What the Work Made Possible

A debut monograph with cultural and charitable reach
DFT helped shape Moments of Life, Live Moments into a polished photography monograph with a clear editorial arc, refined book design, and a public-facing purpose beyond publication.

A project that moved from page to public life
The work extended from book design into launch strategy, website design, curatorial writing, social content, exhibition curation, and a Spruce Gallery vernissage, giving the project multiple points of discovery.

A charitable bridge: from the streets, for the streets
The project connected Stephan Holzinger’s street photography with beneficiaries working in education, street-child welfare, and social impact, including ANAK-Tnk / Tulay ng Kabataan and the Rotary Club of Makati’s THREEE AI Academy.

A global creative footprint
With roots in Munich, Lisbon, and Manila, the project reinforced DFT’s ability to shape culturally sensitive, Asia-Europe creative work across custom publishing, editorial design, curatorial strategy, and art-led communications.

A press-visible cultural project
The monograph, launch, and exhibition attracted media attention from cultural, lifestyle, and general-interest publications, strengthening the project’s visibility and giving the work a credible public record.

PRESS

Art+ Magazine covered the project as a meditation on leadership, resilience, and daily life, noting the Spruce Gallery exhibition.

PeopleAsia reported the launch, attendance, charitable mission, and the “from the streets, for the streets” European edition angle.

Daily Tribune covered the Makati launch, beneficiaries, Spruce Gallery exhibition, and the charitable mission.

“As the founder and managing director of several companies and former CEO of a listed corporation, I have repeatedly dealt with issues relating to brand image, design and corporate identity over the years and have got to know many agencies – without, of course, claiming to be an expert in this field. Working with Ric and his team on a recent monograph project was particularly refreshing: very creative, but not on a superficial, non-committal level. Ric has the now rare ambition to get to the heart of the project in terms of content, to want to understand the customer and their concerns in their entirety, and then to implement the joint project with his dedicated team at a conceptually and creatively way above-average level. Anyone who sees any branding or design project as a tedious chore should definitely not go there. On the other hand, anyone looking for an experienced, curious and demanding sparring partner is in exactly the right place.”

STEPHAN HOLZINGER

Investor & Street Photographer
Germany, International

Client Stephan Holzinger Industry Photography, Art, Culture, Publishing, Philanthropy, Nonprofit, Social Impact Discipline Book Design, Bilingual Publication Design, Custom Publishing, Editorial Consultancy, Publication Design, Monograph Design, Website Design, Print Production Oversight, Curatorial Writing, Exhibition Curation, Vernissage Direction, Social Media Content and Management Location Munich, Lisbon

Design Direction and Monograph Design Ric Gindap assisted by Israel Contreras Editor Ma Julie Amos, Ma Noelle Maulit Writer Stephan Holzinger Editorial Development Ric Gindap

The post Holzinger Monograph appeared first on Design For Tomorrow.

The Challenge

Designing for designers requires bravery, precision, and a deep respect for the craft.

For APSDA, the audience was exacting. The work would be reviewed by presidents, board members, jurors, educators, practitioners, advocates, and institutional leaders from the Asia-Pacific design community. These are people with trained eyes and earned opinions. They understand proportion, spacing, balance, history, symbolism, material culture, and the thousand tiny failures that can make a mark feel unfinished.

The deeper task was to help designers recognize themselves in a shared future.

APSDA gathers leaders and member organizations from multiple countries and territories, each with its own design culture, professional context, institutional rhythm, and national point of view. The brand needed to carry that complexity with confidence.

A generic pan-Asian gesture would have flattened the work. Decorative regional motifs would have reduced a serious institution into an attractive postcard. A safe corporate vocabulary offered another trap: too polished, too neutral, too drained of the warmth, intelligence, and cultural life APSDA needed to project.

The answer required discipline: regional confidence, institutional credibility, contemporary energy, and cultural nuance.

It also required trust from people who understand design from the inside.

That called for cultural fluency, typographic discipline, diplomatic patience, and a sturdy tolerance for feedback from people whose feedback is usually correct.

The Approach

The APSDA 2023–2025 board commissioned Design For Tomorrow to develop the new brand system. Led by President Keat Ong of Singapore, with Deputy President Emil Chao of Taiwan and Vice President IDr. Ivy Almario of the Philippines, the board recognized the need for evolution and gave the project its necessary institutional courage.

Their leadership helped carry the work through consultation, scrutiny, refinement, and adoption. In a federation of design leaders, where every detail is visible and every opinion has earned its confidence, that support mattered.

The wider 2023–2025 board brought together representatives from Australia, Hong Kong, India, Indonesia, Japan, South Korea, Malaysia, Macao, Nepal, New Zealand, Thailand, Vietnam, and other Asia-Pacific design communities. The brand needed to earn alignment across this breadth by giving APSDA a shared visual language strong enough to hold difference.

Ric Gindap led a detailed series of discovery, diagnosis, alignment, review, presentation, and rollout sessions with the board, leadership, stakeholders, member associations, and allied or adjacent organizations.

The process moved through several regional moments.

In Kuala Lumpur, Ric flew in for the preliminary brand diagnosis and vision articulation session. This early stage clarified APSDA’s institutional opportunities, visual challenges, and larger role in the region.

In Hanoi, during the group’s assembly, the concepts were presented, discussed, and approved.

In Manila, the refreshed mark was revealed during the PIID Gala x APSDA Awards Gala Dinner 2025.

In Singapore, the system made its trade show debut at FIND Design Fair Asia, bringing the refreshed brand into a major international design industry setting.

In Taipei, the brand was further institutionalized for internal and external rollout.

Across these stages, DFT’s responsibility was precise: to help APSDA articulate a shared visual language while preserving the richness of its regional membership.

The process required both approval and inter-alliance alignment.

For an organization composed of accomplished and opinionated design leaders, consensus rarely arrives because everyone has been served tea. Clarity had to do the real work. The strategy explained what deserved preservation, what required refinement, and how evolution could give APSDA greater coherence without sacrificing the recognition it had already earned.

The Strategy: Respectful Evolution

DFT approached the APSDA rebrand as an act of respectful evolution.

The previous APSDA logo carried recognition, institutional memory, and visual equity. It was familiar to members, partners, and regional stakeholders. DFT’s position was clear: the mark deserved study before change, then refinement with greater intelligence.

The presentation began with logo forensics. DFT examined the existing mark to identify what carried value and what created friction. The analysis found that the old logo’s sharp angle created scalability and legibility issues at smaller sizes. The icon appeared visually imbalanced and produced unnecessary counterspace. The angle of the “A” felt disconnected from the rest of the logo. The existing wordmark, while professional, lacked distinctive character and had spacing issues between the letters.

This diagnosis gave the evolution its logic.

DFT preserved the recognizable equity of APSDA’s visual language while refining the system for clarity, balance, scalability, and range.

The past became more capable.

The Mark

The evolved APSDA symbol retained the strongest memory structures of the previous logo: the triangular form, the folded quality, the gradient energy, and the sense of upward direction.

DFT refined these elements into a more coherent mark built around foundation, elevation, and direction.

Foundation expressed institutional grounding and credibility.

Elevation spoke to APSDA’s role in raising standards, advancing the profession, and strengthening regional exchange for interior and spatial design.

Direction gave the symbol its sense of movement: adaptive, progressive, and oriented toward growth in Asia-Pacific.

The folded triangular form became a symbol of unfolding possibilities. DFT’s presentation connected this to transformation, mindfulness, patience, focus, and growth.

That idea mattered because APSDA’s work is active. The association is concerned with knowledge exchange, accreditation, recognition, professional mobility, education, advocacy, and the advancement of design as a discipline.

The mark needed to suggest progress with composure.

The Wordmark

For an organization of designers, typography carries institutional credibility at the smallest scale. A wordmark can announce authority quietly, or betray uncertainty just as quietly.

DFT rebuilt the APSDA wordmark with careful attention to spacing, proportion, angular logic, and visual rhythm.

Every letter of the APSDA nameplate was crafted to move beyond a typed-out acronym. The result is a bespoke wordmark with greater distinction, coherence, and authority.

This level of typographic care was institutional respect in visual form.

APSDA’s audience understands design craft. The new nameplate had to withstand scrutiny from the very community it represented.

A design association carrying Asia-Pacific leadership needs a wordmark with spine.

The Palette

The refreshed palette treated color as structure, movement, and meaning.

The system retained the chromatic energy of the previous logo and developed it into a more disciplined palette and gradient language. DFT’s presentation described the gradient through direction, union, and spectrum of expression: progression, adaptability, confluence, harmony, creativity, potential, and hope.

This is where the visual language meets the regional story.

Asia-Pacific holds many climates, histories, materials, urban conditions, craft traditions, design schools, professional frameworks, and aesthetic sensibilities. A single flat corporate color would have narrowed the story. Decorative ethnic shorthand would have been too easy and, worse, too pleased with itself.

The gradient allowed APSDA to express plurality with discipline.

It became a visual metaphor for a multicultural design federation: many cultures, many talents, many forms of intelligence, and many design traditions progressing within one shared institutional direction.

The Pattern and Visual Language

DFT extended the system into a geometric pattern derived from the APSDA logo. Formed by connecting four APSDA marks into one composition, the pattern represents harmony and connection among organizations in Asia-Pacific and Oceania.

The resulting visual language gives APSDA a flexible graphic framework for digital, print, environmental, and event applications. It creates order, movement, and connection without smothering the brand in its own cleverness.

The layout system also draws from the angled shapes of the logo, allowing the brand to behave consistently across formats.

A full institution needs a full visual system.

The System

The refreshed APSDA brand expanded into a working institutional architecture.

DFT developed logo lockups, color palette, typography, pattern, layout principles, stationery, business cards, signage, posters, billboards, lamp post banners, website visuals, conference screens, social media templates, conference badges, reports, book covers, promotional merchandise, and branded objects.

The system also included the APSDA Awards identity, extending the main brand into one of the association’s most visible regional platforms.

Another important component was the APSDA Approved Seal, refined as an institutional mark of recognition for selected partners. The presentation shows the seal evolving from the previous version into a clearer and more formal design carrying phrases such as “A Seal of Pride” and “Designated Partner.”

This expanded the brand from visual expression into institutional utility. APSDA gained a mechanism for endorsement, recognition, and partner credibility.

The new APSDA brand needed to serve many roles:

• A federation of design associations.
• A professional development platform.
• An awards body.
• An accreditation ecosystem.
• A partner network.
• A regional advocate.
• A design community.
• A public voice for interior and spatial design in Asia-Pacific.

The system gave APSDA a more coherent way to appear wherever its remit comes into view.

The Rollout

The rollout unfolded through several regional moments, each adding another layer of visibility and adoption.

The work began with discovery and alignment among APSDA leaders and stakeholders, with key strategic work in Kuala Lumpur.

It progressed in Hanoi, where the concepts were presented and approved during the group’s assembly.

It was publicly revealed in Manila during the PIID Gala x APSDA Awards Gala Dinner 2025. APSDA later announced the new logo publicly and credited Design For Tomorrow for crafting the refreshed design, describing it as a reflection of APSDA’s growth, innovation, and commitment to shaping the future of interior design in the Asia-Pacific region.

It entered a broader international industry context in Singapore through FIND Design Fair Asia.

It was then institutionalized in Taipei for internal and external rollout.

Kuala Lumpur. Hanoi. Manila. Singapore. Taipei.

The geography matters. Regional branding became lived practice here, rather than an adjective placed hopefully in a proposal.

The Result

Design For Tomorrow helped APSDA transform a familiar institutional mark into a sharper, more scalable, and more expressive brand system.

The refreshed brand preserved APSDA’s recognizability while resolving issues of legibility, spacing, balance, and visual cohesion. It gave the organization a bespoke wordmark, a clearer symbol, a more vibrant palette, a flexible pattern language, and a complete suite of applications for institutional communication, digital presence, events, awards, partnerships, and public visibility.

More importantly, it gave APSDA a stronger visual expression for its evolving role in the Asia-Pacific design world.

For DFT, the project demonstrated the studio’s ability to work where design, diplomacy, culture, and institutional authority meet.

The assignment required strategy, craft, diplomacy, and cultural intelligence. It asked DFT to work across borders, listen across differences, and translate many voices into one coherent system.

The logo became the visible result of a deeper act of alignment.

Why It Matters

APSDA’s brand evolution speaks to a larger truth about institutional branding.

As organizations grow in influence, their identities must carry memory, authority, ambition, and trust. They must help people understand what the institution has become and where it intends to go.

For APSDA, that meant creating a visual language that could represent the advancement of interior and spatial design across Asia-Pacific. It meant designing a system able to hold national associations, professional standards, regional awards, accreditation initiatives, cultural exchange, partner recognition, and public-facing advocacy.

For Design For Tomorrow, the project called on the studio’s core strengths: brand strategy, identity design, vision articulation, cultural fluency, institutional branding, stakeholder alignment, bespoke typography, and visual systems that can move across markets, sectors, and borders.

A regional institution with many voices needed one sharper signal.

DFT helped draw it.

PROF. KEAT ONG, FSID, APID

President(2023-2025), APSDA
Singapore, International

“I had the privilege of working closely with Ric during the brand evolution of APSDA, and the collaboration was both strategic and deeply meaningful.

Ric possesses a rare ability to listen beyond the brief. He understood that APSDA’s rebrand was not merely a visual refresh, but a repositioning of identity — one that needed to honour its legacy while projecting clarity, relevance, and regional leadership into the future. His sensitivity to institutional history, combined with bold forward-thinking, allowed the transformation to feel authentic rather than cosmetic.

Throughout the process, Ric was thoughtful, rigorous, and highly collaborative. He navigated diverse stakeholder perspectives with maturity and composure, while consistently anchoring the work to a larger vision. What impressed me most was his capacity to translate complex organisational aspirations into a coherent brand language that felt both contemporary and enduring.

The end result has proven significant. The rebrand strengthened APSDA’s presence across Asia, clarified its voice, and reinforced its role as a progressive design body. It was not simply a new look — it was a recalibration of direction.

Ric brings strategic depth, cultural intelligence, and disciplined execution to his work. I would gladly collaborate with him again on any initiative that requires both design clarity and institutional sensitivity.”

IVY ALMARIO

Vice President, APSDA 2023–2025
Philippines, International

“Who would have the audacity to audit, and then the bravado to present, to a roomful of successful creatives, architects, and interior designers from across Asia-Pacific, whose seats at the table were earned through the rigorous and successful practice of their professions?

Only one person comes to mind: Ric Gindap of Design For Tomorrow.

With DFT, process and flair sit cheek by jowl. When Ric and his team put their time, intelligence, and effort toward refreshing and realizing a brand identity, they leave no prisoners. It is a total takeover: respectful, yes, but unmistakably transformative. One feels the ground shifting.

Ric attended several APSDA board meetings across Asian capitals and studied the vision, temperament, and dynamics at play among the member countries. He went back to the drawing board and, voilà, successfully unveiled the new APSDA logo and identity.

He helped bring the organization toward where it has yet to go, and once there, anchored its milestones in an identity we aspired to, but which he imagined first for us.

That is Design For Tomorrow.”

Client Asia-Pacific Space Designers Association (APSDA), Prof. Keat Ong (SIDS, President); Emil Chao (CSID); IDr. Ivy Almario (PIID)
Industry Interior Design, Spatial Design, Professional Organization, Built Environment
Discipline Strategy, Branding, Identity Design, Visual Systems, UI/UX Design, Digital Experience
Location Asia-Pacific

Creative & Art Director Ric Gindap, Rashina Tuazon Associate Art Director Patricia Ibañez
Brand Identity and Logo Designer Ric Gindap, Dale Philip Rodriguez
Digital Designer Jose Miguel Lim

Strategy Ma. Julie Therese Amos, Maria Noelle Maulit

Copywriter Dave Riel Española
Account Manager Cessmarie Villones

The post APSDA Brand Identity Evolution appeared first on Design For Tomorrow.

Energy can be measured with precision. Meaning tends to behave differently.

Across the Philippine renewable energy sector, solar power has moved from promise to visible infrastructure. Capacity improves, technology advances, and presentations become cleaner. After a while, many begin to resemble one another, which complicates distinction.

NING*NING entered this environment as a new renewable energy venture under Solaris. It had no established brand system and no dominant presence in the market. Power is practical by nature. It rarely pauses for purpose unless purpose arrives with structure, economic logic, and a reason to be chosen beyond the cheapest rate.

NING*NING was not built to compete on lowest price alone. Its value sits in a broader model of sustainable power, using rooftops and built environments to support housing, community systems, environmental responsibility, food security, and nation-building.

What NING*NING carried was a wider ambition. Energy would connect to housing, environmental recovery, and systems that support community life. Work required a brand that could speak to utilities, investors, partners, residents, and institutions without losing its center.

Design For Tomorrow defined NING*NING as a sustainable power platform with civic consequence. Brand strategy, ESG positioning, visual identity, and rollout system were built to make that role legible.

The Approach

Energy tends to be delivered with precision, while its larger effects are less often articulated.

In many cases, the effect remains limited to the transaction. Power is supplied. The bill arrives. Everyone behaves as though civilization has been solved for the month.

DFT focused on closing the gap between what NING*NING builds, what the brand communicates, and what the market can recognize without assistance.

This became an ESG-driven brand strategy for sustainable power platforms in Asia, shaped for the realities of the Philippine power sector and the broader demands of infrastructure, investment, and civic trust.

Credibility in renewable energy required a brand that could carry sustainability meaning with discipline and remain usable across investor-facing, institutional, community, and public applications.

Our working measure was simple: the system had to keep functioning after the presentation ended.

The Identity System

Identity development followed the same logic as the strategy. It began with diagnosis.

Useful equity remained in the existing mark, but the logo was visually crowded. The earlier version lost legibility at smaller sizes. Rounded corners softened its authority, while the cog-like sun, outlined elements, and competing star in the wordmark created visual noise. Small problems become very public when a logo has to perform on safety hats, billboards, folders, screens, and launch materials.

DFT refined the mark by reducing noise and sharpening recognition. The final symbol retained the sun as its central reference, with eight rays echoing the sun rays of the Philippine flag. It also carried the logic of a wheel of progress, suggesting movement, advancement, and continuing momentum. The result held solar meaning and national resonance without turning into a tiny patriotic parade.

Custom wordmark refinements adjusted spacing, proportion, and optical balance, giving NING*NING a typographic signature instead of a name simply placed beside a symbol. A wordmark should not look as though it wandered in from a font menu and decided to stay.

Color became a strategic decision. The final palette was inspired by the solar spectrum, drawing from infrared-magenta and ultraviolet-electric blue, with yellow and orange carrying heat, radiance, and solar optimism. This moved the brand away from the renewable-energy reflex of green leaves, corporate blues, and gradients with very little personality. The result feels luminous, technical, and alive.

Graphic language drew from the structured grid of solar panels, giving the identity a system of lines, intersections, and fields that could extend across applications. Together, the symbol, palette, and grid created a solar energy brand identity and visual system for infrastructure projects, designed for institutional materials, public-facing communications, and on-site rollout.

Holographic and iridescent material treatments translated light into physical experience, allowing printed collateral and brand materials to shift with reflection, movement, and touch. Final brand guidelines codified the system for use, covering logo rules, grid systems, imagery direction, application standards, and misuse examples. Extended into a suite of collaterals and rollout materials, the identity became a governed brand system designed for daily use, public visibility, internal discipline, and long-term implementation.

Rebrand Results & Performance

Strategy and identity established a clear position for NING*NING within the Philippine renewable energy sector and aligned the brand with developments already in operation.

Naic’s deployment provides a working example of how solar energy can function as infrastructure and catalyst, supporting nearly 2,000 homes while contributing to broader environmental and community systems, as documented in industry coverage and energy publications.

Measurable environmental contribution is evident through consistent energy generation and carbon reduction, alongside integration into community-level infrastructure and services.

NING*NING now operates with a level of clarity that allows it to be understood in relation to what it builds. Its identity gives that clarity visible form, from the solar-spectrum palette to the panel-grid graphic language and governed rollout system.

Over time, this becomes the distinction that remains visible and continues to matter.

Client Solaris Inc., Jacinto Ng, Jr.
Industry Energy & Power, Infrastructure, Utility
Discipline Strategy, Branding, Identity Design, Visual Systems, UI/UX Design, Digital Experience
Location Manila, Philippines

Creative & Art Director Ric Gindap, Rashina Tuazon Associate Art Director Rashina Tuazon
Brand Identity and Logo Designer Rashina Tuazon
Digital Designer Jose Miguel Lim

Strategy Ma. Julie Therese Amos, Maria Noelle Maulit

Copywriter Dave Riel Española
Account Manager Cessmarie Villones

The post NING*NING: Renewable Energy Brand Strategy and Identity for Community-Centered Solar Development appeared first on Design For Tomorrow.

Markets move. Capital follows. Trust decides where it lands, often faster than anyone admits, particularly in rooms where decisions are meant to look deliberate.

PropertyAccess is a cross-border real estate platform connecting Japanese investors with Asian property markets, including the Philippines, the Middle East, and beyond.

The business was already operating across borders, facilitating transactions, partnerships, and listings across regions. What it lacked was a brand system that could carry that complexity with clarity and authority.

Design For Tomorrow, a Philippines-based branding and strategy agency with an active presence in Singapore and across Asia, clarified the shift from a listings platform to an investment gateway, aligning brand, system, and experience to build cross-market confidence.

Japanese visual references, including the enso, the notion of entry embodied in 入口, and the reverential presence of Mt. Fuji, were distilled into a more controlled language; familiar enough to resonate, restrained enough to remain credible across markets.

The wordmark was refined for digital clarity, with subtle inflections that echo Japanese calligraphic discipline. A fresh green palette replaced ornamental finishes. Typography was selected for legibility across interface, editorial, and investor-facing materials.

Messaging was rebuilt for precision across cultures. It was calibrated to carry meaning across markets, where language alone is rarely sufficient.

The voice needed to hold credibility with Japanese investors, clarity for overseas Filipinos, and discipline for a market where ambiguity carries financial consequences.

The result is a brand system designed for movement from pitch decks to property listings, from content to investor kits, across markets without losing coherence. Enough structure and restraint to feel dependable.

SEO & Discovery Strategy

We partnered with Dreamlist to redesign the PropertyAccess website, which consulted on search visibility built into the system.
The strategy and brand system also reinforce Design For Tomorrow’s capabilities in branding, design, and digital brand experience development, ensuring both the platform and its presence perform across markets.

Rebrand Results and Performance

The rebrand clarified PropertyAccess’s position in a competitive regional market and strengthened its investor-facing narrative.

The platform has facilitated over ₱3.6 billion in residential sales, with more than $90 million in listings and partnerships with over 70 developers across Asia.

Increased referral activity from Japan and Korea, alongside improved engagement from overseas Filipinos and expatriate audiences, reflects a clearer and more trusted market presence, supported by visibility across regional platforms such as Realestate.co.jp, LIFULL, and Filipino Homes.

Industry coverage has positioned PropertyAccess as a facilitator of Japanese investment into the Philippine property market and as a gateway for Filipino investors exploring opportunities in Japan ahead of Expo 2025 Osaka.

The brand now matches the scale of the business. Credible. Legible. Built to move across markets without hesitation.

HIROKI KAZATO

CEO and Co-Founder, PropertyAccess
Japan, International

“We were asked to revamp our corporate branding. We had the opportunity to interview Mr. Ric in detail several times about his thoughts on establishing the company and why he started the company. Sometimes, he even came to my office in Tokyo and talked to me directly. A team of about 10 people, including myself, conducted in-depth interviews. They submitted multiple proposals based on the hearing and listened to those proposals without precluding further discussion of the selection. I could feel his sincere attitude toward business.

Thanks to him and his team, a new brand was born.”

SHEILA BAYLON

Co-Founder, PropertyAccess
Japan, Singapore, Philippines

“Ric is the driving force behind the rebranding of Property Access. His meticulous attention to details and innate ability to translate complex ideas into intuitive designs have elevated our product to another level that we never fathomed even possible.

Whilst working with Ric, I had the privilege of witnessing his unwavering commitment to excellence. From the beginning of our project, it was clear to me and my team that Ric approaches his craft with an unmatched level of passion, artistry and professionalism that magnetically inspires everyone around him. His articulate and thoughtful communication style ensures that his design vision/strategy is seamlessly conveyed to us whilst promoting teamwork, inclusive atmosphere. Ric’s contributions have been invaluable to our success. His ability to blend creativity with strategy, combined with his warm and collaborative approach, has transformed our product and the way we work as a team. It is a gift working with Ric. Thank you very much Ric for your unwavering dedication and passion. Your positive impact on us has been immeasurable.”

Client PropertyAccess, Hiroki Kazato, Sheila Baylon
Industry Real Estate, Proptech, Cross-Border Investment, Property Development
Discipline Strategy, Branding, Identity Design, Visual Systems, UI/UX Design, Digital Experience
Location Japan, Philippines, Asia

Creative & Art Director Ric Gindap Associate Art Director Rashina Tuazon
Logo Designer Ric Gindap, Mikaela Torres
Brand Identity Mikaela Torres
Copywriter Dave Riel Española
Strategy Ma. Julie Therese Amos
Account Manager Cessmarie Villones, Michelle Logronio

The post PropertyAccess: Cross-Border Real Estate Platform appeared first on Design For Tomorrow.

The Drive Behind the Change

When eSakay first approached us, the brief was straightforward. Our task was to rebrand for a company with a solid operational track record in electric transport, backed by the institutional strength of its parent company, Meralco. But midway through the process, everything changed. Meralco sold eSakay to a new group and made a strategic decision to form an entirely new entity, one with a broader ambition to lead the Philippines’ transition to electric mobility infrastructure. That entity would become MOVEM. And from that point on, Design For Tomorrow was no longer refining an existing brand. We were building a new one from the ground up.

The Commitment to Move

Every credible brand needs a soul. For MOVEM, that soul is “Move Responsibly.” A deceptively simple line that carries the weight of its entire mission.

“Move” suggests innovation, energy, and disruption. “Responsibly” adds the dimension of care—for people, for cities, for the planet.

We think of this not as a tagline. It’s a philosophy that informed every design choice: from the visual system to the verbal voice, our work allows MOVEM to be seen in a broader, holistic perspective, not just as a utility or service. MOVEM is an integrated platform for urban transformation and sustainable futures. Yes, it’s electric. But with manners.

Built with Intention

It became essential that the new identity be purposeful, and the outcome should reflect the salient duality: dynamic movement and deliberate responsibility.

Design For Tomorrow built an identity system grounded in clarity and rhythm, where forward-thinking meets accessibility. The logo evokes a sense of propulsion; the typography is clean, legible, and future-friendly. The color palette strikes a balance between energy and trust.

Across digital interfaces, fleet design, pitch decks, and public activations, the design remains cohesive and intuitive, communicating confidence without overcomplication. We created a brand that could not only be understood but also championed by city planners, investors, commuters, and changemakers alike.

Form meets foresight with a distinctly Filipino voltage. Less Bauhaus. More barangays with a backbone. Design that moves and makes sense.

Change Catalyst

Today, MOVEM stands for more. It has become a visible signal of possibility, a call for transition, and a platform for potential. Crucially, it became a reminder that responsibility belongs in every journey.

This evolution reflects a broader shift. Away from siloed thinking and toward integrated planning. Away from scattered efforts and toward systemic change. It became a willful brand where electric vehicles are no longer seen as novelties, but as essential tools in a future where mobility is a right. And powered responsibly.

As MOVEM takes its place at the forefront of the Philippine electric mobility landscape, it carries not just a new look but a renewed promise: that movement can be meaningful, inclusive, and future-aligned.

A Future in Motion

From the moment of defining the brand strategy, it’s clear: it’s no longer point A to point B. It’s now point A to better.

MOVEM’s transformation is proof that brands can build movements when carefully devised with clarity and courage. Through our collaboration, Design For Tomorrow helped evolve MOVEM into a brand that aspired to become a national voice for electric transport and sustainable urban mobility.

Positioned for adoption and advocacy, MOVEM now moves with purpose, presence, and the power to shape what comes next.

Client Movem, Meralco, Raymond Ravelo, Karl Magsuci

Industry Transport, Mobility, Infrastructure, Electric Vehicles

Discipline Strategy, Branding, Design Location Philippines

Creative & Art Director Ric Gindap Associate Art Director Rashina Tuazon

Brand Identity and Logo Designer Ma. Cecilia Inocencio

Strategy Pris Santos, Ma. Julie Therese Amos

Account Manager Cessmarie Villones

The post MOVEM: Sustainable Mobility Branding Philippines appeared first on Design For Tomorrow.

Bespoke illustrations evoking the lifestyle were used for the marketing collaterals.

We conceptualized a short film – from storyboard to copywriting – which our friends from RHK passed on to production house OneMotion to bring to life.

“When you are a newcomer in the luxury real estate market (even if your joint venture partners Robinsons Land and Hong Kong Land have close to 180 years of doing business), you want to make sure that your unique and exclusive market will be captivated by your stories. Copy that excites, visuals that come alive and impressions that last. Ric and his team ably helped RHK Land craft the story for our North Tower of The Velaris Residences. Now, with sales doing well, the market is asking for the next tower.”

 

ROUEN ABEL RAZ

General Manager, RHK Land Corporation

Client The Velaris Residences Industry Real Estate, Property Development Discipline Branding, Design Location Philippines

Creative Heads Ric Gindap, Bonnapart Galeng Strategy Director Pris Javier Creative Director Bonnapart Galeng Art Directors Rashina Tuazon, Israel Contreras, Patricia Ibañez Senior Designers Ma Cecilia Inocencio, Mikaela Torres Junior Designer Dale Philip Rodriguez Account Manager Bernadette Lindres Account Associate Cessmarie Villones Interns Jhon Tungcab & Claire Hernandez Collaborators (Illustrations) RD Daniel (Environment Design) Kervin Pasco

Photoshoot Production Credits

Creative Managers Rashina Tuazon, Israel Contreras, Patricia Ibañez, Bonnapart Galeng, & Ric Gindap

Shoot Managers Cessmarie Villones & Bernadette Lindres Photographer Jake Verzosa

Stylist Ryuji Shiomitsu Set Design PJ Almera of Wandr Haus

Hair & Makeup John Anthony Guttierez Models Patricia Alvarez of Farah Models and Giovanni Guerrero Clients RHK Land: Rouen Abel Raz, Martha Herrera-Subido & Angel Kyll Vynnz Trinidad

Post-Production Credits

Founder & Creative Director Rebecca van Ommen of Paper Boat Creative Account Executive Joshua Visbal Account Manager Alexa Martinez

The post The Velaris Residences: Crafting the Essence of Intentionality appeared first on Design For Tomorrow.

“If you want to see your vision come alive, there’s no better way to do it than finding a team that will not only show you the way, but embark on the journey with you, ensuring that the end result surpasses expectations—the best version of that vision. Every time we work with Ric and the whole DFT team, there’s a sense of excitement because we know we’re up to something meaningful.”

Justine Felizarta, Angelia Ong, KC Halili

Co-Founders, Reseta Philippines

Client Reseta Industry Retail, Healthcare  Discipline Branding, Design, Packaging Location Philippines

Creative & Art Director Ric Gindap Associate Art Director Rashina Tuazon

Brand Identity and Logo Designer Mikaela Torres

Strategy Ma. Julie Therese Amos Copywriter and Tone of Voice ⁨Dave Riel Española⁩

Account Manager Cessmarie Villones

The post Reseta: Relief, Reimagined appeared first on Design For Tomorrow.

Client Spruce Gallery Industry Retail Discipline Branding, Design Location Philippines

Creative Directors Ric Gindap, Bonnapart Galeng Logo Design Ric Gindap Designers Israel Contreras, Dale Philip Rodriguez (Animation) Photography Jar Concengco (Campfire Media), Ennuh Tiu and Sean Olalo

The post Spruce Gallery: A Passion Project for Print, Fully Realized appeared first on Design For Tomorrow.

“Our team selected Design For Tomorrow to breathe life into our startup brand because of the sincere enthusiasm displayed by Ric and his team. Among all the design firms we approached, they were the ones who truly understood our concept and genuinely believed in our vision. Working with the DFT team was not only a pleasure but also very productive. They exhibited great responsiveness to feedback and an unwavering commitment to infuse our brand identity into every facet of their work, whether it was crafting captivating visuals or developing our brand’s unique voice. The output of their creative work gave us the confidence that our brand will surely stand out in a fiercely competitive market.”

 

GINO RODRIGUEZ

CEO, Cocopan

Client Cocopan Industry Retail, Food  Discipline Branding, Design, Packaging Location Metro Manila, Philippines

Creative & Art Director Ric Gindap Associate Art Director Rashina Tuazon Brand Identity and Logo Designer Ma. Cecilia Inocencio Retail Design Kervin Pasco Strategy Ma. Julie Therese Amos Copywriter and Tone of Voice ⁨Dave Riel Española⁩ Account Manager Cessmarie Villones

The post Cocopan: Nourishing Community Resilience In Every Bite appeared first on Design For Tomorrow.

STEVE LEUNG

Founder, SLD Group
Hong Kong, China

“Thank you Ric Gindap for meticulously curating the graphic aspects of this beautiful book.”

HELEN FANTHORPE

Editorial Manager, Thames & Hudson
London, United Kingdom

“Ric was commissioned to design an architecture/design monograph for Thames & Hudson. He was a delight to work with throughout the process and was always willing and enthusiastic. He took all feedback on board and we are delighted with the elegant final book he has helped create.”

SUZY ANNETTA

Editor-in-Chief, Design Anthology
Melbourne, Australia; Hong Kong, China

“I cannot recommend Ric Gindap and his highly skilled team at Design For Tomorrow more highly. We’ve collaborated on two projects now – a project for a private client of DFT in Manila where I was commissioned to write text, and another for Thames & Hudson where Ric was brought on to design the publication that I was editing. Ric is creative, insightful, organised and always full of energy – and lots of laughs! I look forward to collaborating again in the near future.”

Client Steve Leung Design / Thames & Hudson Industry Design, Architecture, Interiors, Environment Discipline Editorial Design Location Hong Kong

Design Direction and Monograph Design Ric Gindap assisted by Israel Contreras Editor Suzy Annetta (Design Anthology / Fifth Black Media) Writer Christina Ko Editorial Development Helen Fanthorpe, Lucas Dietrich (Thames & Hudson UK) Steve Leung Design Communications Sofia Perboni

The post Book Design Celebrating Steve Leung’s 25th Anniversary appeared first on Design For Tomorrow.