USAID Handbook Design: VAT in Liberia

A tax handbook without the headache—fully illustrated, locally grounded

Project Introduction

• Project Title: Introduction of VAT in Liberia

• Timeline: November 10, 2024 – January 10, 2025

• Total Hours: 88 hours

• Project Type: Handbook Design

• Format & Size: A5, 24 pages

• Tools Used: Adobe InDesign, Illustrator

Team & Role

• Designer: Gawon Lee

• Project Lead: George Akl (Chief of Party, USAID Lead Activity)

• Client: United States Agency for International Development

Project Overview

This book was created under a USAID-funded initiative in collaboration with DAI in Liberia. It introduces the country’s new Value Added Tax system, aiming to help businesses, local officials, and everyday citizens understand how it works and what to expect from its implementation.

I was solely responsible for the entire process—from layout and illustrations to explanatory text. The handbook contains no photography or externally sourced images; every visual element was custom-made using Illustrator and InDesign. The project was completed independently, without involvement from a team.

During meetings with the team, I learned that in Liberia, people commonly collect paper printed tickets and receipts for tax reporting. Inspired by this, I designed the inner page frames in the shape of tickets to create a familiar and functional visual structure.

Contributions

• Custom illustrations and decorative patterns

• Visual microcopy and in-illustration explanations

• Explanatory diagrams and infographics

• Section titles, introductory texts, and narrative framing

Design Challenge

The core challenge was making tax policy feel readable and engaging. VAT is a complex topic, and traditional government booklets often overwhelm more than they clarify. The goal was to reverse that experience through simplified layouts, consistent visuals, and human-friendly language.

Process & Approach

Illustration & Visual Storytelling

To support comprehension and narrative flow, I reused key characters across scenes instead of introducing new ones on every page. This created a sense of continuity and helped readers follow a familiar thread through different tax scenarios.

I don’t see illustrations as visual decorations of the text, but as another paragraph in their own right. If a written paragraph takes a minute to understand, I believe its visual counterpart should take half that time to skim. I also think that when illustrations are connected—even across chapters—they help readers move faster and stay engaged until the end.

Local Relevance

The visuals were grounded in Liberian life. I aimed to reflect local cultural cues and everyday fashion throughout the book. For example, paper receipts and forms are commonly collected for tax reporting in Liberia, so I made the inner page frames to resemble perforated ticket stubs—something instantly recognizable. The same idea shaped the pattern elements. I drew from designs often printed on women’s gele and lappa fabrics, hoping to make the book feel more familiar and distinctly theirs.

Color Palette

The final color scheme—a mix of mint, coral, and dusty neutrals—was selected to feel fresh, modern, and gender-neutral. While early drafts used tones from Liberian currency, we ultimately shifted toward something more youthful and inviting. I narrowed down from 20 options based on trend research and Pantone history to a final palette of 7 colors.

Reflections & Impact

At some point in this project, one simple but important idea kept coming back to me: design is not art. I majored in fine arts, and I work as a designer—this phrase always stays with me. Design is about solving problems, so it must communicate directly to the target audience. I didn’t want the graphic elements in the book to leave room for multiple interpretations. With every round of development, our intention became more defined through close collaboration. What I needed in that process wasn’t artistic flair, but logical strategy.

See the Book

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Client Feedback

Formal commendation from George Akl, Chief of Party – USAID VAT Project in Liberia

Process

Cover Design Options

During the initial design phase, I presented four different cover concepts, each exploring a distinct theme. Among these options, the team ultimately selected Option 4. From there, the overall look and feel of the book was developed to align with the chosen cover direction.

Option 4. Final Selected Design

Pages