Brands have and always will try to reach for the benefits in making connections with their consumers. Personal connections, connections that engage on a more meaningful level are the golden tickets that run against the grain of mass media marketing. Spending time, money and general advertising resources on winning one particular individual isn’t the way its done. But one thing that has allowed these experiences between brand and consumer to become all the more engaging is the openness of personal information we are experiencing in the ‘Facebook Age’.

It is anything but surprising that big brands are trying to make the most of the willingness being shown by users to hand over personal info and the results are already showing that the concept of Immersive Social Narratives (I.S.N.) is one that can be developed by brand after brand.

To explain my meaning of Immersive Social Narratives (I.S.N. to you and me), Myspace fan video is an example of just that. Myspace have created a number of stories that pretty much put YOU into the narrative. From 50 Cent lovingly admiring a framed photo of you in his cooler than cool crib to Pixie Lott and Co. swooning over a snap of you on her digital camera. These perfectly executed narratives make full use of the most basic of Facebook/Myspace data; the profile pic. The genius of the campaign was a mighty collaboration of BBH London, Pulse Films, Absolut Post and Domani studios. BBH Labs have explained in there own words why they believe this example works better than the average ‘personalised video app’ and I couldn’t agree more. Read the article here.

With the Myspace Fan Videos, the magic isn’t in the tech. It’s in the moment when 50 Cent hangs a picture of you on his wall, or Alicia Keys sings you a song. Sure the magic is tech-fuelled, but it’s the twisted cultural content, the playful reference to things I love or hate, that really makes it. Tech is the means, not a magical end in itself. Tech magic is out. Loveable magic is in.

Taken from BBH Labs

The Myspace Fan Video example is one that seems to make use of the most limited amount of bespoke user information but in turn has created an experience that causes an automatic response of ‘how the fuck!?…’ and this seems to be one of the powerful reasons of the success of I.S.N. campaigns. Just like any new platform for engaging with consumers, the medium will only impress for so long so it really comes down to how creative you can be in using it.

So we’re aware that brands have access, once they have gained the trust of the user to some pretty potent data, but its how this is utilised that can make or break a campaign.  The Myspace Fan video example shows us how with the most basic user info, a brilliantly handled rich media campaign can engage the user in an extremely personal and surprising online experience. So what information is available to us and how can we use it….? The automatic well to dip into would be Facebook. With access to a record of social activity, an immensely strong persona narrative can be built. Here are the types of data Facebook could assist brands in gaining:

The personal information mined from Facebook profiles mentioned above has already played a part in ‘Campfire NYC’s’ amazing campaign for ‘Discovery’s Shark Week’. Making use of Facebook data such as photos, birthdays and other profile info, a complexly bespoke narrative is weaved before the users’ eyes. Watch the video below to see the full campaign at work.

What if the info that Facebook allows is not enough? This will obviously be an issue as users become de-sensitized to and possibly bored of seeing these presently ‘jaw-dropping’ personalised experiences. The mining for user information doesn’t have to stop at good ol’ Facebook.

The technical pitfalls and restrictions aside, sites such as last.fm could also be used to help create some seriously impressive approaches to online marketing. The powers of sites such as last.fm rely on the co-operation of its users, allowing the site to get to know your tastes, social activities and listening habits. The last.fm experience has already been tapped into for Google’s Fastball quiz game, but the information stored could continue to create amazingly tailored experiences for its users.

The google quiz game currently uses fairly generic data from the vast last.fm database of music, but with such effective information based on musical tastes, campaigns that get to know your likes and dislikes, and carry on ‘getting to know you’ would be a really powerful thing. From music, to hobbies, to fitness regimes, the users’ everyday habits can be utilised to present them with brand relationships that are much less of an interference, and more of an invited conversation.

It is hard to discuss such a topic without the need to mention something so powerful as Google Maps. The data a tool such as this holds is ready and waiting to be adopted in an infinite number of creative ways. One recent knock out that makes use of personally entered data relating to location on Google Maps is the Arcade Fire interactive Video. Experience the video for yourself here or watch an interview from ABC News with a couple of the creators from Google Labs here. (The video below shows the interactive video in action).

As much as the experiences discussed above are ‘engaging’ in a virtual sense, the real step forward on from digital brand narratives is to take the stories into the real world. The surprise and impact of a campaign that aims to directly hit the emotion of the individual consumer can increase rapidly by stepping from our online experiences to our everyday life within the outside world. One recent example of a campaign that’s stepping into our everyday and becoming aware of our ‘Likes’ is the Bing/Jay Z collaboration.

Jay Z has been pulled in to seemingly add some credibility to Microsoft’s Bing Maps marketing campaign, marrying with his ‘Decoded’ book launch. Here is a quick intro into the concept of the campaign taken from mashable.com:

Here’s how it works: Pages from the book will be physically placed around the world with a majority in the New York area, in locations related to specific content featured on Bing — specifically Bing Mapsand Bing Entertainment. Five to 10 new pages from the book will be revealed each day, and participating fans who visit Bing.com/Jay-Zwill be able to find these pages either online or in person.

The image above shows a screenshot from the Jay Z Fan page stream where ‘Nadia J.’ has tracked down one of the pages from the streets of New York. Users who find and ‘Decode’ a page are entered into a prize draw for concert tickets as well as receiving a signed copy of the page they find.

The campaign, although only early to say, seems to merge the online excitement of the book launch with the physical history of the Jay Z ‘story’. Droga5 the agency who have developed the campaign have struck the right balance of digital world/real world experiences and seemed to have chosen the correct type of project for this specific execution. More than anything, Bing have surely exposed a whole new audience to their services and added some much needed ‘cool’ to their image.

There seems to be a niggling worry while discussing most of the campaigns above. The worry is mainly about the privacy of such personal info, but to be honest this sort of data will be used within  the ‘Facebook Age’ whatsoever and its just a case of creating something engaging and fulfilling with it. With any new platform as already pointed out, its all about creating something new and unexpected. These will be the concepts remembered and cherished by the individuals we are attempting to engage.

The challenge of designing future proof and flexible online solutions without even a glimpse of the content you’re designing for is one that I’ve faced more than I’d have liked to recently. To be able to design a platform for dynamic and varying styles of content, then a good understanding of the initial needs as well as the long term plans of the client are required. This has all got me thinking about what is important in digital design; in planning, in concept design and in researching the clients short term and long term goals within content presentation.

Getting your hands on content early

This led to the thought of at which point within the design process did I actually get my hands on this all important content. If my approach to designing for the Digital Platform was so heavily guided by content, then it should be right from the start.

Thinking back over the last few projects I had been working on made me realise that the content was arriving pretty late, at least any that had any real semblance to the finished article. I understand that some Digital projects rely more on content than others and that’s why I think I need to define the types of projects I’m talking about.

Example: A website for a new Eco Town in the South West of England. This was to be the main crux of the proposition’s overall presence, a point of call for press, intrigued locals, architects, business owners and well, the rest of the general public.

After discussions over how ‘socially alive’ the site aimed to be and how dynamic the updates would be, we were under the clear impression that the site would supply a lively discussion space of weekly events and deadlines that any new eco-friendly dwelling would need.

The excitement, as it always does, begins to suddenly dwindle once the words ‘content supply’ start to creep into the email chain. News feeds, Twitter feeds and any worthwhile and meaningful content starts to make its way out of the door and at the same time out of some well thought out design decisions.

Moving the goalposts in supplying content

If the loss of promised content was the only pain that a designer must go through in this process then the job would be a joy. It is when you start to get ideas of ‘dynamic photo slide shows’ and ‘historical time lines’ that the problems start. Now I understand that good project management, specification and client control would lessen the stress here, but the bigger picture shows a problem that I for one come across on a regular basis.

Just designing around content and doing it in a flexible and well thought out way is a lot harder than creating a beautifully crafted, but static web experience. To design a platform that allows for constant movement and growth, as well as clients who understand little of the boundaries you are up against is a skill hard to acquire.

When a project relies on client control through a substantial CMS as well as meaningful and engaging content that calls for ‘designed’ aspects there has to be some give. Over at CraigMod the point has been made about the two categories of content that bring up the differences in the ways we handle content as designers, for print and for the screen.

Formless & Definitive content: Art Directing content

‘Formless Content’ allows for the fluid flow around any given structure. The other, and the type that I am more interested in is ‘Definite Content’. Factual based content that relies on graphs or charts, editorial content that is in need of visual support are just a couple of examples that require the design process to stretch beyond the initial concept stage.

It seems that it has taken the birth of the iPad to wake us up to the fact that online content is in need of the attention that has always been given to its printed equivalent.

Taken from www.appliedworks.co.uk

Apps designed by the likes of Applied Works for The Times make use of data that was in need of bespoke design. This ‘definitive content’ cannot be simply ‘flowed’ within a pre-designed structure. Information such as World cup stats and Government debt rely on the infamous infographic. The same treatment has been given to editorial content for ‘Popular Science+’, giving all web designers a lesson in how digital content needs to take some hints from magazine design (even if the latter is being dominated by the screen).

Gaining and holding attention

Screen shot of www.gregorywood.co.uk A great example of editorial Art Direction-cum-journalism.

The research into modern reading patterns and the lack of concentration skills must surely force designers into thinking harder about how we can handle content in more interesting ways to hold the attention of users. The lack of a constant art direction role on online editorial platforms leaves the content falling behind. In my opinion, the extra work put in by the designer, illustrator or creative director would bring to life some well written content that simply lacks the hook of visual accompaniment.

This could easily be read as a rant to try to gain a bit more work from some clients that believe the initial web design I tend to supply is the end of our relationship. Well that isn’t far from the truth. Both the client and designer need to realise that creativity and design need to accompany and assist the all important ‘c’ word.

I have just recently undertaken my first project that involves full page take over advertising for Not Going To Uni, an online advice and jobs portal for school leavers around the country. NGTU were after revenue generating ideas that would allow them to bring sponsors on board in a meaningful way and the obvious choice for this was to allow for page takeovers.

The good thing about this idea was that it arrived before the website even existed. From looking around the web for examples of small/medium sized companies undertaking this approach I found a few that simply didn’t work. The overall aesthetic of these sites was just too overbearing. An already powerful design will just be cluttered and bogged down by more attention grabbing graphics. How we approached the design of the NGTU website was to create a portal of information that spoke in the right tone of voice for the target audience, but keeping a little back. This not only allowed for a clean canvas for sponsors, but it was key to not talking down to our audience as well. We could have easily created something that replicated the ‘noise’ of Topshop or Myspace, but this site was about making a choice, choosing the right path to a successful career and that is serious business no matter how young you are.

The real task of a background takeover

What I did learn while working on this project was that most advertisers will try to push a message to its fullest, using every possible pixel to sell, sell, sell.

This isn’t really the job of a background takeover as it should never really appear on its own. Banner ads should really work with the takeover, filling the role of salesman while the background takeover adds that certain ambience and atmosphere to the overall online campaign that is being presented.

Striking a balance with the design

The initial takeover design we created was accompanied by a specifications doc for al future designers of sponsors adverts. This document explained how we, the designers of the website believed the takeover design should be approached. With certain width areas designated for key messages and the rest of the space being allocated for ‘ambient design’. Lucky for us, after presenting the initial takeover we have now been employed as permanent ‘takeover designers’, which for us is the perfect situation; allowing an in-house ‘approach’ to find a common ground between sponsor and website will surely create a measured commercial experience for the user.

One example that I have included a screenshot of below just seems to be a little overbearing and repetitive. Instead of using the main space of the website background to set a tone for the campaign, the Bride Wars example recycles the same iconic campaign image until it becomes a bit of a pattern of airbrushed heads.

I use last.fm a lot, and any takeover campaign I’ve come across on this platform has been pretty strong. The current example that I came across for Blackberry does exactly what it should be doing. The atmosphere of the page is set by a clever use of the latest Blackberry iconic graphics while key messages are left to appear in the banner ads.

I can’t really remember how I came across this as looking at the date of the article I seem a little bit behind on this. But that’s beside the point. It seems music artists or at least the marketing teams or record labels have found a new way of packaging and distributing new albums that may (just may) help the plummeting sales of ‘the album’.

Instead of putting up a fight against the dwindling sales of the physical album in recent years, some bands and artists has looked towards a ‘medium’ that record labels are pushing artists to sell more and more of as the actual music of most artists become merely a door which leads to sales of gig tickets and merchandising.

The Music Tee (www.themusictee.com) allows artists to sell their music along with full artwork that comes in the form of a ‘high-end’ fashion garment, which is accompanied by a code for a full digital download of the album and full tracklisting.

The Music Tee is a new product line that combines digital music and fashion in one eye-and-ear-catching package.Music Tees are high-end t-shirts that feature album art and a tracklist. Each shirt comes with a unique code that can be used to download a digital copy of the album associated with that Music Tee. This enables people to discover and purchase music in fashion retail environments, then hear and wear an album!

Taken from The Music Tee

The Music Tee as a business concept is the brain-child of Girlie Action, a media, marketing and management company based in New York and Invisible DJ, who have an ‘avant-garde approach to business’ and ‘effectively merge music with fashion’. For me, this idea seems a fairly good way of reviving the design of album artwork, where over the past few years, this once cultural icon for art and music has become washed away with the digitizing and ‘shrinking’ of the art that used to be a much bigger part in the experience of buying and loving an album.

There will still be arguments that say this will in no way fight piracy and illegal sharing of music but for me this isn’t the only point to providing music content in a new way. There are people out there that miss the experience of deciding on splitting with their hard-earned cash for something made by someone they truly respect. These people shouldn’t be seen as ‘Luddites’ but really as respectable supporters of artists who produce something that is still the most affective and accessible form of art there is. This minority of music supporters are not stuck in the dark ages and therefore want to embrace the digital platform that music has been put upon but at the same time feel the need to take something more from their consuming of music.

There has been exciting news coming from both the BBC and Neville Brody’s Research Studios about a new collaborative global visual brand change for the BBC.

We’ve lived with and loved the distinctly ‘web 2.0′ design for a while now and it’s done us proud. However, time’s moved on, and in autumn last year we decided it was time to resurrect the project.

We set out to broaden our ambitions; to create a design philosophy and world-class design standards that all designers across the business could adhere to. We wanted to find the soul of the BBC. We wanted something distinctive and recognisable; we wanted drama. We knew whatever we created needed to be truly cross-platform and that we needed to simplify our user journeys.

Taken from the BBC blogs

(The intense ‘wall of shame’ as named by the creative team at BBC)

After what must have been quite a lengthy pitching process back in August 2009, Head of User Experience and Design, Brownyn Van Der Mere chose Research Studios as the team to work with on this pretty unimaginably big job.

You can read both the BBC’s and Research Studio’s opinions on the matter respectively here and here. Below are some images taken from the BBC blog article, which seem very exciting indeed.

It’s hard to imagine the sheer amount of detailed work that goes into a project of this size. The impact and acclaim that the existing BBC website (an understatement if ever there was one) brought a couple of years back obviously makes this a difficult job for anyone, but with a team of experts at the level of those at Research Studios, I for one am exciting in seeing and getting to know this new ‘GLV’ for myself.

All images taken from the BBC blogs

I’m as excited as the next web designer when it comes to all this @font-face business, but when it comes down to the legability of it all, making my way through all the opinions on how it can or can’t work, how TypeKit isn’t really the right solution to fight the DRM problems et al, then I must admit that I’m beginning to get a little bit lost.

Too much of a good thing…

This is why this definitely isn’t another blog post to add to the pile of ‘how will we put a stop to those font pirates’ blogs, because to my knowledge, if you want a font that bad, then it would be pretty easy to get your hands on it. Plus, what average web user, browsing say for example, a site on plumbing hiring, is going to download the copy of Avant garde Demi that has been uploaded to ‘Paul the Plumber’s server? Not many.

The question that I wanted to ask after reading a little bit about where we are now with this recent type revolution is, will we now gorge ourselves on accessible yet badly designed and utilised typography just because we can? There are obviously web-designers and even non-web designers out there with the knowledge and love of typography that will make this change in web design an exciting one. But for every skilled and knowledgeable designer out there just itching to use some uber-accessible ‘Baskerville old Face’ or some Kubrick-esque ‘Futura Extra Bold’ for that oh so punchy H1, there are a few more shall we say amateurs that will be plastering home page after home page with a healthy dose of ‘Rosewood’ or dare i say it ‘Comic… no, I won’t say it.

Just because you can, doesn’t mean you should

Yes, I know that if the designers I have mentioned want to design in this way then they probably already have been, but my opinion is is that the opening up of accessible typography on the web to any font in existence will create web design that up until now has at least had a bit of constraint. I’m well aware that this may sound like an ungrateful rant, but just imagine all those lovely print designers that you have come across in the past (please don’t say its just me, please) that send over a beautiful Photoshop file sprinkled with some Futura light at 9pt in a delicate shade of grey. Now this has happened to me in the past, but unlike now I, at the time had the line ready and waiting….”Ah, I’m sorry but we can’t use this, you’ll need to use a WEB FONT”.

I may be wrong. I hope I’m wrong.

Umbro are cool again. Well no, nobody told me either, but forget Gareth Southgate rocking the all grey ’96 look, apparently it’s now all about retro drill tops and ’70′s bare minimal football kits with 21st century in-built technology.

You may or may not have noticed that the nation’s favourite group of under-achievers are looking pretty dapper lately and it seems its all down to young designer Aitor Throup, the vanguard of new football attire. You can check out a short documentary on the development of the new England kit by Umbro here.

Here’s a video of Throup discussing his involvement with Umbro:

For me, the brand recognition revival of Umbro hasn’t been an overnight affair but a gradual realisation of the quality and traditional respect that Umbro have brought into their sports kits and clothing. Umbro has always been a childhood memory attached to cold Sunday mornings on Walthamstow playing fields running up and down the touchline waiting to get a kick about (I was one of those super-sub sort of players). And then comes the beautiful tailoring of the new England home and away shirts along with what seems a re-branding that takes the comapnies English sporting heritage to the forefront of their message.

Over at Site Inspire I came across an interesting interview with Paul Graham of Anomaly London where he discussed the design agencies involvement in the repositioning of the English sports brand:

we presented Umbro with a global digital strategy, at the heart of which was a living breathing “web-a-mag-a-log”, a website that could be constantly evolving and publishing interesting opinions on the world of football culture like a magazine or a blog, whilst at the same time being a catalog for product done in more intuitive, engaging, entertaining way. It was important not to take ourselves seriously, to play nicely with other web-dwellers, bigging up blogs we like, linking to other places on the web and acknowledging (even embracing) the fact that there’s nowhere to hide on the web – hence showcasing our lowpoints as well as our highpoints of kit design.

Taken from Site Inspire

The new Umbro website (www.umbro.com) feels like a lesson in modern online brand strategy. The library of rich media content along with the integration of Twitter, Facebook and Flickr makes for a rich web experience that certainly has the best chance of building a pretty meaningful connection with its users.

The comment from Paul Graham in the Site Inspire interview aboutgiving the brand a sense of personality about itself certainly rings true once you stumble across the gallery of what can only be described as ‘Umbro mistakes’. (Seen here). Now I owned three of these fashion Faux pas and I’m not going to divulge into which ones they were.

Umbro aren’t ahead of the game by a long way. With the Nike+ online campaign led by R/GA which has been racking up Nike awards and new customers left, right and centre the online sports brand sector is one of the most forward thinking, but for a brand like Umbro to make such a dramatic change is proof that its not just for the big hitters.

Back in December 2009 Google introduced their ‘Real-time’ search, which presented updates from live Tweets, Yahoo Answers and news pages, which seemed to open up a world of possibilities for brands to become exposed through social network updates and discussions between the general public. Now with the launch of Google’s Myspace and facebook ‘Real-time’ search the spread of up-to-the-minute, as-it-happens (or as discussed) searching will only increase the possibility of finding ‘from the source’ information.

The morning commute:
A real-life metaphor for ‘Real-time’ searching

Take a look at a search result from your Tweet Deck or www.search.twitter.com and what you find is pretty much white noise. It’s fairly similar to the drone of my morning bus journey, with countless commuters broadcasting their thoughts and inner most secrets to not only the friend on the other end of the line, but to the general public squashed up next to them. If I can keep this comparison of London public transport and ‘Real-time’ search going for long enough without losing your interest it’s worth thinking about the fact that some things you hear from the guy sitting next to you on the way to work is oh so very interesting. And this is pretty much how it works.

Image taken from Tech Crunch

Our daily interaction with brands and products inevitably brings us that joyous wonder or downright annoyance that is the Ying and Yang of modern consumerism, and as we give up our opinions and thoughts to our social network of friends, our experiences with said products and brands becomes public property. This (un)insightful (depending on your stance) information is open to the public as well as the brands in question. And those brands are listening. Online services such as Trendrr are allowing brands to track the ‘noise’ made about them online and it’s not only brands that are gathering this vital information, but whole industries. Trendrr have recently announced their tools are being used by the entertainment industry to track discussion on details such as a certain tv channel’s popularity in particular cities.

How Bing.com have got it right

As well as the discussion of brands and products, the most important use of this new search functionality in my opinion is our opportunity to discover news stories as they unfold.

Image taken from Tech Crunch

An example of this has been taken from Bing.com, where there is already a ‘Real-time’ Twitter search function in use. When a Time square bomb threat was exposed over the web in December 2009 it was Bing.com who had the capabilities to present ‘live’ search results of what was going on down at the ‘scene’, while searching via Google simply fed back tourist information and New Year’s Eve hotspots, without a sniff of the breaking news.

This is a clear example of how we are beginning to ‘find’ our news, where the traditional means have for a while now been just too slow to keep up with the public sharing of ‘on the scene’ information. This is clearly no phenomenon, but what will be interesting to see is how users will share information on and interact with brands through ‘Real-time’ searching and how these brands in question will react to or utilise the opening up of public opinion on such a spotlit stage such as Google.com.

For too long now, fashion brands haven’t had consumers ‘queuing up’ to buy fashion goods online as successfully as in the electronics or book markets have. The way we spend on clothing seems to be too distant to how we now buy other goods online. The thought that goes into buying an item of clothing is much more personal that say, choosing a new stereo. We are happy to read the reviews and opinions of fellow online shoppers, albeit strangers when searching for the best deal on a new television, but when it comes to a new dress or a new pair of shoes, it becomes something much more private and subjective to personal taste.

This now seems likely to change dramatically with the advent of online ‘dressing room experiences’ such as the newly launched couturious.com. Couturious has been launched by the owners of retail search engine like.com and seems to be the nearest thing we’re likely to see to a fashion website creating the personal experience of buying fashion goods online.

The site is currently in its Beta stage, but the potential shown is obvious. The brands that are currently involved is some what limited but chief executive officer of like.com, Munjal Shah plans to roll in many more brands by the end of the year. “More is always better” he says.

All the key elements to make this a hugely successful online fashion tool for such a wide demographic are there. The easy to navigate styles and ‘top looks’ give you a great ideas of how much can be achieved by any given user, the function to share via Facebook is perfect for that all important litmus test with friends and family and the growing number of brands involved means that the opportunity to mix and match items from all over the High Street in one place is a vast improvement to the experience we (I especially) have to endure nearly every Saturday afternoon!

The growing number of brands who plan to bring their lines to Couturious will also strike a deal to use this technology on their own websites, spreading the experience of the online dressing room right across the web in the coming months.

The magazine. you pick it up, you slide your thumb inside the pages, the weight of the pages resting on your thumb immediately tells you that the page you’re about to flick to is 3/4 of the way through the magazine.

You haven’t even looked at a page layout or contents list yet. You throw the pages open and instantly the book rest heavily in your left hand while your right hand gently supports the last few pages. A quick strum of the thumb flicks page after page as your eyes take in a glimpse of each layout that flies by.

The ergonomics of magazine reading

I’m aware that this is starting to read like an excerpt from a ‘Romantic’ novel and I’m pretty sure if I were to go into detail about the physical interaction with the iPad it would probably get even a bit more steamier. (The full hand strokes and the quick 180º swivels etc). But if we ignore this for the moment there are a few stages of the interaction with the magazine that for the time being at least will not be replicated by the magazine iPad Apps. (At least a few that I believe would be valuable to the user interaction).

The magazine Apps I have had the chance to see so far all seem to work in a similar way when browsing the contents. A pop up ‘contents page’ will appear, presenting a thumbnail of each page layout. One thing that came to mind when seeing this was the way I navigate my way through magazines that I read on a weekly or monthly basis. Just by the unbalanced weight of the pages in my hands I have a pretty clear idea ‘where I am’ within the structure of the content.

Making use of the senses

What if the iPad could shift its weight? Could vibrations replicate this intuitive knowledge? Could the iPad replicate the action of throwing open a magazine to a (slightly) random page?

I understand this could easily be replicated visually. The metaphor of a stack of pages on each side of the spread would do this well enough. But this is my point. The interaction with magazines isn’t always visual. As much as the iPad is inviting more senses to our interaction with content, it does seems a shame that the more intuitive and automatic actions involved in everyday reading will slowly be lost.