Brand, campaigns and the design behind them, for financial and consumer brands.

TradeTogether had started as a digital-asset trading platform and had become, fairly quietly, a licensed fund manager serving accredited investors and family offices. The 2023 identity still read as a retail crypto product. The brief was a full audit, a repositioning, a new identity, and a guidelines document that a small team and their outside vendors could actually follow, all inside the constraints of the Securities and Futures Act on what a fund manager may say in public.

I started with a brand-asset analysis and a creative-direction deck with three routes, then took the chosen route through two logo refinement rounds with the founders. The symbol is a numeral 1 and a circuit trace: the fund's first product finances GPU hardware, and the mark needed to say infrastructure rather than speculation. From there I built the system outward: lockups, a colour system with a core palette and an extended palette where each tone has an assigned role in charts and diagrams, a type scale for web and mobile, photography direction, and the applications.

The guidelines run to 34 pages and include the parts most guideline documents leave out: the approval route for new collateral, third-party consent for co-branding, and the regulatory constraints on claims. I also wrote the website content architecture and built the site, so the design system and the built product were checked against each other rather than handed over.

• The exclusion zone is derived from a letter in the wordmark, so it scales without a lookup table.
• Minimum sizes are given in both pixels and millimetres, because the same mark goes on a favicon and a lapel pin.
• The extended palette is written for the people making charts, not just the people making decks.

The full guidelines document is client-confidential. Pages shown here are with the client's knowledge; the complete document can be walked through in an interview.

A new investment firm run by experienced managers, describing its approach as quantamental, needed an identity that was credible to institutional allocators from the first meeting. No existing assets. The partners wanted to see real alternatives and to understand the reasoning behind each one, not to be handed a single answer.

I presented seven directions, each with a short concept sequence showing how the mark was built and a written rationale about what it would signal to their audience. The chosen direction merges the numeral 3 and the letter R into one symbol, with a small orange segment standing for the AI element of their process. From there: horizontal and vertical lockups, mono and reversed versions, a palette with seven tints per hue, a typeface, and the collateral the partners needed to start meeting people.

• The written rationale on each option made the client conversation about positioning rather than taste, and the decision took one meeting.
• The seven-step palette was a deliberate choice for a firm that will produce a lot of charts.

Teleskop had a product and founders, and nothing else visual. The job was to build the brand from zero and get the company to a summit booth in six months, on a startup budget, with me as the only person in marketing.

Identity first: the telescope mark and the line "look far, look deep", a warm orange against navy that reads as a consumer app rather than a bank. Then the logo pack with usage rules, so contractors and partners could use it without me; the website; the social templates and the video series; and the app-store creative. For Echelon I was the named exhibitor contact and signatory: I handled the backdrop, print collateral, vendor production and the stand itself.

• The logo pack was built to be handed to people I would never meet, which is the test of any identity.
• The booth backdrop shows the actual product at readable size instead of a slogan, because the point of the stand was to get people to try it.
• I ran the summit as a demand-validation exercise as well as a brand one. Conversations on the stand showed the category was not actively sought, which changed the company's direction before more money went into it.

Webull's global brand came out of the US and China. My job in Singapore was to take that system and make it work across four APAC markets, each with its own team, agency, regulator and idea of what looked trustworthy, without the brand drifting.

I executed the out-of-home and announcement workstreams of the anniversary campaign, which carried a SGD 1 million allocated budget, and adapted creative and messaging per market with the local stakeholders and media agencies. The day-to-day was production reality: platform screen door templates, bus wrap dielines, printer proofs, in-app banners at six sizes, and legal review on every claim about trading. I centralised the campaign communications and asset flow into one system so that four markets and several agencies were working from the same files.

• Holding one visual system across markets that each wanted something local, and doing it without a design team.
• Regulated-category creative: every headline about returns, speed or trading went through compliance, and the work still had to look like advertising.
• The campaign carried a SGD 1 million allocated budget across twelve station and mall sites plus buses, planned with media owners and agencies.

A small liquor retailer with a delivery business and a shop, selling everything from soju to Grey Goose, needing brand creative that could be funny on Instagram on a Friday and still look right on a gift bag. I was the brand manager and the only designer.

I wrote the brand book so that the identity could survive being used by partners and the shop team without me: the logo lockups and clear space, the dos and don'ts, the fonts and the six-colour palette. Then the pieces built on it: delivery and promo icon sets in the neon style for the web shop, the carrier bag and its Christmas edition, product photography for the festive catalogue shot in-house, a full playing-card deck drawn around the gorilla, and launch banners like the Clumzy Plumzy one, built once and cut for web and social. The weekly e-commerce banners and bundles were the volume work underneath.

• The brand book. A small retailer does not usually have one, and it is what kept the Friday Instagram posts and the gift bag looking like the same company.
• Taking an existing mascot and giving it enough range to carry a year of promotions and a 52-card deck without getting tired.

A seasonal product catalogue that had to work as a long-scroll web page and as a printed piece, for a brand whose packaging is already very considered. The catalogue had to sit quietly next to the tins and not compete with them.

I set the layout on a strict alternating grid, one colour block per product with the colour lifted from its packaging, product cut-outs and lifestyle photography in the same slot on each spread, and a small allergen icon set that repeats at the foot of every product. Japanese product names sit above the French ones at a smaller size. The same file produced the web version and the print version; both catalogues are live at yokumoku.com.sg.

The red packets are a separate job for Chinese New Year. Each of the four auspicious phrases is illustrated with the brand's own cookies in gold on red: five falling cookies for 五福临门, a staircase of Cigares for 步步高升. They went to print with belly bands and gift tags in the same system.

• Restraint. The catalogue is mostly grid, photography and one weight of type.
• The red packets say Yoku Moku without a product photo, which is the test of whether the product is recognisable as a shape.
• One source file for two outputs, which is what a small brand can actually maintain.

A new product in a category most people have never thought about, formaldehyde off-gassing from new furniture, sold to people who have just renovated. The brand had to be calm and domestic rather than clinical, and the print had to do a lot of explaining.

This one started with a branding proposal in June 2023 that set out scope, stages and pricing, so the founders knew what they were buying. The logo exploration went to a survey with the founders and a small group of target customers, and I wrote up the debrief before committing to a direction. The playbook came next: logo construction, spacing grid, minimum sizes, the typeface and its licence, and a six-colour palette with print and screen values. Everything after that, the pouch packaging, seal stickers, labels, brochure, box and namecards, was built from the playbook, over two and a half years, as the product range grew. The product photography is not photography: the tube, the pouch and later the spray bottle are Blender models, so the shop and the social feed had consistent product shots before the first production run, and every new colourway or label was a re-render rather than a reshoot.

• Using a survey to settle the logo, and writing up the debrief, so the founders owned the decision.
• A small playbook that has held for two and a half years of collateral. The 2025 labels sit on the 2023 grid.
• Labels that hold up at print size with a lot of mandatory copy on them.
• 3D product renders instead of a photo shoot, which is what made the range look finished while it was still being made.

A bedding brand that had been around since 1999 with packaging that had grown one SKU at a time. It needed a system that could cover pillows from newborn to toddler, mattresses in five sizes, and bolsters, and that a parent could read in a shop in a few seconds.

I drew a family of characters, one per age group, and built the packaging as a fixed layout: character, product name and age range top left, feature icons and dimensions in the same place on every pack, care instructions on the reverse. The same characters then carried the retail posters and the seasonal social content, so the brand had one voice from shelf to feed. This is close to three hundred working files, which gives some idea of how many SKUs and sizes there were.

• A packaging template that a distributor could extend to a new SKU without me.
• Character illustration as a system, with a defined role for each character, rather than a mascot used at random.

A popped water-lily seed snack going into supermarkets, needing a floor display that would carry six flavours and explain the product to shoppers who had never heard of it, on a distributor's budget.

I designed the standee as a set of surfaces with different jobs: the header for the product name and claims at eye level, the side panels for flavour and appetite from a distance, the shelf strips for one-line messages. Everything was drawn to the fabricator's dimensions and delivered as final artwork with bleed. I also produced the six-flavour pack range and the shipping carton.

• The written rationale on each panel: the presentation explains why each surface is designed the way it is, which made sign-off with the brand owner quick.
• Production: dielines, CMYK, bleed, fabricator liaison. This is the end of the job I still do myself.

A bank-owned settlement network whose website had been quoted at US$40,000 by an agency, and whose product is genuinely hard to explain to anyone outside a treasury desk. The job was to rebuild the site in-house, give the brand a visual language that says infrastructure rather than crypto, and produce the assets the commercial team and the partner banks kept asking for.

I designed and built partior.com myself, on Webflow, and made the key visuals in Blender: the ledger stack in the hero, the globe with currency orbits, the "Live 24/7" processing loop. Dark ground, one cyan, real 3D objects instead of stock. Direct traffic went up 85% and organic search 10% after launch, and the site reached 20,000 active users in 2026, up 29% year on year (GA4). I report that monthly to the CEO alongside the rest of the plan, with each programme mapped to the company objective it serves. The brand guidelines came later, once there was enough of a system to write down: eleven pages covering the logo and its variations, clear space and minimum sizes, a misuse page, four palettes with their roles, type and imagery, and the collateral. It exists so that partner banks and agencies can produce co-branded work without routing every file through me. The modular content system came out of the same problem: the commercial team needed to explain settlement at different depths to different people without the diagrams drifting, so I drew the flow once at four levels of detail. The platform video went to Deutsche Bank at short notice and they put it on their Sibos stand and their corporate site. The same job repeats for each partner: the NongHyup Bank film was produced for release in Korea, in Korean, with the settlement flow redrawn for that announcement.

Only material Partior or its partners have published is shown here. More can be discussed in an interview within the limits of confidentiality.

• Website, 3D and build by one person, against a US$40,000 quote.
• The content system: making a hard product explainable without misrepresenting it, in a way the commercial team actually uses.
• This sits inside the whole marketing function: plan, KPIs, campaigns, earned media through the agency I direct, events, and the budget.

Mustela is a French brand with its own global identity, so the job was never to design the brand. It was to keep a distributor's Singapore presence alive every week for two years: local campaigns, retail activations, marketplace sales creative on Shopee, Lazada and Qoo10, and enough content to feed the social accounts, on a small team where I was the designer, the illustrator and often the camera.

The biggest piece was Casting Call Baby, two years running. I concepted it, built the key visual, ran the studio shoots, then cut around thirty winner videos in one frame system so they could go out one a day. Around that I drew an illustration family for the brand's ingredients and used it everywhere: stickers, the in-store Avocado Hunt with Kiddy Palace, the newborn guide, the packaging explainer, the skin-type posts. The maternity content got a quieter treatment: #WhatMumsWant and the baby-milestones series. Underneath all of it were the weekly marketplace banners, several hundred of them, which is the volume work that kept the listings selling.

• Building local campaigns inside someone else's brand system without breaking it, which is the same discipline as the Webull work, in FMCG.
• The illustration family. One set of characters carried two years of content and made the distributor's feed look like its own thing.
• Running the shoots as well as designing the output.