Arcmail: a case study by LAIN

Arcmail

Email marketing, CRM software

Website design: home, features, library

2026

Email, engineered
from the data.

Arcmail does one thing differently. It reads the customer data a company already keeps in its CRM and lets that decide who gets which email, and when. The website has to make that sound like a plain advantage and not like a configuration screen.

So the design stays quiet and exact. Everything is black and bone, set in a mono that reads like a log, and the product is shown as it is: a window with a sequence running in it. The only decoration is a picture language of dots.

Black, bone
and six signals.

The ground is a near-black with panels one step lighter and hairlines in a dark grey. Type and the one solid button are a warm white. There is no gradient and no shadow anywhere. Colour appears only where the product shows a state: the six hues of the automation flow, each one a tinted fill with a brighter edge and a square for a bullet.

Two voices: a plain sans for headlines and buttons, a mono for the name, labels, figures and body copy

Pictures made
of squares.

Every picture on the site is one bit: black or bone with nothing in between. A photograph is reduced to a field of square dots, so it sits on the page with the same hardness as a line of type and never competes with the interface. The home page opens on two hands, the library on a planet at the edge of the frame, the footer on a cloud of light.

How a picture is made: a soft light, the same light one square at a time, and the matrix that decides which squares are lit

A planet at the edge of the frame opens the library page

A cloud of light closes every page, in the corner of the footer

One cart,
left behind.

The features page explains automation with a flow builder, and that drawing is the most useful picture in the design: six nodes, one decision, two endings. So this chapter lets it run. Contacts enter at the trigger as small envelopes drawn in the brand's squares, slide under each node, wait where the flow says to wait and split at the check. Scroll to run the sequence forward or back. Move the pointer and an envelope of your own follows it; any node you rest on says what it does.

Trigger

Email

Wait

Check

Converted

Final offer

A contact leaves with something in the cart. That is the whole trigger.

One email goes out, then the flow waits a day before it does anything else.

The CRM is asked whether they purchased, and the flow splits in two.

A purchase tags the contact as converted. No purchase gets one final offer.

A product that
looks like a log.

The product is shown in windows, the way the customer will meet it: dark panels with a hairline border, figures in the mono, rows with a square bullet and a small status tag. The same few parts build every screen, which is why six of them can sit on three pages and still look like one product.

The features page opens on the same window, with a ring of dots either side and two small cards floating off it

The window: a welcome line, three figures and the sequence running as four rows

The flow builder: six nodes in six hues, joined by dashed lines

The segment builder: conditions as tinted chips and a live count under them

One contact as the CRM sees them: four figures, then every email they have had

Analytics: four figures and a bar chart whose bars are dithered

Three pages,
one black room.

The home page makes the promise, the features page shows how it works, and the library keeps the articles. All three share the nav, the hairline grid and the corner marks that frame a section like a print.

Two hands and a headline, the sequence in a window, three steps, the CRM in numbers, reviews, pricing and the closing call.

A platform overview, then automation, segmentation, the CRM profile and analytics, each beside its own window.

A planet of dots, a featured article, and a grid of nine guides with their tags.

The home page,
one section at a time.

Every section follows one pattern: a small bracketed label, a headline in the sans, a line of mono underneath and a piece of product. Between sections run hairlines with a cross at each end, so the page reads as a sheet that has been cut into frames.

The first screen: two hands, one headline, two buttons and a live sequence in a window

How it works in three cards, each with its number ghosted in dots

Three reviews on cards, the middle one raised on a field of dither

CRM data as two big figures, a bar chart drawn in dither and four audience segments

Two plans side by side; the one to pick has the only solid white button

The closing call and the footer, with a cloud of light in the corner

Articles with
a place to live.

The third page is a library. It opens on a planet at the edge of the frame, then gives one article the space of a feature beside a short list, and ends on a grid of cards, each with a tag in its own colour, a reading time and a dated byline.

The library opens on a planet of dots, with its filters as bracketed tabs

A featured article beside a short list: a constellation, a route and a quote, each one a small drawing

Nine articles on cards, each with a coloured tag, a reading time and a dated byline

Two more covers.

The thumbnails for the shots of the library and the features page.

The library page, tilted into the frame beside its grid of cards

The features page, with its ring of dots and the window below it

See it in full.

The shots on Dribbble.