AMENA ELMASHNI GRAPHIC DESIGNER
HELLO!
My name is Amena Elmashni, and I am a senior at San Francisco State University. I am currently doing my bachelors in Visual Communication Design and plan on graduating in May of 2018. Although my focus is graphic design, I am a lover of all types of design! I enjoy typography, color studies, and web design. When I am not as busy as a bee designing, I appreciate the realms outside of my computer screen. I love to travel, paint, hike, explore coffee shops and galleries, and most of all sitting-in to watch an episode of The Office.
CONTENTS
01
SHORT STORIES BY HENRY JAMES
13
PALESTINE | ART
25
HELVETICA
39
PUBLIC NOTICE
51
CEA GUIDE TO CUSTOMER SUCCESS
61
POWER PLAY
71
GROWTH TOOLS
83
LITTLE MISS MCNUGGET
SHORT STORIES book design “Short Stories” is a book I designed based on the two short stories of Henry James: “The Story in It” and “The Real Thing.” The goal of this project was to build a strong understanding of grid systems while being able to convey the themes of the story to its images and typography. My main inspiration was vintage photos of my parents taken from the 60s-70s. The photos were especially significant as they highlighted the tones and themes in which the period the stories were written. Themes of solitude, love, and independence take over throughout the stories. By using photos that articulate familiar feelings and memories, the reader is given an opportunity to build emotion with something that meant one way 30 years ago and may suggest one way to someone in 30 years (when the photos were taken).
SHORT STORIES BY HENRY JAMES
IDEATION
brilliant curious confused mysterious wanderlust love bonds
I was very fascinated by the concepts of revealing and hiding what is real and what is not. Designs, where there were tears of several different layers of faces and scribbles showing glimpses of features, convey mystery, foreshadow, and half-truths that I wanted to manifest throughout the book. After doing my research, I tested out such methods on photos I found on the internet that I altered to black and white and then used techniques to blur, repeat, and contrast certain portions to draw attention.
3
BOOK DESIGN
iterations from my research
research inspiration
4
SHORT STORIES BY HENRY JAMES
BOOK COVER SKETCHES
My sketching process focused on using large typography to convey the emotion of the stories. I brainstormed with tear cuts, large and small scaled photos, and irregular placement to highlight themes throughout the story.
name of author
simple typographic play
paper tear of a book style
5
BOOK DESIGN
title with border going across page
gradient seperation
cropped images large image
6
SHORT STORIES BY HENRY JAMES
BOOK COVER ITERATIONS
My chapter design iterations differ greatly to my final design concept, where I kept it clean and simple by not adding any photos and keeping in mind negative space around the text. It was difficult to create a ratio of imagery and text that is consistent and interesting to readers.
Short Stories
SHORT
Short Stories
By: Henry James
7
STORIES Henry James
HENRY JAMES
BOOK DESIGN
final front cover 8
SHORT STORIES BY HENRY JAMES
The following shows my thinking process from start to the final design solution for the cover. I initially started with black and white photos to which I was inspired to use my family albums and the stories they perceive through its color, style and assumed context.
CHAPTER ITERATIONS
1
The
The Story In It
weather had turned so much worse that the rest of the day was certainly lost. The wind had risen and the storm gathered force; they gave from time to time a thump at the firm windows and dashed even against those protected by the verandah their vicious splotches of rain. Beyond the lawn, beyond the cliff, the great wet brush of the sky dipped deep into the sea. But the lawn, already vivid with the touch of May, showed a violence of watered green; the budding shrubs and trees repeated the note as they tossed their thick masses, and the cold, troubled light, filling the pretty drawing-room, marked the spring afternoon as sufficiently young. The two ladies seated there in silence could pursue without difficulty — as well as, clearly, without interruption — their respective tasks; a confidence expressed, when the noise of the wind allowed it to be heard, by the sharp scratch of Mrs Dyott’s pen at the table where she was busy with letters. Her visitor, settled on a small sofa that, with a palm-tree, a screen, a stool, a stand, a bowl of flowers and three photographs in silver frames, had been arranged near the light wood-fire as a choice ‘corner’ — Maud Blessingbourne, her guest, turned audibly, though at intervals neither brief nor regular, the leaves of a book covered in lemon-colored paper and not yet despoiled of a certain fresh crispness. This effect of the volume, for the eye, would have made it, as presumably the newest French novel — and evidently, from the attitude of the reader, ‘good’ — consort happily with the special tone of the room, a consistent air of selection and suppression, one of the finer aesthetic evolutions. If Mrs Dyott was fond of ancient French furniture, and distinctly difficult about it, her inmates could be fond — with whatever critical cocks of charming dark-braided heads over slender
9
The Story In It
T
he weather had turned so much worse that the rest of the day was certainly lost. The wind had risen and the storm gathered force; they gave from time to time a thump at the firm windows and dashed even against those protected by the verandah their vicious splotches of rain. Beyond the lawn, beyond the cliff, the great wet brush of the sky dipped deep into the sea. But the lawn, already vivid with the touch of May, showed a violence of watered green; the budding shrubs and trees repeated the note as they tossed their thick masses, and the cold, troubled light, filling the pretty drawing-room, marked the spring afternoon as sufficiently young. The two ladies seated there in silence could pursue without difficulty — as well as, clearly, without interruption — their respective tasks; a confidence expressed, when the noise of the
THE STORY IN IT
1
T
f d t b d t b t f a t w t w M
t t n
BOOK DESIGN
The Story in It
Chapter
intervals neither brief nor regular, the leaves of a book covered in lemon-colored paper and not yet despoiled
I
1
T
weather had turned so much worse that the rest of the day was certainly lost. The wind had risen and the storm gathered force; they gave from time to time a thump at the firm windows and dashed even against those protected by the verandah their vicious splotches of rain. Beyond the lawn, beyond the cliff, the great wet brush of the sky dipped deep into the sea. But the lawn, already vivid with the touch of May, showed a violence of watered green; the budding shrubs and trees repeated the note as they tossed their thick masses, and the cold, troubled light, filling the pretty drawing-room, marked the spring afternoon as sufficiently young. The two ladies seated there in silence could pursue without difficulty — as well as, clearly, without interruption — their respective tasks; a confidence expressed, when the noise of the wind allowed it to be heard, by the sharp scratch of Mrs Dyott’s pen at the table where she was busy with letters. Her visitor, settled on a small sofa that, with a palmtree, a screen, a stool, a stand, a bowl of flowers and three photographs in silver frames, had been arranged near the light wood-fire as a choice ‘corner’ Maud he
2
the eye, would have made it, as presumably the newest French novel — and evidently, from the attitude of the reader, ‘good’ — consort happily with the special tone of
The weather had turned so much worse that the rest
the room, a consistent air of selection and suppression,
of the day was certainly lost. The wind had risen and
one of the finer aesthetic evolutions. If Mrs Dyott was
the storm gathered force; they gave from time to time
fond of ancient French furniture, and distinctly difficult
a thump at the firm windows and dashed even against
about it, her inmates could be fond — with whatever
those protected by the verandah their vicious splotches
critical cocks of charming dark-braided heads over
of rain. Beyond the lawn, beyond the cliff, the great wet
slender sloping shoulders — of modern French authors.
brush of the sky dipped deep into the sea. But the lawn,
Nothing had passed for half an hour — nothing, at
already vivid with the touch of May, showed a violence of
least, to be exact, but that each of the companions
watered green; the budding shrubs and trees repeated
occasionally and covertly intermitted her pursuit in such
the note as they tossed their thick masses, and the cold,
a manner as to ascertain the degree of absorption of
troubled light, filling the pretty drawing-room, marked the
the other without turning round. What their silence
spring afternoon as sufficiently young. The two ladies
was charged with, therefore, was not only a sense of
seated there in silence could pursue without difficulty —
the weather, but a sense, so to speak, of its own nature.
as well as, clearly, without interruption — their respective
Maud Blessingbourne, when she lowered her book into
tasks; a confidence expressed, when the noise of the
her lap, closed her eyes with a conscious patience that
wind allowed it to be heard, by the sharp scratch of Mrs
seemed to say she waited; but it was nevertheless she
Dyott’s pen at the table where she was busy with letters.
who at last made the movement representing a snap of
Her visitor, settled on a small sofa that, with a palmThe Story In It
of a certain fresh crispness. This effect of the volume, for
their tension. She got up and stood by the fire, into which
tree, a screen, a stool, a stand, a bowl of flowers and
she looked a minute; then came round and approached
three photographs in silver frames, had been arranged
the window as if to see what was really going on. At this
near the light wood-fire as a choice ‘corner’ — Maud
Mrs Dyott wrote with refreshed intensity. Her little pile
Blessingbourne, her guest, turned audibly, though at
of letters had grown, and if a look of determination was
3 final chapter design 10
11
12
PA L E S T I N E | A R T web design Palestine | Art is a website I designed to bring awareness to the beauty of Palestinian art from Palestine to the diaspora. The purpose of this project was to reach out to activists and artists who appreciate the beauty in struggle and art as resistance. The website has over ten pages featuring different mediums of art from murals to posters to paintings. I kept a neutral palette to soften the site to highlight the art versus distract away from it.
PALESTINE | ART
IDEATION
justice resistance diaspora freedom creativity art
My inspirations come from modern fine art websites and galleries that do an excellent job in showcasing historic art in temporary and aesthetic ways. I found the most intriguing and beautifully built websites were ones that used full scale images, sharp edges, and tal/thin text. I wanted to portray my website in a similar manner that also embodies themes of the represented Palestinian art
15
WEB DESIGN
16
PALESTINE | ART
SKETCHES
homepage with slideshow
about page featuring an image
sub page with nav bar to the art page
17
WEB DESIGN
each subpage from the art navigation
each subpage consists of a title, row of images that pop up into full screen, and a little description
18
PALESTINE | ART
PALESTINE | ART
About
Palestine
Art
Artist of the Month
Contact Visit
ABOUT Welcome to the ART | PALESTINE website! This website is dedicated to preserving and showcasing the pain, beauty, and resilience in Palestinian art. Our mission is to highlight the talent of Palestinian artists around the world through their artistic resistance against Israeli settler colonialism. This is a space that conserves the Palestinian identity and display its history and present.
WIREFRAMES PALESTINE | ART
About
Palestine
Art
Artist of the Month
Contact Visit
PALESTINE | ART
About
Palestine
Art
Artist of the Month
Contact Visit
© PALESTINE | ART 2016
ABOUT
resi sta nce
JUST ICE
RESI LIEN CE
LIB ERA TIO N
STRU GGLE
Welcome to the ART | PALESTINE website! This website is dedicated to preserving and showcasing the pain, beauty, and resilience in Palestinian art. Our mission is to highlight the talent of Palestinian artists around the world through their artistic resistance against Israeli settler colonialism. This is a space that conserves the Palestinian identity and display its history and present.
© PALESTINE | ART 2016 © PALESTINE | ART 2016
19
WEB DESIGN PALESTINE | ART
About
Palestine
Art
Artist of the Month
Contact Visit
PALESTINE | ART
architecture
About
Palestine
Art
Artist of the Month
Š PALESTINE | ART 2016
Palestine
Art
Artist of the Month
Contact Visit
architecture
Architecture within Palestine is one of the most beautiful forms of art, but also one of the most forgotten. Homes and buildings dating back to 200+ years have either been preserved by the Palestinian authorities as historical or have become museums of protecting indigenous Palestinian history. Architecture has been lost within the conversation of art because of the international focus on saving Palestinian homes from destruction and appropriation.
PALESTINE | ART
About
Contact Visit
architecture
Architecture within Palestine is one of the most beautiful forms of art, but also one of the most forgotten. Homes and buildings dating back to 200+ years have either been preserved by the Palestinian authorities as historical or have become museums of protecting indigenous Palestinian history. Architecture has been lost within the conversation of art because of the international focus on saving Palestinian homes from destruction and appropriation.
Architecture within Palestine is one of the most beautiful forms of art, but also one of the most forgotten. Homes and buildings dating back to 200+ years have either been preserved by the Palestinian authorities as historical or have become museums of protecting indigenous Palestinian history. Architecture has been lost within the conversation of art because of the international focus on saving Palestinian homes from destruction and appropriation.
PALESTINE | ART
About
Palestine
Art
Artist of the Month
Š PALESTINE | ART 2016
Contact Visit
architecture
Architecture within Palestine is one of the most beautiful forms of art, but also one of the most forgotten. Homes and buildings dating back to 200+ years have either been preserved by the Palestinian authorities as historical or have become museums of protecting indigenous Palestinian history. Architecture has been lost within the conversation of art because of the international focus on saving Palestinian homes from destruction and appropriation.
20
PALESTINE | ART
FINAL PAGE DESIGN
final home page
final about page 21
WEB DESIGN
final art navigation page
final murals page 22
PALESTINE | ART
The final home page design consisted of an automatic slideshow that played as the user first enters the site. The photos consist of little captions containing the name of the artist that is a link, directing to the users to the artist’s website.
23
WEB DESIGN
All of the final sub art pages consist of a title across the page with a gallery of photos that pop up into full size photos. Each page also contains a short paragraph discussing the different medium types.
24
H E LV E T I C A type specimen Helvetica is a type-specimen I designed dedicated to the font Helvetica. The four panel foldable 11�x17� specimen contains a poster on one side, a front cover, a 2-page spread in the middle, and a back page. The specimen covers everything one needs to know about Helvetica from its origins, characteristics, and type family. My main inspiration for the design was using very Swiss aesthetic by using big text, clean structure and grids, and subtle hints of grey throughout the specimen to create shadows that showcase specific features of the font.
HELVETICA
IDEATION
swiss modern edgey wide clean universal
Since Helvetica is a Swiss font, I wanted to create a Swiss-style specimen that would highlight the font’s main features and give an overall clean, modern aesthetic Many of the posters I found during my research expanded the type size and made the font the center of attention versus decorating the page with unnecessary lines and graphics. I was most intrigued towards using black and white solely so that the letters standout to the viewer more than anything else.
27
TYPE SPECIMEN
4
28
HELVETICA
SKETCHES
helvetica spelled in different font weights spread out throughout the page
29
helvetica broken down in 3 rows in lowercase
TYPE SPECIMEN
helvetica strokes manipulated to fit the entire page
black and white separated with a uppercase H and lowercase h
30
ore legible farther
HELVETICA
Throughout my process, I was more drawn to emphasizing Helvetica’s tall x-height by enlarging the different characters. I used a lot repetition of the several line weights within the font family to highlight the differences and similarities.
SPECIMEN ITERATIONS
1957
tters
e an oblique
Hel vet
ica.
>tight spacing between letters >designers’ choice to create an oblique style versus italic style
&
Helvetica is a swiss font developed in 1957by Max Meidinger and Eduard Hoffamn, based on the influences of realist design. The designers’ intention with Helvetica was to design it so that it was compact, yet legible by removing all strokes vertically and horizontally. Origionally, its name was “Neue Haas Grotesk” (influenced by both Hoffamn having been head of Haas Type and the grotesk aesthetic), however after Linotype company license it, its name immediately switched to Helvetica.
swiss
From late 1970s-1980, Helvetica became the type for Adobe, Apple, and Xerox as it was the most popular rising type face. Many other commercial companies and governments also use Helvetica for signage, logos, and publications.
REGULAR
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt
33
Supports languages
Uu Vv Ww Yy Xx Zz
&
Max Miedinger Eduard Hoffmann
31
>tall x-height: making it more legible to read in smaller sizes and farther distances
>tall x-height: making it more legible to read in smaller sizes and farther distances >tight spacing between letters >designers’ choice to create an oblique style versus italic style
36
Contains typefaces
switzerland
1957
TYPE SPECIMEN
final front and back cover
Characteristics
Light
Regular
Bold
Helvetica's main characteristic is its modernity. PostWorld War II, Helvetica embodied idealism through modern Swiss design, building a sense of identity for designers and the public. Such a font that is legible, clear and even timeless, was groundbreaking at the time. Wim Crouel, a prominent Dutch graphic designer, describes Helvetica as a neutral font that does not give meaning, but rather forces the reader to find meaning in the text.
32
HELVETICA
POSTER ITERATIONS
Helvetica
Max Miedinger
33
Eduard Hoffmann
TYPE SPECIMEN
Max Miedinger
Eduard Hoffmann
final poster design 34
PUBLIC NOTICE editorial design Public Notice is a magazine I designed centered around political posters, activism, and activist culture. The magazine incorporates the artistic side of protest, political poster archives around the Bay Area, and how one can make their very own screenprint. The current political climate we see today with youth rising together for change was my ultimate inspiration for this project. I have always been exceptionally intrigued by political posters because of their sharp typography and vivid imagery that capture the attention of the masses.
PUBLIC NOTICE
IDEATION
contemporary protest youth organize vibrant resilient
My inspirations for this project came directly from my passion for activism. I have always admired political posters and the amount of thought and craft that goes into designing such power pieces. I wanted to take bits and pieces of “activist culture� and integrate it into one piece. My research consisted of images of protest, political posters, scree printing, poster process, and graffiti.
41
EDITORIAL DESIGN
42
PUBLIC NOTICE
COVER ITERATIONS
Vol. 1
Posters for the People by the People
SCREENPRINTING 101: AN ACTIVIST’S GUIDE TO POSTER-MAKING
Posters for the People by the People
POWER TO THE POSTERS! SAN FRANCISCO’S POSTER ARCHIVES
PUBLIC NOTICE
Posters for the People by the People
YESTERDAY TODAY TOMORROW: THE ART OF PROTEST
MAY 2017
43
public
NOTICE
PUBLIC NOTIC E
May 2017
My cover iterations were intended to include a politcal poster as the central focus with the publication head typeface being a cohesive component. My final magazine cover is inspired by 1980s political poster themes of power, unity, movement building, and propaganda. The use of the fist with the red background is meant to entice reaction, both physical and emotional. to readers.
VOL. 1
PUBLI NOTIC
Posters for the People by the People
YESTERDAY TODAY TOMORROW: THE ART OF PROTEST
POWER TO THE POSTERS! SAN FRANCISCO’S POSTER ARCHIVES
SCREENPRINTING 101: AN ACTIVIST’S GUIDE TO POSTER-MAKING
MAY 2017
VOL 1
MAY 2017
EDITORIAL DESIGN
PUBLIC NOTIC E POSTERS FOR THE PEOPLE BY THE PEOPLE
YESTERDAY TODAY TOMORROW: THE ART OF PROTEST
IC CE
e
SCREENPRINTING 101: AN ACTIVIST’S GUIDE TO POSTER MAKING VOL. 1
POWER TO THE POSTERS: A LOOK INSIDE SAN FRANCISCO’S POSTER ARCHIVES
final cover design 44
PUBLIC NOTICE
4
YESTERDAY TODAY TOMORROW: THE ART OF PROTEST Take a look through the evolution of protest from the streets to the prints.
8
POWER TO THE POSTERS: A LOOK INSIDE SAN FRANCISCO’S Explore the poster archives of San Francisco and travel throughout their political eras.
10
FINAL MAGAZINE DESIGN
SCREENPRINTING 101: AN ACTIVIST’S GUIDE TO POSTER MAKING Prepare yourself for the next protest by following this step by step postermaking tutorial.
final table of contents srpead
AS NINA SIMONE SAID,
‘HOW CAN YOU BE AN ARTIST AND NOT REFLECT THE TIMES’? Addressing socio-political issues and challenging the traditional boundaries and hierarchies imposed by those in power, art can open up the space for the marginalized to be seen and heard and contribute to the social change by producing knowledge and solidarity or simply raising awareness. In this way, the personal life and work of the artist transcends the individual and speak meaningfully to a larger audience bringing together the political and human functions of art. Since many variations of protest art can be found throughout the
final article spread 45
PUBLIC NOTICE
history, it is difficult to establish the beginning of this politically engaging artistic expression. Activist conceptual and performance art was majorly influenced by Dada, an anti-war movement which used satire, non-rational and anti-idealistic discourse to critique the First World War and its capitalist agenda. Some of the other early examples of protest art include the Mexican muralist David Alfaro Siqueiros who has been very active in left-wing politics in the beginning of the 20th century and wanted to reach hardworking Mexicans through
audience to engage with political messages and consider their responsibilities. Art became a potent language to speak against various forms of oppression and persisting inequalities regarding gender, race or class. As one of the founding members of the Feminist Art Movement, Judy Chicago explored the women’s position in culture and history through collaborative installations. Art has shaped the cultural and political response to the AIDS pandemics during the 1980s, with artists like Keith Haring, Niki de Saint Phalle or Robert Mapplethorpe raising their voice.
Excerpt from: Protest Art - From Picasso to Pussy riot and Banksy by Elena Martinique
6
EDITORIAL DESIGN
YESTERDAY
TODAY
TOMORROW
OF P R O TE ST What is the scope and impact of protest art? As Adorno famously wrote, ‘all art is an uncommitted crime’, meaning that art challenges the status quo by its very nature. Thus it can be argued that all art is political in the sense that it takes place in a public space and engages with an already existing ideology and dominant discourse. Yet, art can often become dangerously and explicitly political and serve as a powerful weapon. Throughout the history of social movements and social revolt, art has always reacted against oppression, violence, injustice and inequalities.
4
PUBLIC NOTICE
PUBLIC NOTICE
THE “ALL OF US OR
poster renaissance that began
affirmative action, trade
of state, primarily New York
Malaquías Montoya, Emory
Kearny Street Workshop,
NONE” (AOUON) archive
in 1965 and continues to
union and community
City, Boston, Chicago, and
Douglas, Rachael Romero,
and Inkworks Press. Perhaps
project was started by Free
this day. When Rossman
struggles, to electoral and
Washington, D.C. These
Rupert Garcia, Yolanda
more important, the depth
Speech Movement activist
died May 12, 2008 his
environmental organizing,
are complemented by a
Lopez, Favianna Rodriguez,
and breadth of the collection
Michael Rossman in 1977
family donated the collection
community services, and
representation of international
Carlos Cortez, Nancy Hom,
reveals the contribution of
to gather and document
to the Oakland Museum of
visionary manifestos. It is
work. The collection consists
Juan Fuentes, and Jos Sances,
numerous lesser known or
posters of modern progressive
California.
strongest in work from the
of approximately 24,500
as well as material from
even anonymous artists whose
movements in the United
The Archive gathered posters
San Francisco Bay Area,
distinct titles.
seminal collective workshops
cumulative impact on this
States. Though some early
from all streams of progressive
but its scope is national:
The collection includes
such as La Raza Silkscreen,
democratic public art form has
works are included, its focus
activity — from movements
approximately one-quarter of
examples from well-known
the Royal Chicano Air Force,
yet to be properly understood.
is on the domestic political
of protest, liberation, and
its holdings come from out
graphic artists including
Japantown Art and Media,
8
final opener spread
final feature spread 46
PUBLIC NOTICE VOL 1
MAY 2017
PUBLIC NOTIC E POSTERS FOR THE PEOPLE BY THE PEOPLE
YESTERDAY TODAY TOMORROW: THE ART OF PROTEST
SCREENPRINTING 101: AN ACTIVIST’S GUIDE TO POSTER MAKING
final front cover spread 47
POWER TO THE POSTERS: A LOOK INSIDE SAN FRANCISCO’S POSTER ARCHIVES
EDITORIAL DESIGN
PUBLIC NOTICE
MAY 2017
final back cover spread 48
49
50
CEA GUIDE TO CUSTOMER SUCCESS web editorial design
The CEA Guide to Customer Success is an e-book I designed introducing marketers to customer engagement automation. The purpose was to educate the company’s marketing clients on how to use better their software to get, keep, and grow more customer success. The e-book is 42 pages long with colorful graphics and set typography that stays on brand to the company’s style guide.
CEA GUIDE
IDEATION
tech progressive digital diverse san francisco colorful
My research contains vector based illustrations of cityscapes. I chose to focus on cityscapes, specifically San Francisco, because its a city of modernism, progression, and is emphasized as the tech hub of the world. Therefore, presenting a San Francisco themed e-book that introduces a new product within a software. Many images within my research were filled with large and chunky buildings with vibrant backgrounds.
53
WEB EDITORIAL DESIGN
54
CEA GUIDE
PAGE SKETCHES beginning chapter pages: image on the left,
title on the right and body text
large scale image/ llustration
chapter title
55
chart
WEB EDITORIAL DESIGN
large scale photo taking 3/4 page
line seperating the text to the left
title
two column text
title
chart
56
CEA GUIDE
FINAL EBOOK DESIGN IT’S ALL ABOUT CUSTOMER ENGAGEMENT
Anyone who has run or been involved with a software business in the past 10 years knows — this game has changed. And not just a little bit. We have experienced what amounts to a seismic shift in the way software products are bought, sold, tried, and used — and it’s affecting us all. Gone are the days of the huge, expensive, perpetual software license as well as the our-customers-haveno-idea-that-we-are-still-charging-their-credit-cards business models. We all know that customers who aren’t engaging with your service, simply won’t pay you for very long. They will go home … and take their monthly fee with them. That means death to any software business whose profitability and growth depends on keeping users paying monthly fees for many, many months (i.e. years). Or better yet, increasing these monthly fees over time. And, yeah, also referring friends, co-workers, colleagues, and Twitter followers to your service.
“In the subscription world, customers who aren’t engaging with your service simply won’t pay for your service for very long.” — Lincoln Murphy
As it turns out, engaged customers stay longer, actually pay for your service, upgrade more often, and refer more customers. This is why, in many ways, customer engagement has become the most important metric for any modern software business.
CUSTOMER ENGAGEMENT AUTOMATION: THE PLAYBOOK
The best way to build a customer engagement automation program is to organize it around your business’s growth funnel.
ACQUISITION
THERE’S A NEW SHERIFF IN TOWN ACTIVATION
“They think marketing begins at awareness and ends at qualified lead. Today, in fact, much more of the importance of marketing is after that initial sale- especially in the world of SaaS where he model only thrives when you’ve got retention and upsells and expansion...and word of mouth.”
Growth marketing has emerged as one of the most important roles in the modern software business. This is driven by the fact that customer engagement has become a key success metric with the need to drive marketing activities across an entire customer lifecycle.
ONGOING ENGAGEMENT
The role is sometimes marketing, sometimes product, and sometimes a blend of the two. Regardless, it’s a role with a massive job to do — with much responsibility and accountability.
RE-ENGAGEMENT
If this represents the major steps of your growth funnel, you should plan to have behavioral email campaigns for each of these steps. Each email’s goal is to convince people to take the next step. Eventually, you will have multiple campaigns for each step in the funnel (because you are likely breaking down each step into more granular elements), but as a start, this serves as a very good reference.
- JD Peterson, CMO Trello (former)
IT’S ALL ABOUT CUSTOMER ENGAGEMENT
57
5
USING CEA TO DRIVE ENGAGEMENT AND GROWTH
20
WEB EDITORIAL DESIGN
58
P O W E R P L AY : D E S I G N AND THE CITY poster design
Power Play: Design and the City is an event poster I designed for an AIGA and MOMA event. The poster was meant to draw an audience on modern design in San Francisco. Without using graphics, I created the poster with just text and shapes that helped promote themes of city, design, playfulness, etc.
POWER PLAY: DESIGN AND THE CITY
IDEATION
light architecture flashing bright sleek sharp
I was inspired by the vibrant architecture of San Francisco that’s infused with elegant and modern infrastructure that makes the city as loveable as it is. I was mostly intrigued by sharp edges, skyscrapers, and very grunge style interpretations of cityscapes. Throughout my research, I took note of how simple lines allow the typography to stand out and highlight the theme of the design.
63
POSTER DESIGN
64
POWER PLAY: DESIGN AND THE CITY
POSTER SKETCHES
My early stage sketches focused on taking aspects of city life, look, and feel to the title and themes of the poster. I wanted to create something familiar to the audience, in which they wouldn’t need a graphic illustration to understand what it is, but rather build on their imagination through typographic play.
the right side of the poster represents beeming lights reflecting from the city buzz boxes representing city buildings closing in on each end 65
POSTER DESIGN
logo
looking in to the bust of the city and all of its craziness simple play on font and text 66
POWER PLAY: DESIGN AND THE CITY
POSTER ITERATIONS
My drafts contain mostly iterations of hierarchy within the text. The title and subtitle are the most critical aspects of the poster. I used color, shapes, and sharp edges from what I found in my research to create my versions. I wanted to use certain aspects of the city such as street lamps, graffiti, buildings edges, and power lines.
POWER PLAY: Today, many urban designers are creating public spaces that are open, interactive, and engaging, such as the High Line in New York City and the new South Park renovation
Design and the City
Today, many urban
Today, many urban design
designers are
spaces that are open, interact
creating public
as the High Line in New York
spaces that are open,
Park renovation in San Franc
interactive, and engaging,
in San Francisco. Increasingly, play has become a strategy
has become a strategy that
such as the High Line in New
that designers use to prompt participation between residents,
participation between reside and each other.
York City and the new South Park
their environments, and each other.
renovation in San Francisco. Increasingly,
At the same time, urban landscapes in the Bay Area and
design and the city
play has become a strategy that designers
beyond are being transformed by rapid development, with pressures to privatize, police, and speculate on space.
use to prompt participation between residents, their environments, and each other. At the same time, urban landscapes in the Bay Area and beyond are
At the same time, urban landscapes in the Bay
being transformed by rapid development, with pressures to
Join SFMOMA for a series of talks and discussions with
Area and beyond are being transformed by rapid development, with pressures to privatize, police,
privatize, police, and speculate on space. Join SFMOMA for a
curators, architects, planners, and strategists that explore the role of play and the dynamics of power in illuminating
series of talks and discussions with curators, architects, planners,
the history, understanding the present, and determining the
and strategists that explore the role of play and the dynamics of
future of our sought-after public spaces.
Today, many urban designers are creating public spaces that are open, interactive, and engaging, such as the High Line in New York City and the new South
power in illuminating the history, understanding the present,
Park renovation in San Francisco. Increasingly, play has become a strategy that designers use to prompt
and determining the future of our sought-after public spaces.
february
march
21 Histories of Bay Area Urban Design
7 Tactical Interventions
:
Liz Ogbu, principal Studio O
Benjamin Grant, urban design policy director SPUR
Douglas Burnham, principal Envelope A+D
28 Theories of Public Spaces :
14 Injecting Play :
march
21 Histories of Bay Area Urban Design
7 Tactical Interventions
Robert Kett, curatorial assistant, architecture and design, SFMOMA
Allison Arieff, editorial director SPUR
Susan Moffat, project director UC Berkeley Global Urban Humanities Initiative
february :
John Bela, director Gehl Studio
Walter Hood, professor of landscape architecture, environmental planning, and urban design UC Berkeley
and each other.
*Use code PARTNER2017 for a discounted admission rate
:
Robert Kett, curatorial assistant, architecture and design SFMOMA
participation between residents, their environments,
Benjamin Grant, urban design policy director, SPUR
21 Reinventing the Commons* :
David Fletcher, landscape architect Fletcher Studio
6:00 pm - 7:30 pm
Jennifer Dunlop Fletcher, Helen Hilton Raiser Curator of Architecture and Design SFMOMA
Phyllis Wattis Theater at SF MOMA 151 3rd St San Francisco
28 Theories of Public Spaces :
Walter Hood, professor of landscape architecture, environmental planning, and urban design, UC Berkeley Susan Moffat, project director, UC Berkeley Global Urban Humanities Initiative
Allison Arieff, editorial director, SPUR
21 Reinventing the Commons* :
Join SFMOMA for a series of talks and discussions
that explore the role of play and the dynamics of
with curators, architects, planners, and strategists
power in illuminating the history, understanding the present, and determining the future of our sought-after public spaces.
21
7
:
HISTORIES
OF
BAY AREA URBAN DESIGN
Phyllis Wattis Theater at SF MOMA 151 3rd St San Francisco
28
:
THEORIES
OF
PUBLIC SPACES
:
Walter Hood, professor of landscape architecture, environmental planning, and urban design UC Berkeley Susan Moffat, project director UC Berkeley Global Urban Humanities Initiative
sought-after public spaces.
Douglas Burnham, principal Envelope A+D
14
power in illuminating the history, understanding the present, and determining the future of our
Liz Ogbu, principal Studio O
Benjamin Grant, urban design policy director
6:30pm-7:30pm
that explore the role of play and the dynamics of
TACTICAL INTERVENTIONS
:
Robert Kett, curatorial assistant, architecture and design SFMOMA
Douglas Burnham, principal, Envelope A+D
:
with curators, architects, planners, and strategists
March
:
John Bela, director, Gehl Studio
Join SFMOMA for a series of talks and discussions
February
Liz Ogbu, principal, Studio O
14 Injecting Play
and speculate on space.
February 21
:
Injecting Play
Robert Kett, curatorial assistant, architecture and design SFMOMA
John Bela, director Gehl Studio Allison Arieff, editorial director SPUR
21 R :
EINVENTING THE
HISTORIES OF BAY AREA URBAN DESIGN
COMMONS
David Fletcher, landscape architect Fletcher Studio
Jennifer Dunlop Fletcher, Helen Hilton Raiser Curator of Architecture and Design, SFMOMA
67
7
:
Benjamin Grant, urban design policy director
28
:
THEORIES OF PUBLIC SPACES Walter Hood, professor of landscape architecture, environmental planning, and urban design UC Berkeley
David Fletcher, landscape architect, Fletcher Studio
Jennifer Dunlop Fletcher, Helen Hilton Raiser Curator of Architecture and Design SFMOMA
M
Susan Moffat, project director UC Berkeley Global Urban Humanities Initiative
14
:
G
A S
POSTER DESIGN
21
and
ity d
ign s e
February HISTORIES
:
At the same time, urban landscapes in the Bay
tive, and engaging, such
Area and beyond are being transformed by rapid
k City and the new South
development, with pressures to privatize, police,
cisco. Increasingly, play
and speculate on space.
BAY AREA URBAN DESIGN
Robert Kett, curatorial assistant, architecture and design SFMOMA Benjamin Grant, urban design policy director
28
THEORIES
:
OF
PUBLIC SPACES
Walter Hood, professor of landscape architecture, environmental planning, and urban design UC Berkeley
the c
ners are creating public
OF
Susan Moffat, project director UC Berkeley Global Urban Humanities Initiative
March 7
designers use to prompt
TACTICAL INTERVENTIONS
:
dents, their environments,
Liz Ogbu, principal Studio O Douglas Burnham, principal Envelope A+D
14
:
John Bela, director Gehl Studio
DESIGN & THE CITY
Allison Arieff, editorial director SPUR
21 R :
March TACTICAL INTERVENTIONS
21 R :
EINVENTING THE
David Fletcher, landscape architect Fletcher Studio
Douglas Burnham, principal Envelope A+D
Jennifer Dunlop Fletcher, Helen Hilton Raiser Curator of Architecture and Design SFMOMA
Injecting Play
Allison Arieff, editorial director SPUR
EINVENTING THE
COMMONS
David Fletcher, landscape architect Fletcher Studio
COMMONS*
Liz Ogbu, principal Studio O
John Bela, director Gehl Studio
Injecting Play
Jennifer Dunlop Fletcher, Helen Hilton Raiser Curator of Architecture and Design SFMOMA
6:30pm-7:30pm Phyllis Wattis Theater at SF MOMA 151 3rd St San Francisco Today, many urban designers are creating public spaces
At the same time, urban landscapes in the Bay Area and
Join SFMOMA for a series of talks and discussions with
that are open, interactive, and engaging, such as the High
beyond are being transformed by rapid development, with
curators, architects, planners, and strategists that explore
Line in New York City and the new South Park renovation
pressures to privatize, police, and speculate on space.
the role of play and the dynamics of power in illuminating
in San Francisco. Increasingly, play has become a strategy
the history, understanding the present, and determining the
that designers use to prompt participation between residents,
future of our sought-after public spaces.
their environments, and each other. Amena Elmashni
final poster design 68
GROWTH TOOLS website design
Growth Tools is a mini website I designed with three growth marketing tools to help boost company’s conversion rate. I designed tools for a A/B Test, UTM Builder, and an Engagement Score Calculator. I used existing brand guidlines to design the site which I then transferred into Invision for mockup testing.
GROWTH TOOLS
IDEATION
bold friendly futuristic accesible trend elegant
I was inspired by the sleek and minimalist design aesthetic trend in tech. I noticed websites with the most exciting landing pages consisted of full-screen photos with dark undertones and white text. This gives it a very modern look that helps market the product as an an exciting development. Gradients also are a common theme throughout that just help the overall look, feel, and usability of the product. Having a gradient of different color tones highlights the product versus distracting users.
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WEBSITE DESIGN
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GROWTH TOOLS
SKETCHES
each circle consists an icon for the tool that is sliced in half but animates to its full size
tool name
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tool description
footer
WEBSITE DESIGN
back to tool homepage button
name of each tool along with its description
results
questions
UTM fill in boxes
calculated numbers calculated percentage half screen
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GROWTH TOOLS
TOOL ITERATIONS
My first iterations were very straightforward to make the tool the most visible aspect on the page. I used big blue boxes to house the tool with a light blue background fold. I created a set of icons in which I made into the hero background to give it a playful touch.
GROWTH TOOLS GET DATA DRIVEN
Hungry for growth? Our A/B test and UTM builder are quick tools to help you get, keep, and grow more customers.
A/B Significance Test
Determines whether your A/B tests are statistically significant
UTM Builder
UTM Builder Add campaign parameters to a URL so you can track campaigns.
Website URL
Campaign Source
Campaign Medium
Campaign Name
Campaign Term
Campaign Content
The Growth Marketers Guide to Customer Engagement Automation
GET MY FREE COPY Submit
Privacy policy
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Media kit
Š 2017 Kissmetrics
Privacy policy
Media kit
Š 2017 Kissmetrics
WEBSITE DESIGN
78
GROWTH TOOLS
FINAL DESIGNS
Final A/B Test page design, updated version includes option for more variations
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My final designs use a dark to light graident that give it a modern aesthetic while still making the content legible. I kept format of text and fill in boxes consistent throughout the different tools as well to allow a more intuitive experience for the users.
Final User Engagement Score Calculator
WEBSITE DESIGN
User engagement breakdown
User engagement worth breakdown
Growth referral percentage
Request a demo of the software, final page of user calculator
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LITTLE MISSMCNUGGET poster design
Little Miss McNuggest is parody poster design of the film “Little Miss Sunshine” that tackles child obesity in the United States fastfood industry, specifically McDonalds. Themes of the actual film inspired me to do this poster. Childhood obesity is a serious issues within the United States that is rapidly growing. This poster is meant to bring awareness to such a conflict in a humerous tone while staying true to the film’s design.
LITTLE MISS MCNUGGET
IDEATION
humorous parody fun relevant propaganda society
Throughout my research I started from my favorite movies and then moved on to poster designs that grasp certain societal concepts. Little Miss Sunshine grabbed my attention most because of the underlying themes in both the movie and poster that were relatable to modern day issues. Themes of child obesity, foods children like, fast food addiction, and comfort all were interesting ideas that could be combined.
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POSTER DESIGN
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THANK YOU! contact me
lets make something great aelmashni95@gmail.com (650) 392-4499