Create Stunning HTML Email That Just Works 1st

Edition Mathew Patterson pdf download

https://ebookname.com/product/create-stunning-html-email-that-
just-works-1st-edition-mathew-patterson/

Get Instant Ebook Downloads – Browse at https://ebookname.com

Instant digital products (PDF, ePub, MOBI) available
Download now and explore formats that suit you...

Sustaining change leadership that works 1st Edition

Malcolm Higgs

https://ebookname.com/product/sustaining-change-leadership-that-
works-1st-edition-malcolm-higgs/

The Ultimate Marketing Toolkit Ads That Attract

Customers Brochures That Create Buzz Websites That Wow
2nd Edition Paula Peters

https://ebookname.com/product/the-ultimate-marketing-toolkit-ads-
that-attract-customers-brochures-that-create-buzz-websites-that-
wow-2nd-edition-paula-peters/

How to Write a CV That Works 3rd Edition Paul Mcgee

https://ebookname.com/product/how-to-write-a-cv-that-works-3rd-
edition-paul-mcgee/

Losing Bin Laden How Bill Clinton s Failures Unleashed

Global Terror 4th Edition Richard Miniter

https://ebookname.com/product/losing-bin-laden-how-bill-clinton-
s-failures-unleashed-global-terror-4th-edition-richard-miniter/
The English Mummers and Their Plays Traces of Ancient
Mystery Alan Brody

https://ebookname.com/product/the-english-mummers-and-their-
plays-traces-of-ancient-mystery-alan-brody/

The Dog Shogun The Personality And Policies of Tokugawa

Tsunayoshi Beatrice M. Bodart-Bailey

https://ebookname.com/product/the-dog-shogun-the-personality-and-
policies-of-tokugawa-tsunayoshi-beatrice-m-bodart-bailey/

Challenges in Central Banking The Current Institutional

Environment and Forces Affecting Monetary Policy 1st
Edition Pierre L. Siklos

https://ebookname.com/product/challenges-in-central-banking-the-
current-institutional-environment-and-forces-affecting-monetary-
policy-1st-edition-pierre-l-siklos/

Music Therapy in the Treatment of Adults with Mental

Disorders Theoretical Bases and Clinical Interventions
1st Edition Robert Unkefer

https://ebookname.com/product/music-therapy-in-the-treatment-of-
adults-with-mental-disorders-theoretical-bases-and-clinical-
interventions-1st-edition-robert-unkefer/

Becoming a Midwife in the 21st Century 1st Edition Ian

Peate

https://ebookname.com/product/becoming-a-midwife-in-the-21st-
century-1st-edition-ian-peate/
The Chemistry of the Morita Baylis Hillman Reaction 1st
Edition Min Shi

https://ebookname.com/product/the-chemistry-of-the-morita-baylis-
hillman-reaction-1st-edition-min-shi/
iv

Create Stunning HTML Email That Just Works!

by Mathew Patterson

Copyright © 2010 SitePoint Pty. Ltd.

Program Director: Andrew Tetlaw Indexer: Fred Brown

Technical Editor: Louis Simoneau Editor: Kelly Steele
Chief Technical Officer: Kevin Yank Cover Design: Alex Walker
Additional Research: Georgina Laidlaw
Printing History:
First Edition: April 2010

Notice of Rights
All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted
in any form or by any means without the prior written permission of the publisher, except in the case
of brief quotations included in critical articles or reviews.

Notice of Liability
The author and publisher have made every effort to ensure the accuracy of the information herein.
However, the information contained in this book is sold without warranty, either express or implied.
Neither the authors and SitePoint Pty. Ltd., nor its dealers or distributors, will be held liable for any
damages caused either directly or indirectly by the instructions contained in this book, or by the software
or hardware products described herein.

Trademark Notice
Rather than indicating every occurrence of a trademarked name as such, this book uses the names only
in an editorial fashion and to the benefit of the trademark owner with no intention of infringement of
the trademark.

Published by SitePoint Pty. Ltd.

48 Cambridge Street, Collingwood

VIC 3066 Australia
Web: www.sitepoint.com
Email: [email protected]

ISBN 978-0-9805768-6-3
Printed and bound in Canada
 v

About Mathew Patterson

Active on the Web since GeoCities was cutting edge and the horizontal rule was king,
Mathew Patterson has worked as a web designer for companies that include the Australian
Stock Exchange and Priceline Europe, in addition to freelancing and contracting in Australia
and the UK.

Currently Mathew looks after all the customers for Campaign Monitor, the popular email
newsletter web application, where he’s involved in writing, community management, and
intense table tennis sessions. Since joining Campaign Monitor, Mathew has spoken at con­
ferences in Australia and the US about HTML email and the role of web designers, and once
famously had a public disagreement with Jeffrey Zeldman about whether email should actually
be designed.

Based just outside of Sydney with his wife and son, Mathew has reviewed more email
newsletters than you could possibly imagine, including a surprising number that feature
alpacas. Find out more (except about the alpacas) at http://mrpatto.com.

About the Technical Editor

Louis Simoneau joined SitePoint in 2009, after traveling from his native Montréal to Calgary,
Taipei, and finally Melbourne. He now gets to spend his days learning about cool web tech­
nologies, an activity that had previously been relegated to nights and weekends. He enjoys
hip-hop, spicy food, and all things geeky. His online home is http://louissimoneau.com, and
his latest project is http://isitgoingtobeok.com/.

About the Chief Technical Officer

As Chief Technical Officer for SitePoint, Kevin Yank keeps abreast of all that is new and
exciting in web technology. Best known for his book, Build Your Own Database Driven Web
Site Using PHP & MySQL, he also co-authored Simply JavaScript with Cameron Adams and
Everything You Know About CSS Is Wrong! with Rachel Andrew. In addition, Kevin hosts
the SitePoint Podcast and co-writes the SitePoint Tech Times, a free email newsletter that
goes out to over 240,000 subscribers worldwide.

Kevin lives in Melbourne, Australia and enjoys speaking at conferences, as well as visiting
friends and family in Canada. He’s also passionate about performing improvised comedy
theater with Impro Melbourne (http://www.impromelbourne.com.au/) and flying light aircraft.
Kevin’s personal blog is Yes, I’m Canadian (http://yesimcanadian.com/).
vi

About SitePoint

SitePoint specializes in publishing fun, practical, and easy-to-understand content for Web
professionals. Visit http://www.sitepoint.com/ to access our blogs, books, newsletters, articles,
and community forums.
Table of Contents

Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvii
Who Should Read This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xviii
What’s in This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xviii
Where to Find Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xix
The SitePoint Forums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xx
The Book’s Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xx
The SitePoint Newsletters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xx
The SitePoint Podcast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxi
Your Feedback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxi
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxi
Conventions Used in This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxii
Code Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxii
Tips, Notes, and Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xxiii

Chapter 1 Why Email? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Email: The Heart of the Internet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Email’s Undeserved Bad Rap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
The Different Types of Email Communication . . . . . . . . . . . . . . . . . . . . . . . 4
Email Newsletters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Catalog Emails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Announcement Emails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Press Releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Sales and Sign-up Process Emails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
The Opportunity for Web Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
x

Chapter 2 Planning an Email Campaign . . . . . . . . . 7

Planning Is Essential . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Meeting Our Client . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The Modern Henchman Magazine Client Briefing . . . . . . . . . . . . . . . 9
Setting Goals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Measuring Success . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Planning Your Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
An Email Is Not a Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Email in the Real World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Planning the Modern Henchman Newsletter . . . . . . . . . . . . . . . . . . 15
HTML Email Q&A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
How long should an email be? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Should I put the full articles in the email, or just teasers and links
to the site? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
How often should I send emails? . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
What is the best time to send? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Is it okay to buy or rent an email list? . . . . . . . . . . . . . . . . . . . . . . . . 19
What is a good open rate? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
How many clicks should I expect? . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
How can I avoid my email being filtered? . . . . . . . . . . . . . . . . . . . . . 20
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Chapter 3 Design for the Inbox . . . . . . . . . . . . . . . . . . . . 23

Does email really need designing? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Designing Plain Text Email . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Guidelines for a Readable Plain Text Email . . . . . . . . . . . . . . . . . . . . 26
The Plain Text Version of the Modern Henchman Newsletter . . . . . 28
The Case for HTML Email . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Designing HTML Email . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
 xi

The Design Environment for Email . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Essential Elements of an Effective Email . . . . . . . . . . . . . . . . . . . . . . 36
Adapting a Website Design into an Email Design . . . . . . . . . . . . . . . 40
Layout Possibilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Designing to Meet Business Goals . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
The Modern Henchman Newsletter Design . . . . . . . . . . . . . . . . . . . . . . . . 49
Gallery of HTML Emails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Clear Call to Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Structure and Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Typography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Special Purpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Almost Image Free . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
More Places for Email Design Inspiration . . . . . . . . . . . . . . . . . . . . . . . . . 66
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Chapter 4 Coding Your Emails . . . . . . . . . . . . . . . . . . . . . 69

What’s so hard about HTML emails? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Guidelines for a Solid HTML Email Template . . . . . . . . . . . . . . . . . . . . . . . 70
Know Your Audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Tables: Not Just for Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Use Inline CSS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Avoid Relying on Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Other Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
CSS Support in Email Clients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
What Other Technologies Can You Use in HTML Email? . . . . . . . . . . . . . . 89
What Technologies Should You Use? . . . . . . . . . . . . . . . . . . . . . . . . . 89
Scripting in Emails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
xii

Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Testing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Building the Modern Henchman Newsletter . . . . . . . . . . . . . . . . . . . . . . . 96
Building the Framework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Adding the Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
How Low Will You Go? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Testing the Modern Henchman Layout . . . . . . . . . . . . . . . . . . . . . . 106
More Resources for Building Email Templates . . . . . . . . . . . . . . . . . . . . . 108

Chapter 5 Understanding Permission . . . . . . . . . . 109

Why Designers Should Care about Permission . . . . . . . . . . . . . . . . . . . . 109
Spam: It’s Not Just Viagra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Spam According to the Law . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Permission versus Spam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
The Rise of Relevance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Understanding Spam Complaints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Direct Complaints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Feedback Loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Automated Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
What to Do with Spam Complaints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
How many complaints is too many? . . . . . . . . . . . . . . . . . . . . . . . . 118
How can I know if my client has permission? . . . . . . . . . . . . . . . . . . . . . 119
Ask for Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Restate Their Permission Answer and Ask for Confirmation . . . . . 119
Compare the Explanation Given to the Email Content . . . . . . . . . 119
Explain Why it Matters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Blacklists, Whitelists, and Sender Reputation . . . . . . . . . . . . . . . . . . . . . 120
Blacklists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Whitelists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
 xiii

Sender Reputation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Understanding Authentication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Permission and the Future of Email . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Chapter 6 Selling Email to Your Clients . . . . . . . 125

Why Sell Email Services? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
What Can You Sell? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
How to Sell Email Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Pricing Email Marketing Services . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Preparing Your Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Promoting Email Services to Clients and Prospects . . . . . . . . . . . . 135
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Foreword
For a lot of designers, the job ends the moment the site launches. You’ve polished
the design, built the CMS, and the happy client’s check is in the mail. Next, please.

Unfortunately, there’s a big opportunity being missed here.

Launching a great website is one thing. But as a designer, you can also play a key
role in ensuring that website achieves the actual goals for which it was designed.
As well as leading to a more satisfied client, it can provide an additional revenue
stream for your business and help set you apart from your competition.

Whether your client’s goal is to sell widgets, drive membership, or build a passionate
audience, email marketing (done correctly) is one of the most effective ways to
achieve it. It’s that “done correctly” bit that is often overlooked, and it makes all
the difference in the world.

When we launched Campaign Monitor in 2004, email marketing truly was a dark
art. Tips on designing emails, getting them delivered, and offering the service to
your clients were nonexistent. Since that time, we’ve spent countless hours research­
ing the best way for designers to plan, design, and build email marketing programs
that achieve the best results possible for their clients.

For the first time ever, all of this research and experience has been collated, updated,
and refined into a single resource. Not only will you learn how to offer results-
driven email marketing to your clients, you’ll also find practical tips on selling this
service to your clients and creating a passive income stream for your design business.
And who isn’t interested in doing that?

Dave Greiner, Campaign Monitor co-founder

Preface
How do you feel when your clients ask you to create an email newsletter design?
I’ve witnessed two common reactions from web designers I’ve spoken to:

■ HTML email is evil. It should never be used, and I feel a little ill for even hearing
the words spoken.

■ HTML email doesn’t really work; the designs never look like they’re meant to.

In the business world, on the other hand, people neither know about nor care about
“HTML email”; they just want a nice-looking email newsletter that drives people
to open it and read, click, or buy.

This book is for web designers who are looking for a way to design and build effective
HTML emails for their clients or bosses. In the following chapters, we’ll cover how
to plan, design, and build HTML emails that produce real results.

Why should you trust me to tell you about it? Well, I’m a web designer too, and
these days I’m part of the Campaign Monitor team, where we spend all day research­
ing and reading some terrific email newsletters. I can tell you without a doubt that
it’s possible to produce truly excellent emails that work whether read using Gmail
or Pine (a text-based email client that had its heyday in the early nineties).

My goal is for you to reach the end of this book with all the skills and information
you need to be able to confidently offer your clients email newsletter design that
they’ll be happy to pay for. Let’s get started!
xviii

Who Should Read This Book

This book is aimed at front-end web designers looking to expand the range of services
they offer their clients to include HTML email. You should already have at least
intermediate knowledge of HTML and CSS, as we’ll be applying those skills to the
slightly different medium of HTML email.

What’s in This Book

By the end of this book, you’ll be able to take your HTML and CSS skills and deploy
them to build beautiful, effective, and compatible HTML emails. You’ll also have
a good idea of how to communicate with your clients about their email campaigns,
and how to integrate email services into your or your company’s offerings.

This book comprises the following six chapters. Read them in order from beginning
to end to gain a complete understanding of the subject, or skip around if you only
need a refresher on a particular topic.

Chapter 1: Why Email?

Before we dive into learning all the ins and outs of HTML email, we’ll have a
quick look at why email is important, and why it should be part of your web
design arsenal. With any luck, I’ll succeed in convincing you that, far from being
a dark art practiced only by unscrupulous marketers, the design and construction
of HTML email is a core part of designing for the Web.

Chapter 2: Planning an Email Campaign

As with any kind of design, the most important work happens before you even
turn on your computer or pull out your sketch paper and pencils. This chapter
covers how to discuss a new project with your client to gain all the information
you need beforehand, and how to formulate a clear plan that will let you proceed
with designing and building an effective HTML email campaign, hassle-free.

Chapter 3: Design for the Inbox

This is where the real fun starts. With a clear plan in hand, we can now set
about the task of designing our email. In this chapter, you’ll learn the key ways
in which design for the inbox differs from design for the browser, and how to
embrace this new set of constraints. Everything you take for granted in the web
design world—from layout, to imagery, to typography—needs to be re-evaluated
 xix

when designing HTML emails, and this chapter is your guidebook to that exotic
new land.

Chapter 4: Coding your Emails

HTML in email is exactly the same as HTML in web pages—in 1999. While
browsers have leaped ahead in CSS support in recent years, email clients have
stagnated or, worse, regressed. You’ll need to dig out your table-based layout
techniques from your bottom drawer, hold your nose, and dive in. Fortunately,
this chapter will give you the lowdown on which CSS selectors and properties,
as well as which other technologies, are available to you in the current crop of
email software. You’ll also learn the key tips and tricks to achieving reliable,
compatible layout with a minimum of tears.

Chapter 5: Understanding Permission

Unlike web pages, which are generally only loaded when a browser user chooses
to do so, HTML emails often arrive unbidden. As a consequence, they often
meet with a less than favorable response from many readers. What’s more,
they’re also regulated by a number of laws that vary between countries. In this
chapter, we’ll explain the best ways of dealing with the issue of permission, to
keep your recipients happy and your clients on the right side of the law.

Chapter 6: Selling Email to Your Clients

All the skills you’ve learned throughout the book amount to nothing if you’re
unable to convince your client to pay for them. But we thought of that. So that’s
why there’s a whole chapter on how to present your new skills, integrate them
into your service offers, and make your clients realize that email is a huge, un­
tapped market where you can help them gain the jump on their competitors.

Where to Find Help

SitePoint has a thriving community of web designers and developers ready and
waiting to help you out if you run into trouble. We also maintain a list of known
errata for this book, which you can consult for the latest updates; the details follow.
xx

The SitePoint Forums

The SitePoint Forums1 are discussion forums where you can ask questions about
anything related to web development. You may, of course, answer questions too.
That’s how a discussion forum site works—some people ask, some people answer,
and most people do a bit of both. Sharing your knowledge benefits others and
strengthens the community. A lot of interesting and experienced web designers and
developers hang out there. It’s a good way to learn new stuff, have questions
answered in a hurry, and have a blast.

The Book’s Website

Located at http://www.sitepoint.com/books/htmlemail1/, the website that supports
this book will give you access to the following facilities:

The Code Archive

As you progress through this book, you’ll note a number of references to the code
archive. This is a downloadable ZIP archive that contains every line of example
source code that’s printed in this book, as well as other supporting documents. If
you want to cheat (or save yourself from carpal tunnel syndrome), go ahead and
download the archive.2

Updates and Errata

No book is perfect, and we expect that watchful readers will be able to spot at least
one or two mistakes before the end of this one. The Errata page3 on the book’s
website will always have the latest information about known typographical and
code errors.

The SitePoint Newsletters

In addition to books like this one, SitePoint publishes free email newsletters, such
as the SitePoint Tech Times, SitePoint Tribune, and SitePoint Design View, to name
a few. In them, you’ll read about the latest news, product releases, trends, tips, and

1
http://www.sitepoint.com/forums/
2
http://www.sitepoint.com/books/htmlemail1/code.php
3
http://www.sitepoint.com/books/htmlemail1/errata.php
 xxi

techniques for all aspects of web development. Sign up to one or more SitePoint
newsletters at http://www.sitepoint.com/newsletter/.

The SitePoint Podcast

Join the SitePoint Podcast team for news, interviews, opinion, and fresh thinking
for web developers and designers. We discuss the latest web industry topics, present
guest speakers, and interview some of the best minds in the industry. You can catch
up on the latest and previous podcasts at http://www.sitepoint.com/podcast/, or
subscribe via iTunes.

Your Feedback
If you’re unable to find an answer through the forums, or if you wish to contact us
for any other reason, the best place to write is [email protected]. We have a
well-staffed email support system set up to track your inquiries, and if our support
team members are unable to answer your question, they’ll send it straight to us.
Suggestions for improvements, as well as notices of any mistakes you may find, are
especially welcome.

Acknowledgments
Making this book possible were Jarrod Taylor (the ultimate modern henchman),
Dave Greiner, and Mark Wyner for their email research, and Ros Hodgekiss for her
design gallery work. I gratefully thank them all. Thanks also to the Campaign
Monitor support team who bore the load for me, and to my wonderful wife and son
who now know far more about HTML email than they ever wanted.
xxii

Conventions Used in This Book

You’ll notice that we’ve used certain typographic and layout styles throughout the
book to signify different types of information. Look out for the following items:

Code Samples
Code in this book will be displayed using a fixed-width font, like so:

<h1>A Perfect Summer's Day</h1>

<p>It was a lovely day for a walk in the park. The birds
were singing and the kids were all back at school.</p>

If the code is to be found in the book’s code archive, the name of the file will appear
at the top of the program listing, like this:

example.css

.footer {
background-color: #CCC;
border-top: 1px solid #333;
}

If only part of the file is displayed, this is indicated by the word excerpt:

example.css (excerpt)

border-top: 1px solid #333;

If additional code is to be inserted into an existing example, the new code will be
displayed in bold:

function animate() {
new_variable = "Hello";
}
 Chapter

1
Why Email?
Email has been around forever, it seems. In this age of shiny web applications and
mobile computing, is there still a role for email? If there is, how and why should
web designers be a part of that?

Email: The Heart of the Internet

When Oprah has one million Twitter followers, and your mother is waiting for you
to accept her friend request on Facebook, surely we are officially in the age of Web
2.0? Perhaps not. December 2009 research in the US shows that less than half of all
internet users are involved in online social networks.1

The same study showed that 89% of those same internet users are sending or reading
email, the highest percentage of the study.

Whether at work or home, almost everyone who’s on the Internet at all is using
email, and there are no signs of that number declining. Certainly some activities—like
photo sharing and status updates—that used to occur via email are now separated

1
http://www.pewinternet.org/Trend-Data/Online-Activites-Total.aspx
2 Create Stunning HTML Email That Just Works!

out into other applications, but email still remains the one online communication
tool that everyone understands.

Where websites rely on you visiting them, email comes right to your inbox, and
because of this it feels somehow more important and personal. Businesses every­
where know this, and so a relatively small but outperforming email marketing in­
dustry has grown. Wait, don’t panic! Email marketing is a lot more than mail-order
brides and genuine replica watches.

Every day, millions of businesses—from sole traders to multinationals—send email

to their clients, subscribers, suppliers, and partners. Commercial email returned a
whopping $43.62 for every dollar spent on it in 2009, according to the Direct Mar­
keting Association’s Power of Direct economic-impact study.2 With email marketing
still providing the highest return on investment of any form of marketing, it’s safe
to say that email will be around for a long time to come.

In 2010, with the world still recovering from a global financial scare, email is a low-
cost, high-return medium that appeals to businesses. For web designers, there’s the
opportunity to add email design to their services and give clients another way to
reach their goals.

Email’s Undeserved Bad Rap

Email, especially HTML email, receives a bad rap in general, especially from web
designers. For some, it has become a synonym for spam, thanks to the very real
problem of mass unsolicited sending. Email done right, on the other hand, is a
powerful tool that can produce real value for both the sender and recipient.

Jeanne S. Jennings, in her email marketing bible, The Email Marketing Kit (Mel­
bourne: SitePoint, 2007), provides one of the best summaries on the benefits of
email marketing. I’ve paraphrased it here:

■ Email is cost-effective. While there are costs involved in email marketing, such
as copywriting and design, your production and delivery costs are significantly
cheaper than that of direct mail. For the same amount, you can send out around
a hundred emails for every direct mail letter.

2
http://directmag.com/magilla/1020-e-mail-roi-still-slipping/
 Why Email? 3

■ Email builds relationships. While email may not be the only method that helps
connect you with your audience, it’s the least intrusive—enabling the recipient
to respond at their leisure. A well thought-out email plan can create and
strengthen customer loyalty.

■ Email is active. Email marketing actively sends your message to interested people,
rather than relying on them to find you each time.

■ Email provides timely results. The time between distribution and delivery of an
email marketing campaign can be measured in minutes rather than days. This
allows you to choose the time you deliver your messages with more precision,
and also means results will become evident quickly after you start your campaign.

■ Email is quick to produce. Once you’re set up to run email campaigns, you can
easily launch a major marketing initiative to all your customers in a few hours.
There’s no other direct marketing source that could be implemented in this sort
of time period.

■ Email accommodates hyperlinks. With just a click of the mouse, a customer can
go from reading your marketing message to purchasing at your online checkout.
This speedy one-step process is what marketing dreams are made of.

■ Email provides detailed feedback. Email marketing allows for comprehensive

feedback. You can measure how many of your emails were successfully delivered
and opened, how many times your links were clicked on, and, importantly, how
many sales you made. This also enables thorough campaign analysis.

■ Email enables affordable segmentation and targeting. Email marketing is agile,

allowing you to vary the content sent to customers on your distribution list. You
can segment, that is, split your lists based on market segments such as geographic
location, purchase history, gender, and age to send tailored messages, improving
your conversion rate.

■ Email plays well with others. Email works well when part of an integrated direct
marketing campaign. While other methods can come across as disruptive or
pushy, email is able to prepare your customers for a sales call—or as a follow-
up to a face-to-face sale—without getting in a customer’s face.
4 Create Stunning HTML Email That Just Works!

The Different Types of Email

Communication
Email itself has limitless uses, and email marketing is more than just sending out
an email with a special deal on a product. There are a number of approaches your
clients can use to engage their audiences, and each type of email communication
sent will deliver varied benefits, and require different design and planning processes.
Let’s take a closer look at all of them. In specific industries there may be subcategor­
ies within each of the broad groupings I’ve outlined here, but these are the common
email types you’re likely to be asked to design.

Email Newsletters
As a basis for an ongoing business relationship, there’s nothing better than an email
newsletter providing reliable, regularly delivered, quality information on relevant
and interesting topics. By their very nature, newsletters are sent regularly. A company
will usually set a schedule to mail subscribers weekly, every two weeks, or monthly,
enabling the company to regularly promote its news and events in a timely way.

Email newsletters are widely used. They’re a common, proven communications

tool that help countless organizations achieve their brand awareness, customer re­
tention, ad revenue, and other goals. While a client may yet be be at the stage to
compile enough content for a subscriber list on a regular basis, very few of your
clients are unlikely to see the business benefits of email newsletters. If they don’t
want to start one just yet, they’re likely to reconsider in the not-too-distant future.

Catalog Emails
Catalog emails are the electronic newsletters of the online retailer. Where a service
organization might send an email newsletter, a company that sells products may
prefer mailing an electronic catalog to subscribers on a regular basis.

Depending on the retailer, the catalog can contain the same sections each time, or
each issue might vary from the last. In building a catalog email, you should agree
on a set number of items to include in each issue, as you would in an email news­
letter. This will keep the preparation of the creative as straightforward as possible
each time, while keeping your client’s email budget on track. Bear in mind though
 Why Email? 5

that laying out catalogs can be more finicky, time-consuming work than producing
a simple electronic newsletter.

Announcement Emails
Announcement emails are usually commissioned and produced on an ad hoc basis,
when the client has time-critical information to tell their subscribers. Perhaps your
client has a limited-time offer that they want to promote. They might have been
invited at the last minute to speak at a conference or industry event, and want to
encourage clients to attend. A host of possibilities can spark the need to send an
announcement email.

One-off announcement emails are usually short and contain just one call to action.
Often, there’ll be minimal lead time for the announcement, so there’s a need to turn
the job around quickly. If your client believes they’re likely to use announcement
emails often, you might offer to prepare a suitable template in advance; this will
reduce the time it will take to get their announcements out to subscribers.

Press Releases
Although they sound like announcements, press releases are more public relations
than sales. Companies from all industries prepare press releases around corporate
and governance developments, product or service launches and upgrades, community
contribution and involvement, and so on.

Your clients might produce media releases frequently, but they’re unlikely to write
them on a regular basis—every Monday, for example. In fact, time frames around
media release mailing tend to be tight at best, and unpredictable at worst. Again,
offering to prepare a media release email template for clients who have active public
relations strategies might save time and hassle when it comes to distributing the
release. This type is likely to differ from one used to make announcements.

Sales and Sign-up Process Emails

If your clients sell products or services through their websites, they may need to
prepare emails that support or augment the purchase process. If they accept any
sort of user sign-up through their sites—for a newsletter, for competitions, or even
6 Create Stunning HTML Email That Just Works!

from visitors who want to register their interest in an activity that the company’s
undertaking—there’s the potential for you to add value.

As well as helping your client plan an email sequence, you might design email
templates and create landing pages to support the sales or sign-up process. A
landing page is the first page of a site that a visitor sees after clicking through from
an email. Perhaps you’ll also set the messages to mail through an email
autoresponder, and test the sequences before they’re made live. Why not tie in
monitoring to help your client assess the success of each email? Although sales
process emails may seem cut and dried, you can see there’s a lot of scope for design­
ers to show off their skills here.

The Opportunity for Web Designers

Just as the vast majority of websites are rather poorly designed, most commercial
emails fail to make good use of the capabilities of plain text or HTML and CSS.

Competition for web design work is immense, but right now there are few web
design firms and freelance designers willing to offer HTML email design as part of
their service. Many refuse to do it, or will leave their clients to work it out for
themselves. As noted designer Jeremy Keith of Clearleft told me, “I’ve never done
an HTML email in my life, and I don’t intend to do so.”

Since you have at least picked up this book, you are already well ahead of the
competition. As you work through the chapters you’ll see that it’s relatively easy
to produce emails that are far better than most of what’s being sent out right now.
Check out Chapter 6 in particular for the rundown on how to encourage your clients
to be really involved in effective email marketing and communication.

So, now that I’ve outlined why you should learn to design and build HTML emails,
it’s time to dirty our hands with the how. As with all design, the first step is to plan,
plan, and plan some more.
 Chapter

2
Planning an Email Campaign
How hard can it be to design and build an HTML email, really? I mean, even my
mom can send emails (though she still has some problems with the caps lock key).

Sending emails may be easy, but running an email campaign that delivers the desired
results can be a lot more complicated. Using a simple planning process, we can
build a solid base from which to design, and save ourselves a lot of time and hassle.
In this chapter, we’ll go through the all-important planning phase of an email
campaign. Then, in Chapter 3, we’ll work from that plan to create our email’s design.

Planning Is Essential
As designers, we might consider the planning phase to be outside our scope and
handled by the client instead. Often a client will have the same opinion, relegating
a designer to the technical work and the pretty pictures. Although this is a valid
approach, it can lead to a beautifully designed but ineffectual email. That’s bad for
your client, and for your prospects of future work.
Exploring the Variety of Random
Documents with Different Content
THE FULL PROJECT GUTENBERG LICENSE
 PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free

distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund
from the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be

used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law
in the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name associated
with the work. You can easily comply with the terms of this
agreement by keeping this work in the same format with its attached
full Project Gutenberg™ License when you share it without charge
with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the
terms of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears,
or with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
 This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived

from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning
of this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1
with active links or immediate access to the full terms of the Project
Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or
expense to the user, provide a copy, a means of exporting a copy, or
a means of obtaining a copy upon request, of the work in its original
“Plain Vanilla ASCII” or other form. Any alternate format must
include the full Project Gutenberg™ License as specified in
paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg™ electronic works
provided that:

• You pay a royalty fee of 20% of the gross profits you derive
from the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
 about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt
that s/he does not agree to the terms of the full Project
Gutenberg™ License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for

the “Right of Replacement or Refund” described in paragraph 1.F.3,
the Project Gutenberg Literary Archive Foundation, the owner of the
Project Gutenberg™ trademark, and any other party distributing a
Project Gutenberg™ electronic work under this agreement, disclaim
all liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR
NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR
BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH
1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK
OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL
NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT,
CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF
YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of receiving
it, you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or
entity that provided you with the defective work may elect to provide
a replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.

1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation,

the trademark owner, any agent or employee of the Foundation,
anyone providing copies of Project Gutenberg™ electronic works in
accordance with this agreement, and any volunteers associated with
the production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of the
following which you do or cause to occur: (a) distribution of this or
any Project Gutenberg™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.

Section 2. Information about the Mission

of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.

Section 3. Information about the Project

Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,

Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many
small donations ($1 to $5,000) are particularly important to
maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of
compliance. To SEND DONATIONS or determine the status of
compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where

we have not met the solicitation requirements, we know of no
prohibition against accepting unsolicited donations from donors in
such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of
other ways including checks, online payments and credit card
donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About

Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.
Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how
to subscribe to our email newsletter to hear about new eBooks.
Welcome to our website – the ideal destination for book lovers and
knowledge seekers. With a mission to inspire endlessly, we offer a
vast collection of books, ranging from classic literary works to
specialized publications, self-development books, and children's
literature. Each book is a new journey of discovery, expanding
knowledge and enriching the soul of the reade

Our website is not just a platform for buying books, but a bridge
connecting readers to the timeless values of culture and wisdom. With
an elegant, user-friendly interface and an intelligent search system,
we are committed to providing a quick and convenient shopping
experience. Additionally, our special promotions and home delivery
services ensure that you save time and fully enjoy the joy of reading.

Let us accompany you on the journey of exploring knowledge and

personal growth!

ebookname.com