I am a UX Writer and Content Strategist with a background in Internationalization and Localization. I help organizations create products that delight both global and local audiences by providing insight, creativity, and effective strategies for different types of content.

1. Emily Ingebricson
NICE TO
MEET YOU!
I’M EMILY.
• UX Writer
• Content Strategist
• Internationalization
• Localization
I help organizations create products
that delight both global and local
audiences by providing insight,
creativity, and effective strategies
for different types of content.
1

2. I don’t just write:
I help companies and
brands figure out what
content they
actually need to reach
their audience.
Emily Ingebricson 2

3. SELECTED WORKS
TRADING SIGNALS
SUBSCRIPTION
APP
3
Coin Follower
NETFLIX TITLE
LOCALIZATION
GUIDELINES
Netflix
CUSTOM CHARITABLE
DONATIONS - UX FOR
WEBFORMS
Cascaid
INTERACTIVE EXHIBIT
Global Fund for Women
Exhibited at United Nations,
New York
Emily Ingebricson

4. 04
PROJECT SUMMARY
How can we use language
and tone to build trust with
people who are interested in
trading cryptocurrencies,
given the market’s
reputation?
WHAT I DID
• User Research
• UX Writing
• UX/UI Design
LET STATISTICS
DRIVE JUDGEMENT
— NOT YOUR GUT
COIN FOLLOWER
TIMELINE
4 weeks start to finish
including 1 week testing of
language, tone, and
statements.
INTERESTING FACT
80% of survey respondents check
the price of their cryptocurrencies
3 times a day or more.

5. COIN FOLLOWER
I conducted user research, wrote a
quantitative survey with over 80
respondents, and conducted qualitative
interviews with users across the globe.
I also planned, wrote, and tested the
content and copy in an online
preference test.
I then designed and prototyped the
app for further user testing.
02. THE PROCESS
03. USER RESEARCH
05. INTERACTIVE PROTOTYPE
04. UX WRITING & DESIGN
06. FULL CASE STUDY
01. WHAT I DID
Emily Ingebricson
WHO IS
COIN FOLLOWER
FOR?
Coin Follower’s initial target audience has some investing experience
and understanding of the stock market, but they feel they lack the
knowledge to trade cryptocurrencies with confidence. They want to
catch the next trend using trustworthy reliable information.
5

6. 6Emily Ingebricson
USER RESEARCH
I planned and designed a
quantitative survey with
over 80 respondents and
interviewed 6 people in
USA, Canada, and Europe.
CONTENT STRATEGY
I analyzed the audience,
keywords, and terminology
to determine the tone of
voice, type of content, and
scope of content.
DESIGN & TESTING
I collected and interpreted
survey results and
interview data to make an
app experience that
matched the intent of the
target user base.
My goal was to make it simple for new users to understand potentially complex financial data
like charts and investment strategy performance. Coin Follower should provide value right
from the start.
THE PROCESS
COIN FOLLOWER
03. USER RESEARCH
05. INTERACTIVE PROTOTYPE
04. UX WRITING & DESIGN
01. WHAT I DID
I planned the development of the app
from start to finish, beginning with
research and analysis of the industry
and ending with an interactive
prototype and sales funnel page.
02. THE PROCESS
06. FULL CASE STUDY

7. 7Emily Ingebricson
KEY TAKEAWAYS
80 SURVEY
RESPONDENTS
6 USER INTERVIEWS
• Finding trustworthy information about cryptocurrencies is hard.
• It is difficult and time-consuming to verify data or claims from
many different service providers.
• Information overload from forums and chat apps often leads to
decision-fatigue.
• It takes time to win a user’s trust, so it should be easy to cancel a
service at any time.
COIN FOLLOWER
03. USER RESEARCH
05. INTERACTIVE PROTOTYPE
04. UX WRITING & DESIGN
01. WHAT I DID
02. THE PROCESS
The user research took place over two
weeks. I found and recruited the
respondents and interview subjects in
online forums.
06. FULL CASE STUDY

8. 8Emily Ingebricson
ANALYZING
TERMINOLOGY
CREATING BRAND
TONE OF VOICE
I ran a competitive keyword analysis and researched online
cryptocurrency forums to establish the terminology list.
Every brand should have a unique voice. I went through a tone table
exercise to create the guidelines and rationale for Coin Follower.
03. USER RESEARCH
05. INTERACTIVE PROTOTYPE
04. UX WRITING & DESIGN
01. WHAT I DID
02. THE PROCESS
COIN FOLLOWER
I mapped out the the main interaction
flows for users on the Coin Follower app
in a copy table before drawing sketches
and creating the design.
06. FULL CASE STUDY

9. 09
I user-tested five versions of
each value proposition with
in-person interviews and
online preference tests.
Each value proposition
answers one of the unmet
user needs that were
uncovered during the
research phase.
See table right for a
snapshot of the contenders.
See next page for the
winners.
WRITING THE
VALUE
PROPOSITIONS

10. THE WINNING VALUE PROPOSITIONS

11. 11
01. WHAT I DID
Emily Ingebricson
THE
“CONTENT-FIRST”
APPROACH
I continued the design process by creating a hierarchy for all the content (copy, error
messages, onboarding flow) that would go into the Coin Follower app. Words are
essential for helping users accomplish their tasks, and by thinking about them while
I sketched, I uncovered problems early and was able to move faster later.
03. USER RESEARCH
05. INTERACTIVE PROTOTYPE
04. UX WRITING & DESIGN
01. WHAT I DID
02. THE PROCESS
COIN FOLLOWER
I created pencil sketches with call-outs
to help me work with stakeholders to
set expectations. That way I was able to
adapt quickly and makes changes to
the user experience according to the
feedback.
06. FULL CASE STUDY

12. TRY THE PROTOTYPE ON MARVEL

13. I wrote a full case study about this project on
UX Planet to show the entire process and share
more about my approach to Content Strategy.
READ THE CASE STUDY ON MEDIUM
13Emily Ingebricson
03. USER RESEARCH
05. INTERACTIVE PROTOTYPE
04. UX WRITING & DESIGN
01. WHAT I DID
02. THE PROCESS
COIN FOLLOWER
06. FULL CASE STUDY
I like to share my work with the
community to receive feedback and to
connect. I publish articles on Medium
about once per month.

14. 014
PROJECT SUMMARY
Do people click and watch more if
the title of a show or movie is in
their local language? I was the
team lead for a test to determine
the impact to viewing hours for
translated vs. original English-
language titles.
WHAT I DID
• Cross-functional Research
Planning
• Synthesized Findings
• Wrote the Guidelines for
Global Product Creative
Team
WHY NETFLIX
TRANSLATES SHOW
AND MOVIE TITLES
NETFLIX
TIMELINE
8 weeks start to finish
including writing guidelines
for recommended processes.
INTERESTING FACT
The preference for a translated
title often depended on the
genre — for instance action,
comedy, or documentary.

15. 15Emily Ingebricson
The problem: The graphics team is overwhelmed by requests from the globalization team to create
individual artwork for 26 markets for each translated title. This leads to errors, last-minute fixes, and
lack of consistency between marketing and the user-facing product.
Hypothesis: Some genres will perform better with a localized title, leading to higher take rate,
increased Originals streaming, and increased overall streaming. Other genres will perform better
with one shared title for all markets.
Solution: Test which titles perform better and create guidelines for localized titles to streamline the
process. The goal is to reduce the number of localized assets the graphics and marketing teams
have to create. This way the quality of the translations and artwork increases, and people can spend
more of their time on high-priority titles.
I was the Globalization team lead, which meant I worked with three leads from other teams to create
the testing criteria. I later synthesized the findings into regional guidelines for each market. This led
to a faster translation time, reduced costs, improved approval process, and increased overall
streaming in all markets.
TITLES ANALYZED
AND TESTED
IN 26 MARKETS
20
REGIONAL
GUIDELINES
CREATED
26
CROSS-
FUNCTIONAL
TEAMs
4
INCREASED
TAKE RATE AND
STREAMING
NETFLIX TITLE
STYLE GUIDE
As part of the Global Product Creative
Team I was the lead working with four
other teams at Netflix to test the
performance of translated titles. After
the findings were analyzed, I wrote
guidelines for all 26 markets..
02. THE PROCESS
03. FINDINGS & GUIDELINES
01. WHAT I DID

16. 16Emily Ingebricson
IDENTIFY
THE TITLES
The tested titles had to have a
fairly broad appeal. They could
not be titles connected to a
social media or marketing
campaign promoting the title
under a different name. This
would cause a waste in
marketing spend and confusion
for users.
SYNTHESIZE
THE DATA
Titles were tested with new
members and existing
members in an A/B test. After
reviewing the results and
observing a significant lift or
drop-off, I created a reference
table of recommendations for
genres, high-profile titles, and
markets.
CREATE THE
GUIDELINES
I created a template guideline
for all markets that could be
modified with regional
examples. During the following
3 months, error and fix rates
dropped by 80% and translation
time was reduced by 50%. We
also saw a significant decrease
in spending.
The goal of the project was to reduce the number of localized assets the graphics and marketing
teams had to create. Netflix releases 80-100 original titles per month. These titles all have to be
evaluated for translation. My task was to look at existing viewing data, market sentiment, and
feedback from interviews with stakeholders to make the best recommendations for testing. I took
those results and created template guidelines for all 26 Netflix markets.
THE PROCESS
NETFLIX TITLE
STYLE GUIDE
The project involved working with
stakeholders across regional marketing
teams, UI team, and buyers of content
for Netflix.
02. THE PROCESS
03. FINDINGS & GUIDELINES
01. WHAT I DID

17. 17Emily Ingebricson
TESTING AN UNKNOWN TITLE
WITH A TARGET AUDIENCE OF
WOMEN AGES 30-50.
“Las chicas del cable” is a Spanish TV show that we
expected would have small appeal outside of Spanish-
speaking markets. We tested three versions: English title,
Spanish original title, and translated title. The translated
title had the biggest lift and actually led to an increased
viewing of foreign-language titles.
NETFLIX STYLE
GUIDE
02. THE PROCESS
03. FINDINGS & GUIDELINES
01. WHAT I DID
Genres and target audience have a
huge impact on the expectations for
the name of title. A title that doesn’t
draw a lot of attention on social media,
may be more suited for translation to
appeal to people when they are in the
“discovery phase” while browsing
Netflix.

18. 18Emily Ingebriscon
NETFLIX STYLE
GUIDE
02. THE PROCESS
03. FINDINGS & GUIDELINES
01. WHAT I DID
“13 Reasons Why” sparked controversy
and garnered a large fan following who
connected online sharing memes and
thoughts about the show. The original
English title became the most common
way to refer to the show. Spanish-
language social media posts even
called it “Trece Reasons Why,” mixing
the two languages.
TESTING A KNOWN BOOK
TITLE WITH A TARGET
AUDIENCE OF YOUNG PEOPLE
AGES 12-25.
"13 Reasons Why” is a popular book by Jay Asher and was
well known by its translated title in most markets. We
assumed that a title matching the book title would do well,
but due to word of mouth and social media, people referred
to refer it by the English name, or simply 13RY.

19. 19Olivia Smith
The goal for any guideline or style guide is that
they are read and used. For this reason, I made
the guidelines short and actionable with
examples for each category.
The guidelines were distributed to over 200
freelance and vendor translators as well as
internal marketing teams, content buyers, and
graphics team.
I provided training for external contractors and
aligned six global vendors with our guidelines.
By having one source of reference for all teams,
error and fix rates dropped by 80% and
translation time was reduced by 50%, to 1
week from 2 weeks. This also led to spending
~20% less per market for the translation
process.
TAKE A PEEK AT THE
GUIDELINES…

20. 020
PROJECT SUMMARY
Cascaid is a custom charitable giving
plan platform where people can
make and manage recurring
donations to their favorite causes.
Their goal is to make donating as
easy as liking friends’ posts,
retweeting the day’s headlines, or
sharing favorite playlists.
WHAT I DID
• Content Audit
• User Research
• UX Writing & Design
USING SOCIAL FORCES
AND NUDGES TO
INFLUENCE GIVING
CASCAID
TIMELINE
4 weeks start to finish
including 1 week testing of
language, tone, and
statements.
INTERESTING FACT
33% of survey respondents
couldn’t remember all the
organizations they donated to in
the last year

21. My goal was to explore the premise that
people feel better spending money on
others than on themselves.
I started with a Content Audit of
cascaid.io to understand their overall
information architecture and goals.
I then conducted a survey and some
very inspiring and uplifting user
interviews to uncover the motivations,
frustrations, and situations surrounding
charitable giving.
All of the findings went into creating a
more efficient donation form that
would be ready for social sharing.
02. THE PROCESS
03. CONTENT AUDIT
05. UX WRITING & DESIGN
04. USER RESEARCH
06. FULL CASE STUDY
01. WHAT I DID
Emily Ingebricson
HOW CAN WE
ENCOURAGE
RECURRING MONTHLY
CHARITABLE GIVING?
“Donating is inspiring: to see a group of people come together
to do something good. I want to contribute to that, even a
small amount. It feels good to indirectly help an organization
to do something better and to support other people.”
—Quote from interview respondent. 21
BEFORE AFTER
CASCAID

22. 22Emily Ingebricson
CONTENT AUDIT
Cascaid relies on user-generated
content and needs a way to reliably
sort and display different causes for
people to discover. I performed a
content audit. and taxonomy
exercise to create the sitemap and
categories.
USER RESEARCH
My main research goal was to find
out if knowing the impact of your
donation influences giving. Is it
important to be recognized or
thanked for the donation? I
conducted a qualitative survey and
8 user interviews.
UX WRITING & DESIGN
I chose to base the user experience
around Choice Architecture. Setting
up a new cause to donate to can be
overwhelming and complex. My
goal was to make it easy to donate
by influencing the decision-making
and simplifying the presentation of
options. This way users would feel
like they are making a difference.
Entering data into a form is one of the most important ways users interact with a service. They are used
everywhere—for sign up, subscriptions, customer feedback, checkout, or as data input to search for or
share information. One of Cascaid’s main goals is to make it easy to share your donation plan to
increase your impact. Can a well-designed form make donating less overwhelming and increase
social sharing?
THE PROCESS
03. CONTENT AUDIT
05. UX WRITING & DESIGN
04. USER RESEARCH
01. WHAT I DID
I met with the founders of Cascaid to
map out their goals and expectations.
The process was designed to create a
user experience that would clearly
communicate what Cascaid does.
02. THE PROCESS
06. FULL CASE STUDY
CASCAID

23. 23Emily Ingebricson
HOW TO DRAW
INSIGHTS FROM THE
CURRENT CONTENT
Since Cascaid relies on user-generated content, they need a way to
reliably sort and display different causes so that new users can
discover them. I performed a content audit on the existing Cascaid
site to create the sitemap. I then created a taxonomy card sorting
exercise on competitors like GoFundMe and Kickstarter to establish
a set of categories for causes.
03. CONTENT AUDIT
05. UX WRITING & DESIGN
04. USER RESEARCH
01. WHAT I DID
02. THE PROCESS
When you’re redesigning an existing
site it is always worth taking time to
audit the current content. This way I
was able to access the current quality
and hierarchy of the content to use as a
template used GatherContent’s
template and Content Audit Playbook
for this process.
06. FULL CASE STUDY
CASCAID

24. 24Emily Ingebricson
SURVEY
FINDINGS
03. CONTENT AUDIT
• 50% of people give once a month or once every three months.
• 33% of people give because they have a strong belief in a cause, followed by
donating because it’s the right thing to do (26%) and to change someone’s life (23%).
• 80% of people said it is important for people to know that the charity is
genuine before donating.
• 46% would like to spread their donations across several charities.
• 33% of people can’t remember which organizations they donated to in the last year.
05. UX WRITING & DESIGN
04. USER RESEARCH
01. WHAT I DID
02. THE PROCESS
CASCAID
Based on the survey, I interviewed five
people to test the hypothesis that there
is a need for a single place to give, verify
charities, and track the impact of a
donation. I choose interview
respondents who donate at least 6–12
times per year to understand their main
motivations for giving.
06. FULL CASE STUDY

25. 25
Using the survey and
user interviews as a
base, I created Job
Stories (JTBD) with the
goal to find a clear and
testable hypothesis.
These stories became
the basis for Cascaid’s
priorities and a
structure for the user
experience, brand
voice, and content.
USING THE “JOBS
TO BE DONE”
FRAMEWORK
Emily Ingebricson
USING THE RESEARCH TO CREATE A FRAMEWORK

26. 26
01. WHAT I DID
Emily Ingebricson
WORKING WITH
THE FORM
STRUCTURE
A form is a type of conversation. And like any conversation, it should feel like
a natural and logical communication between two parties—the user and
the product.
03. CONTENT AUDIT
05.UX WRITING & DESIGN
04. USER RESEARCH
01. WHAT I DID
02. THE PROCESS
I decided to create a form that could
capture more data about the causes
such as a category, which charities are
verified, and the impact score for the
charity. I choose to incorporate images
sourced from Unsplash to create a
visual appeal without burdening the
user with uploading an image
themselves.
06. FULL CASE STUDY
CASCAID
BEFORE AFTER

27. Ask only for what you need:
Inform the user why Cascaid
is asking for the information,
how it will be used, and the
benefits of providing it.
Follow a logical order:
The information Cascaid asks
for should be what the user
expects to give. The form asks
for details about the cause
and why the user cares about
it before asking for the
payment method.
Group related information:
For Cascaid, I created a form
with multiple steps where
each group of fields is
separated by a step. This way,
the flow resembles a
conversation and doesn’t
overwhelm the user.
CREATING A
CONVERSATION

28. TRY THE PROTOTYPE ON MARVEL

29. I wrote a full case study about this project on
Prototypr to explain my research and
approach to Choice Architecture.
READ THE CASE STUDY ON MEDIUM
29Emily Ingebricson
03. CONTENT AUDIT
05. UX WRITING & DESIGN
04.USER RESEARCH
01. WHAT I DID
02. THE PROCESS
06. FULL CASE STUDY
I like to share my work with the
community to receive feedback and to
connect. I publish articles on Medium
about once per month.
CASCAID

30. 30
PROJECT SUMMARY
This award-winning exhibit
connected young women around
the world and inspired them to
create positive change. More than
a million people participated in the
project—all responding to the
question, “What Defines Your
Generation of Women?"
WHAT I DID
• Curated selected works
• Hired a designer and coordinated
the creative process
• Wrote all the copy for the exhibit
and accompanying brochure.
IMAGINING
OURSELVES EXHIBIT
International Museum of Women, now Global Fund for Women
Commissioned by The United Nations for the 49th Session on the Status
of Women
TIMELINE
6 weeks from start to finish
including hiring a designer, finding
a manufacturer and displaying it at
the United Nations in New York.
INTERESTING FACT
The project was honored with the
Social Impact Award from the Anita
Borg Institute for Women and
Technology and a Muse Award from
the American Association of
Museums.

31. IMAGINING OURSELVES
EXHIBIT AT
THE UNITED NATIONS
While working on the publishing of an
anthology and an online exhibit for the
Imagining Ourselves project, I also led
the creation of a traveling exhibit. The
49th Session on the Status of Women
was coming up at the United Nations in
New York, and our project had been
asked to present an exhibit.
I curated the works of art, wrote the
copy, hired a designer, found a
manufacturer, and went to New York to
connect with and grow the community
for the project during the week of the
session.
I later presented the exhibit around the
U.S., as well as in London and Tokyo.
02. THE PROCESS
03. THE BACKGROUND
04. WRITING
01. WHAT I DID
Emily Ingebricson
WHAT DEFINES
YOUR
GENERATION
OF WOMEN?
Imagining Ourselves was created to address the lack of global visibility and
legitimacy of young women's leadership and the inability of advocacy
organizations to reach this group. The goal was to showcase young women’s
contributions and create an international community.
31

32. 32Emily Ingebricson
PLANNING
I developed the criteria,
interviewed and hired a designer
to create a cloth-panel exhibit. I
also negotiated with the
manufacturer to finish and ship
the materials early to allow for
enough setup time for a
successful launch in New York.
CURATING
The goal of the project was to
portray a diversity of people,
backgrounds, and types of work.
I created four sections for each
theme in the book and selected
works that could function as
standalone pieces as well as
juxtaposed with other works.
WRITING
I wrote an introduction for each
theme and two additional panels
about the Imaging Ourselves
Project and the International
Museum of Women itself. One
panel held a touch-screen
monitor where I crafted a more
in-depth experience on the
topics.
The problem: Turn a book into an exhibit in 6 weeks. The United Nations had invited the project to
exhibit during the 49th Session on the Status of Women. I led the process that turned into an award-
winning traveling exhibit.
I managed a small editorial team who spent two years compiling and curating visual, electronic, and
written works from women worldwide. The selected works were turned into an anthology of
photography, paintings, collages, poetry, and essays, and included submissions from Zadie Smith, Ani
de Franco, Karenna Gore-Schiff, Cathy Freeman, and HRH Queen Rania of Jordan.
THE PROCESS
01. WHAT I DID
This project was an accompanying
exhibit commissioned by the United
Nations 49th Session on the Status of
Women. I created and led the project
from start to finish over 6 weeks.
02. THE PROCESS
03. THE BACKGROUND
04. WRITING
IMAGINING OURSELVES
EXHIBIT AT
THE UNITED NATIONS

33. 33Emily Ingebricson
AN ANTHOLOGY
AN ONLINE EXHIBIT
OVER 3000
SUBMISSIONS FROM
105 COUNTRIES
“Imagining Ourselves” was a global project of the International Museum
of Women targeted towards a new generation of women between the
ages of 20 and 40, asking the question "What defines your generation?”
I worked as the Editorial Manager of the anthology and the online exhibit,
managing the creative process and team responsible for selecting and
editing over 3000 submissions from 105 countries.
03. THE BACKGROUND
01. WHAT I DID
02. THE PROCESS
My editorial team and I sent out an
open call for submissions through a
network of global non-profits,
educational institutions, and artist
groups. We asked for essays, paintings,
poems and videos all answering the
question “What defines your
generation of women?”
04. WRITING
IMAGINING OURSELVES
EXHIBIT AT
THE UNITED NATIONS

34. 34
01. WHAT I DID
Emily Ingebricson
THE THEMES:
INSIDE
OUTSIDE
BETWEEN
TOWARDS
My goal for the exhibit was to draw in the busy people at the session with bold statements
and images. I aimed for the copy and images to function on two levels: get an overview
with short and informative statements that could be viewed from afar, and create a
more intimate experience with personal narratives when people took the time to step
closer. Imagining Ourselves was the only art exhibit during the session, and one of the
more popular places for attendees to hang out during breaks.
03. THE BACKGROUND
04. WRITING
01. WHAT I DID
02. THE PROCESS
Imagining Ourselves sought to inspire
and connect young women around the
world. I created statements and call-to-
action copy that led to future
collaborations with individuals and
NGOs from the United Nations Session.
IMAGINING OURSELVES
EXHIBIT AT
THE UNITED NATIONS

35. 35Emily Ingebricson
INSIDE: Spirit/Body/Family & Relationships/Self-Development
OUTSIDE: Community/Work/Power
BETWEEN: Generations/Borders & Identity
TOWARDS: The Future/Technology
THE TOUCH SCREEN
CONNECTED
PEOPLE WITH
PERSONAL
NARRATIVES
In the early days of the project, while my team and I were still
sorting and categorizing the submissions, I created and
named the four areas of young women’s lives that became the
pillars of the Imagining Ourselves project. These could be
explored in-depth through the interactive touch screen.

36. 36Emily Ingebricson
THE BROCHURE:
CONNECTING TO
FUNDRAISERS &
DONORS
At the time of the project, the International Museum of Women was under contract
to develop a space on the San Francisco Embarcadero. The Imagining Ourselves
project was the most important draw to attract donors and resulted in
contributions and collaboration from people like Gloria Steinem, Nancy Pelosi, and
Gavin Newsom.
03. THE BACKGROUND
04. WRITING
01. WHAT I DID
02. THE PROCESS
I created a tri-fold brochure to go with
the exhibit. My intention for the
brochure was for the delegates to take
the information about the Imagining
Ourselves project back to their
communities, and inspire them to
connect with the project.
IMAGINING OURSELVES
EXHIBIT AT
THE UNITED NATIONS

37. CAN A CHATBOT INTRODUCE
NEW USERS TO THE WORLD OF
PODCASTS?
Why do some people say podcasts
aren’t for them? Most people discover
new podcasts from other podcasts. Do
podcasts have a discoverability
problem? I created a Google Assistant
chatbot to introduce podcast listening
to people who aren't listeners yet.
A PICTOGRAM SPEAKS A
THOUSAND LANGUAGES (OR
THEREABOUTS)
How do you help direct and guide an
international audience to find their way
around a venue without using written
language? During the Olympic Games,
communication and language barriers
are almost unavoidable.
I publish articles on everything from user experience to localization practices on
Medium each month. I’m a contributing writer to both UX Planet and Prototypr.
Here are three of my more popular articles:
READ THE ARTICLE READ THE ARTICLE
37
DESIGNING FOR ALL PEOPLE(S) —
A LOOK AT USABILITY THROUGH
LOCALIZATION
Does language equal accessibility?
Imagine using a website in a language
you’re not fluent in. If the navigation,
text, and images don’t communicate, we
miss an opportunity to connect.
READ THE ARTICLE
ARTICLES I’VE WRITTEN
Emily Ingebricson

38. GET IN TOUCH
I’d love to help your brand or company figure out what
content you need to reach your audience.
Here are the best ways to reach me:
SEND ME AN EMAIL GIVE ME A CALL
WHERE TO FIND ME ONLINE
www.linkedin/emilyingebricson
LINKEDIN
www.twitter.com/Emily_Karin
TWITTER
www.emilyingebricson.com
ONLINE PORTFOLIO
www.medium.com/@emilyingebricson
MEDIUM
(415) 205-8406emily@emilyingebricson.com