手心設計事務所 - 品牌 | 包裝 | 指標

平面設計｜手心設計 2025年蛇年賀卡 Hand-Heart Design Lunar New Year Card Design｜手心設計事務所（作品圖 5）

Graphic Design｜Hand-Heart 2025 Year of the Snake Greeting Card

The 2025 Year of the Snake greeting card by Hand-Heart Design Firm received the Red Dot Design Award 2026. Its central image is the snake’s transformation: a pull-out sleeve shows the snake shedding its skin and being renewed, and three red envelopes inside carry the same scale pattern. Gold foil and vivid colours stand for blessing, warmth and breakthrough, so the card carries its energy into the new year.

Red Dot Winner 2026 label, Red Dot Design Award

Red Dot Design Award 2026, Red Dot Winner
This project received the Red Dot Design Award 2026. Hand-Heart holds every project to the same standard: an annual greeting card is checked item by item, just as a large identity project would be, from concept and choice of materials to print finishing. See Hand-Heart’s full award record →

Design Concept

What does Hand-Heart’s 2025 Year of the Snake card express?

Hand-Heart Design Firm’s New Year greeting set looks back on 2025 with the snake as its central motif. A pull-out card sleeve captures the snake as it sheds its skin and transforms. The snake pattern changes layer by layer, mirroring a year in which we faced challenges and kept taking ourselves apart and putting ourselves back together.

How do the sleeve and the three red envelopes show the snake’s transformation?

Inside, three red envelopes continue the snake-scale motif, each in its own colours, reflecting how we pictured 2025. Red tones with gold-foil scales stand for blessing and warmth, while bright, lively snake patterns point towards breakthrough, creativity and an unknown future. The good wishes go beyond formality and become a source of energy to carry into the new year.

How did the card set develop from concept to final artwork?

On 11 December 2024 (based on file dates), two concept directions were put forward in a design discussion. One used a tear-open sleeve to show the snake shedding its skin, with the red envelopes revealed once the sleeve is torn open. The other paired a silver snake with an apple, inspired by a Chinese pun: the word for “snake” sounds like the first syllable of the Chinese phrase for “can’t bear to bite”. On 18 December, the team tested five background colours overlaid with two layers of pattern in gold and white, combined at random to produce different designs.

On 25 December, the sleeve was presented as a pull-out structure, with two mock-ups of the pull-out effect, one on a grey background and one on a brown background, each shown with the red envelopes. On 30 December, three sets of red envelopes were drawn up: deep red and coral with fan-shaped scales, blue-violet and magenta with round scales, and a scale design in orange and magenta. In the final artwork shown on this page, the grey sleeve has a snake of white and gold scales on the front and a round pull tab marked “PLEASE PULL” on the side. Of the three red envelopes, the two red ones with gold-foil scales are close to the fan-scale set, and the one with round scales in magenta, yellow-green and white is close to the magenta version of the round-scale set.

When is this card a useful reference for your own greeting card?

If either of these applies to your greeting card, the approach in this Hand-Heart project may help:

If your card needs to feel new every year, you can look at the pattern tests that layer gold and white motifs over different background colours.
If the card format and the print finishes have to be decided together, the pairing of a pull-out sleeve with gold-foil scales on the red envelopes is worth studying.

A useful order to follow: test the patterns first, then work out the pull-out structure and the foil.

The visual design of this card set covers the snake-scale patterns, the pull-out sleeve and the gold-foil scales on the red envelopes.

平面設計｜手心設計 2025年蛇年賀卡 Hand-Heart Design Lunar New Year Card Design｜手心設計事務所（作品圖 1）

平面設計｜手心設計 2025年蛇年賀卡 Hand-Heart Design Lunar New Year Card Design｜手心設計事務所（作品圖 2）

平面設計｜手心設計 2025年蛇年賀卡 Hand-Heart Design Lunar New Year Card Design｜手心設計事務所（作品圖 3）

平面設計｜手心設計 2025年蛇年賀卡 Hand-Heart Design Lunar New Year Card Design｜手心設計事務所（作品圖 6）

Completed
General Manager
Project Planner
Designers
Fonts

2024.12
Chih-yang Hsu
Ivy Wang
Guan-Shian Wu, Xiao-wen Su, Zhi-hao Yeh
Morisawa Arphic

品牌應用設計｜國家資通安全研究院 National Institute of Cyber Security｜手心設計事務所（作品圖 6）

Graphic design Illustration

Brand Application Design｜National Institute of Cyber Security

Hand-Heart Design Firm created the brand application design for the National Institute of Cyber Security (NICS), a project completed in 2025. Without changing the existing logo, we built a supporting graphic system from its hexagon, drawing on four images: a protective shield, a security chain, hands and a heart. The aim was to express the rational, technical side of cybersecurity as a warmer sense of protection. The system extends to a colour plan, pictograms, book layouts and presentation guidelines, giving NICS a consistent brand application system built for long-term use.

Design Concept

The National Institute of Cyber Security (NICS) is a public institution responsible for strengthening Taiwan’s cybersecurity capabilities and advancing cybersecurity research, development and applications. The institute already had a logo, which was not designed by Hand-Heart. Our task was to fix the visual identity’s lack of a technological, contemporary feel without altering that logo. Starting from the essence of the brand, we reworked its communication strategy so that “technology and expertise”, “approachability for the public” and “safety and peace of mind” became more than ideas: a visual language that people can see and feel.

Government agencies have long been seen as traditional and serious. To move away from that image, we took the hexagon of the existing logo as our starting point and used gradients and structural variations to give it a visual rhythm with a high-tech feel. We combined this with two pairs of images, a protective shield with a security chain and hands with a heart, to build a supporting graphic identity system. It gives rational cybersecurity concepts and the institute’s logo a warmer, protective feel, and leaves the brand room to grow. The system goes beyond a single graphic and can respond to different situations, so the values of reassurance, safety, stability and resilience come across clearly and consistently in every application.

What we built for NICS is more than a set of visual elements: it is a brand application system designed for long-term use. It covers the colour plan, supporting graphics and pictograms, as well as book layouts and presentation guidelines. The identity feels consistent while taking many forms, so the brand keeps the same recognisable, approachable presence across different media and situations.

What did NICS need to address without changing its logo?

NICS had three issues to address: a logo that would stay as it was, a visual identity that looked dated, and a traditionally serious image that had to sit alongside the need to feel approachable to the public.

NICS already had a logo, not designed by Hand-Heart, and the project started from the premise that it would not change.
The first draft of the supporting graphics, from August 2024, began by setting out how the existing graphics needed to change, for example by giving them a stronger technological feel.
Government agencies have long been seen as traditional and serious, and NICS’s brand applications also needed to feel approachable to the public.

How were NICS’s brand application needs defined?

Through initial interviews and research, we first grouped NICS’s needs into three themes: technology and expertise, approachability for the public, and safety and peace of mind. Each was mapped to the institute’s five core values: security, technology, initiative, resilience and trust. These three themes became the criteria for reviewing every supporting graphic that followed. The first draft started from visual codes associated with information technology, such as technology panels, information chains and gradients, and used design thinking to turn them into four supporting graphics.

How did two directions for the supporting graphics become one system?

The second draft, in August 2024, put forward two directions. Option A, “Building Trust Together, Connecting Securely”, reshapes the brand’s hexagon and uses gradients to give it a personality that connects with the public. It pairs the logo with hands, a clasp and a chain to express “safety”, with an embracing ring and signals to express “stability”, and with a roof-like shield and hands holding a heart to express “peace of mind”. Option B, “Connecting Generations, Ensuring Security”, breaks the original shape into units and reassembles them into digital symbols, conveying protection for the digital generation.

In the final work shown on this page, you can see icons that combine the logo with hands, chains and a heart, along with graphics developed from the hexagon gradient. The final system retains Option A’s hexagon gradient and its three images of safety, stability and peace of mind.

How were the guidelines and presentation templates developed, version by version?

Once the supporting graphics were in place, we combined the supporting graphic guidelines, the brand colour plan and the book guidelines into a single set of guidelines. The first version was completed at the end of August 2024 (based on file dates). The September version added presentation templates, and by early October the guidelines had reached their fifth version. Along the way, we also tested book cover layouts and advertising mock-ups. The applications visible on this page include document layouts, the cover of the book Enterprise Cybersecurity Guidelines, presentation templates, web pages and display stands.

What do NICS’s supporting graphics and guidelines each do?

NICS’s supporting graphics respond to the need for a technological feel and for approachability, while the guidelines keep applications such as books and presentations consistent.

The supporting graphics build on the hexagon of the existing logo, adding gradients and structural variations to address the visual identity’s lack of a technological feel.
In the proposal, Option A reshapes the hexagon and uses gradients to connect with the public, with the aim of moving away from the rather cold image of IT companies.
In the final work, the system retains Option A’s three combined images, which express “safety”, “stability” and “peace of mind” respectively.
Options A and B were both designed around the three needs of technology and expertise, approachability, and safety and peace of mind; the proposal states that Option A was meant to convey a sense of peace of mind, safety and stability.
The supporting graphic guidelines, colour plan and book guidelines were combined into one document that also includes presentation templates, to keep the identity and its approachability intact across different media.

Which agencies and public bodies can learn from the NICS approach?

If your agency or organisation is in any of the following situations, the approach taken for NICS may be a useful reference:

If you need to keep your existing logo but your documents and slides look dated, you can develop supporting graphics from a shape already in the logo.
If your work is technical and your image comes across as rational, yet you want the public to find you approachable, consider first grouping your needs into a few themes and then making each graphic respond to them.
If different people produce your books, presentations and web pages, one option is to bring the supporting graphics, colour plan, book guidelines and presentation templates together in a single set of guidelines.

A sequence to follow: define the needs, develop the supporting graphics, check each graphic against those needs, and finally bring the colour, book and presentation guidelines together.

How we extend an existing logo with supporting graphics and application guidelines is explained on our corporate identity system (CIS) design page.

品牌應用設計｜國家資通安全研究院 National Institute of Cyber Security｜手心設計事務所（作品圖 2）

品牌應用設計｜國家資通安全研究院 National Institute of Cyber Security｜手心設計事務所（作品圖 3）

品牌應用設計｜國家資通安全研究院 National Institute of Cyber Security｜手心設計事務所（作品圖 5）

品牌應用設計｜國家資通安全研究院 National Institute of Cyber Security｜手心設計事務所（作品圖 1）

Completed General Manager Project Planner Lead Designer Designers

2025.12 Chih-yang Hsu Wan-Chih Hsiao, I-Chia Lu I-chen Lee, Dong Pan Jun-Xian Wu, Yin-Chan Huang, Hsin-I Hsieh, Elmer Wang

Brand design Corporate identity Graphic design

Rebranding｜RAYFU × Chen Nan Iron Wire

Hand-Heart Design Firm refined the brand identity of RAYFU and Chen Nan Iron Wire. Brand workshops helped the company restate its core values, and “Quality First, Dedicated Service, Continuous Improvement” was translated into a new wordmark and brand visual system. The aim was to help a manufacturer with more than thirty years of experience move from a recognised supplier to a clearly recognisable brand. The scope covered the wordmarks of both RAYFU and Chen Nan Iron Wire, the brand colours, final trademark artwork guidelines and three key visuals for the website.

Design Concept

Why did RAYFU need to update its brand identity?

RAYFU and Chen Nan Iron Wire have specialised in fasteners for more than thirty years. They have built a complete supply chain, from wire production and screw manufacturing to global export, and continue to grow in international markets with products made in Taiwan. As the company grew in size and global reach, its existing trademark and brand assets no longer fully reflected its professional image and brand positioning. Through brand workshops and in-depth interviews, Hand-Heart redefined the brand’s core values and future direction, and built an identity system suited to the company’s current stage of growth.

品牌識別更新｜瑞滬企業 × 震南鐵線 RAYFU × Chen Nan Iron Wire Rebranding｜手心設計事務所（作品圖 1）

How does the new wordmark express Quality First, Dedicated Service and Continuous Improvement?

Our brand research showed that RAYFU’s strengths come from mature manufacturing expertise and, just as much, from a corporate culture built up over many years: high standards for quality, quick responses to customer needs, and a habit of continually improving processes and service. We distilled these into three core brand values—Quality First, Dedicated Service and Continuous Improvement—and turned them into a visual language. The new wordmark uses a stable, square letter structure to convey professionalism and quality, with rounded corners that bring warmth to the idea of service. It also draws on the wire forms of the fastener industry to symbolise continuous improvement and growth, while a warm RAYFU Blue builds a trustworthy brand image with an international feel.

According to the design notes, the square letterforms give a sense of stability, the rounded corners stand for warm service, and the overall shapes suggest efficiency and speed. The English lettering uses a sans-serif typeface with clear, legible outlines, echoing the strength and durability of screw products. The wordmark is set in blue and grey and can be paired with the full company name, RAY FU ENTERPRISE CO., LTD., or the tagline QUALITY · ENTHUSIASM · SERVICE beneath it. The brand colour is RAYFU Blue, Pantone 2985U, paired with a grey, Pantone Cool Gray 10U.

How does the identity extend to the website’s key visuals?

Once the wordmark and colours were settled, Hand-Heart extended the same visual language into three key visuals for the website. “HIGH QUALITY PRODUCTS” features enlarged screws in a staggered arrangement with a metallic finish, expressing close attention to precision and quality, with the geometric cut corners of the logo in the background. “BEST POSSIBLE VALUE” turns the lines of the logo into roads and industrial networks that link city scenes of architecture, transport, technology and manufacturing, with screws as the nodes that keep the city running. “CONTINUOUS IMPROVEMENT” pairs screws with solar equipment to show how the products are used in the green energy industry, and lines reaching forward symbolise ongoing technical upgrades.

How did the design move from workshop to final artwork?

Late February 2024 (based on file dates) saw a proposal to fine-tune the logo, presented with a first draft of the wordmark, and a RAYFU brand workshop. From March, the English wordmark and the style of the website key visuals were presented together, and by May the first draft had gone through three versions. During the refinement stage from May to July, the wordmark and key visuals reached a third version, and the key visuals alone went on to a fifth. August brought the refined wordmark for Chen Nan Iron Wire, along with final trademark artwork guidelines and clear-space rules for the wordmarks of both companies. The project was completed in January 2025.

This identity refinement is about more than a new wordmark. It turns more than thirty years of expertise, quality and trust into a brand asset that people can recognise and that can be carried forward. The new identity establishes a clearer, more consistent brand image, helping RAYFU grow from a company valued for its manufacturing capability into a brand with international recognition and long-term value.

What are RAYFU’s wordmark and key visuals each meant to convey?

RAYFU’s wordmark is designed around professionalism, service and continuous improvement, while the website key visuals extend the shapes of the wordmark and logo.

The square structure of the wordmark is there to convey professionalism and quality; the design notes describe the rounded corners as standing for warm service.
The wordmark draws on the wire forms of the fastener industry, a reference intended to symbolise continuous improvement and growth.
The wordmark pairs RAYFU Blue with grey; RAYFU Blue is intended to build a trustworthy brand image with an international feel.
The three website key visuals carry the lines of the wordmark and the geometric cut corners of the logo into each image.

Which companies can learn from RAYFU’s approach?

If you are reworking your company’s trademark and brand applications, RAYFU’s approach is a useful reference.

If your manufacturing business has moved into international markets and needs to adjust its brand positioning, you can start, as RAYFU did, with workshops that clarify your core values.
If two of your companies are updating their identities at the same time, consider preparing separate final trademark artwork guidelines for each.

A sensible order: clarify your values first, then develop the wordmark and its applications.

How we take a brand identity from clarifying values to a wordmark and its applications is explained in our rebranding guide.

品牌識別更新｜瑞滬企業 × 震南鐵線 RAYFU × Chen Nan Iron Wire Rebranding｜手心設計事務所（作品圖 2）

品牌識別更新｜瑞滬企業 × 震南鐵線 RAYFU × Chen Nan Iron Wire Rebranding｜手心設計事務所（作品圖 7）

品牌識別更新｜瑞滬企業 × 震南鐵線 RAYFU × Chen Nan Iron Wire Rebranding｜手心設計事務所（作品圖 5）

品牌識別更新｜瑞滬企業 × 震南鐵線 RAYFU × Chen Nan Iron Wire Rebranding｜手心設計事務所（作品圖 4）

品牌識別更新｜瑞滬企業 × 震南鐵線 RAYFU × Chen Nan Iron Wire Rebranding｜手心設計事務所（作品圖 3）

Completed
Project Planner

Lead Designer
Designers

2025.01
Lien-chieh Su, Ivy Wang, Wan-Chih Hsiao
Dong Pan
Chien-ying Yang, Nina Lin

Graphic design Wayfinding system

Wayfinding System Design｜SanFar Property

Design Concept

Hand-Heart Design Firm designed the wayfinding system for the residential developments of SanFar Property (SanFar Construction). It covers signage for the shared amenity spaces, lift and floor signs, and driveway guidance and a colour plan for the underground car parks. The system is planned to be shared across several developments. Its core concept is “The Flowing Sound”, expressed through layered glazed glass and colours that change from floor to floor.

What did the wayfinding system for SanFar’s residential developments need to solve?

The wayfinding system for SanFar’s residential developments had to work across several projects, guide drivers through underground car parks and make the shared amenity spaces easy to identify.

One set of guidelines is used for several developments, so the materials for elements such as the 3D building-name letters, and the overall dimensions of the parking bays, have to be adjusted for each development.
The underground car parks include overhead driveway signs and driveway traffic lights, and each level from B1 to B7 has its own floor colour.
A separate set of icons covers shared amenity spaces such as the gym, banquet hall, music room, shared kitchen and family room.

What concept does SanFar’s wayfinding system start from?

The Flowing Sound: Where Music and Culture Converge

In everyday city life, music flows like water—intangible yet continuous—connecting culture, space and people’s memories of daily life. Taking this as our starting point, we made “music” and “water” the shared design language of the wayfinding system, symbolising how culture keeps flowing, mixing and carrying on in the city. The concept also echoes the idea of living with peace of mind that SanFar Construction champions, so that the space becomes more than a place to live: it becomes a setting that carries culture and emotion.

The first draft, dated 7 March 2024, developed three directions from four brand keywords: music, culture, peace of mind and sustainability. They were A, “Music Resonating in Architecture”; B, “Music and Architecture Intertwined, Lighting Up the Paths of Life”; and C, “The Flowing Sound: Where Music and Culture Converge”. The refined draft of 4 June 2024 kept only Direction C, “The Flowing Sound”, and turned what music and water have in common into a design language: flow, ripples, change, absorption and blending.

Glass as an Expression of Flow and Resonance

The design uses the transparency and layered quality of glass to link music, culture and the origins of life. Layers of glass refract the light that passes through them, creating shifting light and shadow that evoke water waves and sound waves resonating together. The signs do more than show the way: they become part of the architecture and keep conveying the vitality of culture in motion.

What types of signs does SanFar’s wayfinding system include?

The system is divided by location and purpose into eleven sign types, labelled A to K: freestanding signs at the basement entrances, overhead directional signs above the driveways, wall-mounted signs in public spaces, projecting signs beside the lifts and wall-mounted signs in back-of-house areas, plus 3D floor numbers, 3D building-name letters, column signs, two types of directional wall signs and driveway traffic lights. A separate set of icons was designed for the shared amenity spaces, including the gym, banquet hall, music room, karaoke room, shared kitchen, family room, reading area and children’s playroom.

Each glass sign is made from two 5 mm panes of grey glass, each digitally printed with glaze; the two panes are then laminated together with the glazed faces turned inwards. The panels are held by black metal fittings with built-in warm white light strips.

Building a Spatial Melody with Colour

The colour plan grows out of the perceived link between sound and colour. Drawing on the idea of chromesthesia, the plan gives each floor its own colour identity with its own rhythm. As people move through the building, the colours unfold like musical notes, forming a spatial melody in which sight and emotion intertwine. This supports recognition within the wayfinding system and enriches the experience of the whole environment.

How were the colours for each floor chosen?

The colour plan uses the synaesthetic idea that different musical notes evoke different colours. Basement levels B1 to B7 are each matched to a note (C, D, E, F, G, A, B) and a colour, with the saturation lowered to suit the overall environment, so the colours guide people without disrupting the look of the space. For lettering, the guidelines use Arphic’s Fang Xin Shu typeface for Chinese and Roboto for English. Text is centred for one-way directions, and aligned left and right respectively for two-way directions.

From Testing to Installation: Every Step Serves the Experience

To carry the concept through into the finished space, we ran several rounds of material sampling and on-site testing, checking how different types of glass, glaze concentrations, firing temperatures and layering methods affected light, colour and legibility. The result balances visual appeal, brand quality and wayfinding function, so that every sign combines design expression with ease of use.

How is one wayfinding system applied across different developments?

The refined drafts were compiled into a single set of guidelines. The installation recommendations include keeping the lower edge of overhead driveway signs at least 215 cm above the ground, placing public-space signs to the left of doors where possible, and centring the 3D floor numbers on the wall facing the lifts, midway between the two lift doors. The materials for elements such as the 3D building-name letters change with each development’s exterior style, and the overall dimensions of the parking bays are adjusted to each development’s bay specifications. The guidelines also extend to the design of parking bays and crash barriers, and mark the sign positions in each development’s basement one by one. The guidelines are intended as a reference: details are adjusted slightly to suit the content and the site, and conditions on site must be assessed again at installation.

What design considerations lie behind the floor colours and the shared guidelines?

In SanFar’s wayfinding system, the floor colours balance guidance with visual appeal, while the guidelines set out how to adjust on site and how to lay out text.

The floor colours are toned down to suit the overall environment; the proposal states that this is meant to keep the colours useful for guidance without spoiling the visual appeal.
The methods in the guidelines are meant as a reference and can be adjusted slightly to suit the content and site conditions; conditions on site must be assessed again at installation.
The materials for elements such as the 3D building-name letters change with each development’s exterior style, while the overall parking bay dimensions follow each development’s bay specifications.
Text layout depends on the direction shown: centred for one-way directions, and aligned left and right respectively for two-way directions.

Which residential developments can learn from this project?

If you need to share wayfinding guidelines across developments, distinguish floors or label shared amenities, this project is a useful reference.

If you are managing several developments, you can look at how the guidelines adjust materials and parking bays to each one.
If your underground car park has many levels, consider giving each level its own colour, as this project does.
If your development has many kinds of shared amenity space, the complete icon set designed here is worth a look.

A good order: start with the sign types, then look at the floor colours and installation recommendations.

How we approach wayfinding from planning and design through to installation is explained on our wayfinding system design page.

Completed
Project Manager
Lead Designer
Designers
Partner
Fonts

2025.10
Lien-chieh Su
I-chen Lee
Jun-xian Wu, Zhi-hao Yeh, Pin-chen Lee
San-Mei Art Glass Creative
Morisawa Arphic

Does your space need a wayfinding system too?

Send us your floor plan and the problems you are running into. Hand-Heart offers a free site visit, a circulation review and an assessment of sign locations, and tells you honestly whether you need a complete system or whether a few adjustments are enough.

Book a free circulation review →

Or call us on +886-7-285-7000 | [email protected]

資訊視覺化設計｜聯合勸募 United Way of Taiwan｜手心設計事務所（作品圖 8）

Graphic design Illustration

Information Design｜United Way of Taiwan

Design Concept

Hand-Heart Design Firm handled the information design for United Way of Taiwan’s 2025 Annual Review, the fifth consecutive year of our partnership. The theme was “We Can All Be Shovel Heroes for This World”. The year’s action and results are divided into four chapters, and the infographics and reading hierarchy are organised with superhero comic panels, hand-drawn characters and a yellow-and-blue palette.

Panel by Panel, Making Every Act of Support Visible

For the fifth year running, we worked with United Way of Taiwan to turn a year of impact into stories that are easier to see and understand. Taking this year’s theme of “Shovel Heroes” as our cue, we drew on the visual language of classic superhero comics, so that a year of achievements unfolds panel by panel like a hero’s story.

資訊視覺化設計｜聯合勸募 United Way of Taiwan｜手心設計事務所（作品圖 2）

How is the Annual Review divided into chapters?

The proposal divides the content into four chapters. Chapter 1, “Before the Abyss Forms”, is about the people who quietly fill the gaps every day before problems turn into an abyss. Chapter 2, “How the Social Repair Station Works”, covers 365 days of support and of stepping in where help is needed. Chapter 3, “After Help Arrives”, is about keeping bad situations from getting worse. Chapter 4, “2025: Social Repairs Completed”, closes with an overview of the year’s results and an impact map.

To organise a large amount of data and service information, we used comic panels, cross-panel spreads, speech bubbles and infographics to build a clear reading hierarchy. Halftone dots, speed lines, hand-drawn characters and a vivid yellow-and-blue palette give the information a storyline and a rhythm, making it more intuitive and engaging to read.

資訊視覺化設計｜聯合勸募 United Way of Taiwan｜手心設計事務所（作品圖 3）

How did the design take shape, step by step?

The sketch proposal of 2 April 2026 (based on file dates) laid out the panels and illustrations for all four chapters as greyscale line drawings, noting that colours would later be used to distinguish the sections. The first-draft proposal of 27 April used yellow, blue and other colours to separate the chapters; at that point, the illustrations for Chapters 3 and 4 were marked as due in the next proposal. By the version of 15 May, all four chapters had their illustrations, and the project was completed in May 2026.

We believe design should do more than make information easier to read—it should make reading the starting point for understanding. From every donation to every real change, we hope information design will make each act of support, and the change it brings, easier to see.

Who can learn from this project?

If either of these applies to your annual review, the approach taken for United Way of Taiwan may help:

If you need a fresh idea for your annual review every year, you can borrow the panels and hand-drawn characters of superhero comics.
If you are still defining the design scope of your review, the four-chapter structure, the infographics and the year-end results overview make a useful reference.

A practical order: divide the content into chapters first, then work out the infographics and the reading hierarchy.

The chapter structure and infographics of an annual review are one application of our visual design work.

資訊視覺化設計｜聯合勸募 United Way of Taiwan｜手心設計事務所（作品圖 5）

Completed
Project Manager
Lead Designer
Designer

2026.05
Lien-chieh Su
I-chen Lee
Pin-chen Lee

CSR設計｜長榮航空 2024年永續報告書 EVA Air Sustainability Report｜手心設計事務所（作品圖 1）

CSR design Graphic design

Sustainability Report Design｜EVA Air 2024

For the second year running, Hand-Heart Design Firm designed EVA Air’s sustainability report, this time the 2024 edition. The cover uses hand-drawn illustration and geometric colour blocks to show the movement of flight routes, bringing in landmarks from destinations including Ehime, Kobe, Houston and Dallas, along with Taipei 101. Inside, a dual-tone system based on the brand green runs through the chapter layouts to make the sustainability information simpler and smoother to read. The report presents EVA Air’s sustainability information for 2024, and the project was completed in August 2025.

What did EVA Air’s sustainability report design need to handle?

EVA Air’s sustainability report design had to handle the chapter hierarchy, the indexes to disclosure standards, and layouts for the Chinese, English and e-book versions.

The report is divided into seven chapters and appendices, each chapter has 3 to 4 sections, and the contents page also lists a foreword.
The appendices include indexes to disclosure standards such as GRI and SASB, two international sustainability reporting frameworks, as well as a cross-reference table on the climate-related disclosures required of listed companies.
The interior pages were laid out in separate Chinese and English versions, and the e-book version moves the top tabs and page numbers to the right-hand side of the page.

How does the cover turn flight routes and destinations into images?

This was our second year designing EVA Air’s sustainability report. While keeping the brand’s international outlook and professional image, this year’s cover uses hand-drawn illustration, with geometric colour blocks that divide and overlap, to show the movement of flight routes and the connections between destinations.

Chapter openers and appendix of EVA Air’s 2024 sustainability report laid out side by side; each opener uses an aircraft window as its key visual, with a different illustrated landscape or in-flight scene, and the main colour alternates between green and orange

Landmarks from Ehime, Kobe, Houston and Dallas, along with Taipei 101, appear beneath skies that shift from day to night. Together, they show how closely flight links the world and take the viewer on a journey through many different landscapes.

Inside, a dual-tone palette based on the brand green runs through the chapters and page layouts for a simpler, smoother read.

The first cover drafts, in February 2025, proposed two directions. Direction A used geometric colour blocks that divide and overlap to show movement around the world, bringing in destination landmarks and skies at different times of day. Direction B used the smile-shaped curve and gradient glow left by a plane crossing the sky to convey warm, professional service. The refined cover page included in the April 2025 interior guidelines proposal shows the composition of Direction A carrying through, while the combination of landmarks was still being adjusted.

How does the brand-green dual-tone palette extend across seven chapters?

The report is divided into seven chapters and appendices: “About EVA Air”, “Practising Sustainable Management”, “Innovating the Flight Experience”, “Building Corporate Resilience”, “Creating a Happy Workplace”, “Leading Net-Zero Action” and “Moving Towards Social Inclusion”. Each chapter opener uses an aircraft window as its key visual, framing a different illustrated landscape or in-flight scene, and the main colour of the openers alternates between green and orange.

The interior guidelines proposal alternates two chapter colours from one chapter to the next, with the aim of keeping the report from becoming too colourful. The layout is based on a 12-column grid that can be split into combinations such as 3/9, 4/8, 5/7 and 6/6. Text always sits within a light grey type area, while illustrations and photos can extend beyond it. The top tabs change with each chapter’s main colour, and the e-book version moves the tabs and page numbers to the right-hand side of the page.

The interior layouts were produced in two sets, one Chinese and one English. In June 2025 (based on file dates), the Chinese version went through two rounds of full proofs.

How are data and processes presented on the interior pages?

In Chapter 1, for example, the opener lists sections 1-1 to 1-4. Inside, “1-1 Operational Overview” pairs a world map with ring percentage charts, while “1-2 Financial Performance” sets bar charts, ring charts and a multi-year data table side by side. Another page turns the customer feedback handling process into a step-by-step flowchart starting from Step 1, with a line chart of the Net Promoter Score (NPS) above it.

Opener of Chapter 1, About EVA Air, in EVA Air’s 2024 sustainability report, with a wing visible through an orange aircraft window and sections 1-1 to 1-4 listed at the lower left; the right-hand page shows 1-1 Operational Overview with a world map and ring percentage charts

Interior page of EVA Air’s 2024 sustainability report showing the customer feedback handling process as a flowchart that starts from Step 1, feedback sources, with a line chart of the Net Promoter Score (NPS) above

Spread on 1-2 Financial Performance in EVA Air’s 2024 sustainability report, with orange and green bar charts, ring charts for each year and a multi-year financial data table

What is each of these design guidelines for?

EVA Air’s interior guidelines cover chapter colours, text-and-image layouts, text hierarchy, and icons and charts, and end with trial layouts using real content. The proposal states the purpose of the chapter colours and the layout system.

Chapter colours: two sets of chapter colours alternate, and the proposal states that the aim is to keep the whole report from becoming too colourful, so that it is simpler and easier to read.
Layout: pages are divided into a 12-column grid, with text inside a light grey area and illustrations and photos free to extend beyond it; the proposal states that the aim is to give the layouts more variety.
Typography: typeface, size and weight are set for first- to third-level headings, chart titles, image captions and notes, and body text, with one typeface for English and numerals and another for Chinese.
Icons and charts: basic guidelines for icons and charts give the layout a reference point; sizes and column widths can adapt to the information, and colours can be fine-tuned.
Trial layouts: the final section of the proposal lays out pages using real text and charts from the foreword, sustainability management and sustainable supply chain management, showing how the guidelines look once applied.

Which organisations can learn from this project?

If either of the following applies to your sustainability report, the approach taken for EVA Air may be a useful reference:

If your report has many chapters and its appendices include disclosure standard indexes and a climate-related disclosure table, you can look at the guidelines for chapter colours and text hierarchy.
If you need Chinese, English and e-book versions, it is worth looking at how the layout system was planned and where the e-book places its tabs and page numbers.

A useful order: organise the chapters and appendices first, then set the colour, layout and typography guidelines, and finally run trial layouts with real text and charts.

If you are planning your company’s sustainability report, see Hand-Heart’s sustainability report design service. Before commissioning the work, you can also use our sustainability report design brief to set out the report’s scope, versions, proofreading and schedule.

Completed
General Manager
Project Manager
Designers

2025.08
Chih-yang Hsu
Amanda Huang
Wendy Zhang, Eric Hsu