capitalize on your success and ask your happy customers to share their experience working with you. Not only is the end result more credible marketing, but it’s an opportunity to strengthen your relationship with key clientele.
- They answer, “What’s in it for me?” By providing an actual example of real-world application, the burden of proof is lifted and the question changes from “why would I buy your product or use your service?” to “why wouldn’t that work for me?” That’s a much warmer conversation for your sales team, and one step closer to converting a prospect to a customer.
Have a great story to share but not sure how to get started? Contact us today and we can not only help you draft the story, but we’ll also help you extend the reach of your message. From traditional advertising and public relations, to websites and social media, Market Mentors can help shine a spotlight on your success.
What the new reaction feature on Facebook means for businesses
Have you noticed the new reaction button on Facebook? Chances are you have! If not, this is the set of six emoji’s that sit alongside the original “like” button. Users can quickly respond with love, laughter, happiness, shock, sadness and anger. This gives users the ability to respond to posts and ads with different reactions beyond the like button, but isn’t quite as bold as creating a dislike button, which is why these were created. This new set of reactions will appear on mobile and desktop versions.
While it seems like a fun tool to use when scrolling through your news feed, this could actually be harmful to users and businesses. This feature is available to use on ads that businesses have paid for. It is worrisome that users have the ability to negatively impact those businesses whom have paid for these ads. Some users tend to dislike any ads on Facebook and will react with an angry face even though it might not be towards what the ad is really promoting. Since there is no feedback as to why that reaction was posted for their ad, it is harder for businesses to gauge why that reaction is there. It is more practical when users comment on something they don’t agree with and then someone can respond appropriately and investigate further as to why someone is unhappy.
Although the reactions add a nice touch to other types of posts, it has become something that all businesses will now have to worry about since users have the freedom to post any reaction they want and you cannot remove it. Moving forward Facebook business pages will need to be monitored more carefully. Additionally with this negative reaction, it could cause businesses to not want to advertise on Facebook since they run the risk of having negative reactions linked to their ads with no other type of feedback as to why they had that reaction.
So what’s the good news you ask? Well, you can see who had a negative reaction and would still be able to reach out if you wanted to investigate further and get feedback on why they are unhappy. These new reactions also opens Facebook up to a new level of experimentation. Since users can see how others react to certain posts or ads, there is more information available to us than only likes and impressions. We can use this information to see what posts and ads users respond to and what types of reactions they are having to help with future posts and ads geared toward what people like.
Overall, this new change to Facebook has both pros and cons. We will have to wait and see how this new feature progresses and if this ends up being beneficial or more of a hassle for Facebook users.
Tags: angry facebook reaction, Facebook, facebook ads, facebook advertising, facebook news feed, facebook posts, facebook reactions, facebook reactions button, happy facebook reaction, laughing facebook reaction, like button, love facebook reaction, sad facebook reaction, shocked facebook reaction
What is Your Company Logo Really Saying?
Have you ever been walking down the street and seen a logo on someone’s clothing and been able to identify the brand at first glance? Chances are you just answered “yes.” Company logos are essential in building brand awareness and in giving you an edge in the marketplace. Studies show that 65% of the population are visual learners, so it would behoove companies to use this as a competitive advantage. The key is to make the logo stand out above others, while still reflecting the value or product of the brand.
The real question is, what makes a good logo? Many of us don’t like to think about things any more than we already have to on a daily basis. “Keep it simple, stupid” will go a long way in the realm of brand recognition. Although Apple is already more established than most other brands, the simple apple emblem on the exterior of their products makes them easily recognizable. The same goes for Nike products. Who knew a “swoosh” would develop into such an iconic symbol? The point is, when logos and symbols become too complex, it can become unrecognizable to potential consumers.
One aspect that many companies may not consider when designing or choosing possible logos is if it is practical. By practical I mean, will it look good on paper, clothing, stickers, etc.? No matter what industry you are in, it’s important to have your logo transferable so it can be utilized on various platforms to maximize reach. FedEx, for example, utilizes the negative space in their logo so the “hidden” arrow appears on any surface it is printed on. Although it may seem like a minute detail, the arrow is crucial to their brand, symbolizing and communicating “movement, speed, and the dynamic nature of the company.”
Choosing a color that reflects who you are as a brand will help consumers to easily associate your company with your logo. Studies show that 80% of people think color increases brand recognition. Every color in the color wheel has a meaning behind it; blue means strong or trustworthy, red conveys boldness and love, and green symbolizes growth or caring. For example, law firms and insurance agencies might consider using red or blue in their logo to show their strong presence, rather than purple which could be seen as more creative and imaginative in nature. This seems to be getting down to the nitty gritty but colors can have a large impact on the human mind and the way we associate things.
All of these tips are helpful when thinking of ideas for your new or improved company logo. However, they are just suggestions, they are not set-in-stone rules! So, when deciding on possible ideas for a logo, consider these 5 key points:
- Reflect the values, goods, and services of your brand
- Keep it simple, stupid
- Make it easily recognizable
- Make it practical
- Choose the right color(s)
If your company needs help redesigning or generating a new logo, give us a call at 413-787-1133. Market Mentors would be happy to give your brand that “extra something” it deserves!
Spot Colors and their Importance to your Branding
Many small companies or businesses that started without a creative agency or designer may not be using spot colors, which is an essential element for brand consistency. Spot colors are premixed solid inks that provide consistent results when printing. They also have standard formulas to be viewed across different types of media. For example, Pantone has a complete color matching system that allows companies to keep the colors in their business materials consistent. To break this down in a way that is easier to understand, you’ll need to know about the different ways artwork is used and the variation of colors needed for each media. Offset printing, digital printing, and on-screen artwork are some of the most common ways business materials end up in the consumers hands.
Offset printing is done with separate plates for each color. In a typical offset printing project, there are four plates for the following colors: cyan, magenta, yellow and black (CMYK). This is because these four colors are printed one at a time to build up to all the colors you are normally used to seeing in a full color print. If you are printing in black and white, you will only need one plate: black. When using spot colors, each one requires a separate plate. For example, if you have a full color project with additional 2 spot colors, you will need 6 plates: cyan, magenta, yellow, black, spot color 1 and spot color 2. Offset printing is usually recommended for bigger projects or when a high volume of materials is needed. When one project requires spot colors for a portion, but not on others, it’s possible that the colors will be inconsistent. One brochure could look more cyan vs another brochure you had printed looking more magenta for example. Spot colors help avoid this issue.
Digital printing is similar to using your laser or inkjet printer. There are different digital presses these days that offer either laser or inkjet capabilities. This is often a better choice for smaller size/volume projects, because it is less expensive (less setup involved because plates do not need to be created). One of the biggest downfalls to digital printing however, is the quality and color inconsistency. Spot colors can only be simulated in digital prints, leaving more room for color error as well, though many commercial printers are able to match the spot color very closely.
On-screen artwork for example, websites, emails, etc. is different than traditional printing in that the way colors are used is different. We mentioned CMYK earlier as being used in both offset and digital printing. On-screen artwork is typically displayed in red, green, blue (RGB). RGB light is produced on the monitor and the three colors mix to create all of the colors shown onscreen. All three colors mixed together create white. On-screen artwork also leaves room for inconsistency because every monitor is calibrated differently. If you have a spot color predetermined, it will help reduce this issue, though it can never be avoided 100% of the time.
With the different ways printing and on-screen artwork is displayed, there needs to be some consistency in how your branding or logo presents in each environment. Spot colors help keep the colors as close as possible across multiple avenues. For example, the Pantone Matching System (PMS) has created a system with all the colors they offer with the full spot color breakdown (pre-mixed inks that follow a specific formula and are meant to be exactly the same no matter what print shop you use for offset printing), a conversion to CMYK (offset printing without spots or digital printing) as well as a conversion for RGB (on-screen). This system tells designers/printers what information to use when designing/printing to achieve the most accurate color and consistency possible. This is good for your brand so consumers do not see completely different shades of your color across all your business materials. There will be some color change between the different medias (offset, digital, and on-screen) as each one functions differently and cannot be reproduced on the other media. Another reason for this is the range of colors available to each media is different for each. CMYK has the smallest gamut range, followed by Pantone and then RGB.
CMYK – Cyan, Magenta, Yellow, Black: Used in offset and digital printing to put color on the printing material.
RGB – Red, Green, Blue: Used in monitors and displays to produce light that creates the colors available.
PMS – Pantone Matching System: A system of predetermined colors that allows you more control over the consistency of the color in your business materials with formulas to convert to CMYK and RGB when necessary.