Newsletters Client work at Advue Digital Several clients

ArrivedA new brand and a new offer every send MadeOne skeleton, a different mood each time

Email is where a system either exists or it doesn’t. Every send went out for a different brand with a different offer, on a schedule that didn’t move, into an inbox that gives it about a second on a phone. Designing each one from scratch doesn’t survive the cadence, and one rigid template makes every occasion feel the same.

Clients: CoPack, Kabuki and It’s Bobatime, among others, through Advue Digital
Who acts on it: Someone glancing at a phone inbox
Pieces: Seasonal promotions, launches, catering pushes, partner notes
Cadence: Weekly to biweekly, across accounts at once
My part: Design, from the copy deck to the finished send

What arrived

A different brand, a different offer, and the same deadline.

Each send came in as a written brief: a copy deck and a product list for one of Advue’s accounts, for a seasonal promotion, a launch, a catering push or a partner note. The schedule didn’t move, several accounts ran at once, and the inbox each send landed in gives it about a second on a phone screen.

So the question was never how to make each send look new. It was finding the level at which structure holds and expression varies.

What I made

The skeleton holds. The treatment carries the occasion.

The packaging launch send: Built for food brands, Custom Packaging, and the product range below

The skeleton. One image, the offer once, one action, the same footer.

1Who it is for, in one line at the top, before the offer.
2The offer, stated once, at the largest size on the screen.
3One dominant image. Below the fold, every account’s send has the same shape: one call to action and the same footer, so the reader always knows where the button is.

The Valentine's menu: editorial type over a candlelit table

The treatment. Same skeleton, three occasions.

1A holiday partner note goes quiet and atmospheric. It is a relationship message, not a promotion.
2A Valentine’s menu runs editorial and typographic. The offer is an experience, not an item.
3A packaging launch leads with the product grid. The range is the pitch. Different in feel, identical in skeleton, which is what makes the cadence sustainable.

The first second. What fits on the first screen decides the send.

1Single column, with the offer legible at the size a phone shows it. No two-column layouts to collapse, nothing that depends on a desktop width.
2The picture does its work before the first scroll. If the reader goes on, there is one unambiguous thing to tap; if they don’t, they still got the message.

Also in the system

The same skeleton, across the roster.

More sends on the fixed structure, each carrying its own occasion and brand.

**It’s Bobatime, staff picks**The same structure on a social post: one picture, one line

**Kabuki, Christmas dinner**Open on the 25th, with the table as the picture

**CoPack, online ordering**Ordering, low minimums and fast production in one scroll

**CoPack, low minimums**Three products, three buttons, for the small-order line

**Kabuki, gift card**One gift, one red, one thing to do

The whole set

All twelve sends, at full size.

Scroll sideways. Each send opens at full size in a new tab.

What this demonstrates

A recurring email system across an agency’s client roster.

Deciding what is fixed and what varies. The skeleton held; the treatment moved with the occasion. That is design system work.
Shipping against that decision, repeatedly. Weekly to biweekly across accounts, under deadline, with full rebuilds when direction changed after delivery.
Mobile first by necessity. A phone screen, one second, one action: the same constraint as any mobile product surface.
Working from the brief. Copy decks and product lists became finished layouts, with the offer kept as the client wrote it.

NextAllMerits Asset

Ongoing email campaign design across Advue's accounts — such as CoPack, Kabuki restaurant, and It’s Bobatime — covering seasonal promotions, product launches, catering pushes, and partner communications on a schedule that didn't move.
Newsletter work is where a system either exists or it doesn't. Each send goes out for a different brand with a different offer, and it lands in an inbox that gives it about a second on a phone screen. Designing each one from scratch doesn't survive the cadence; designing one rigid template produces sends that feel identical whatever the occasion. The work is finding the level at which structure holds and expression varies.
I built each account around a fixed skeleton — one dominant image, the offer stated once, one primary call to action, consistent footer — and let treatment carry the occasion. A holiday partner note goes quiet and atmospheric because it's a relationship message, not a promotion. A Valentine's menu runs editorial and typographic because the offer is an experience rather than an item. A packaging launch leads with the product grid because the range is the pitch. Different in feel, identical in skeleton, which is what makes the cadence sustainable.

Newsletters

- Designed recurring email campaigns across multiple concurrent client accounts on a fixed schedule
- Established reusable layout structures per account, allowing seasonal and promotional variation without redesign
- Designed for mobile-first reading: single-column hierarchy, legible type at small sizes, one unambiguous call to action per send
- Worked from written client briefs, translating copy decks and product lists into finished layouts
- Adapted tone and treatment per brand while holding a consistent underlying system
- Handled revision cycles including full rebuilds when client direction changed after delivery
Component thinking on a real production schedule. Deciding what's fixed and what varies, then shipping against that decision repeatedly and under deadline. That's design system work, and the constraint — a phone screen, one second, one action — is the constraint on any mobile product surface.