Wazdan is one of the top global developers of online casino games. The award-winning company is a leader in the industry, employing over 200 specialists and engineers, and releasing more than 40 titles annually for over 1,500 partners worldwide.

Instead of relying on typical playful casino tropes, we decided to focus heavily on B2B communication and the Wazdan’s technical specialisation. This approach allowed us to enhance the company’s expert image and boost its legitimacy. Additionally, we introduced the tagline ‘Online Gaining’, which encapsulates the key messaging of the industry, setting the client’s competitors far behind in terms of the quality of marketing communication.

To introduce a rebrand that authentically represents the client, we first needed to understand them. We built a strong partnership and became part of the Wazdan family. This relationship allowed us to grasp the nuances of how the company operates and what its priorities are. The visual identity focused mainly on specialisation, games, playfulness, and technology. The logo was refined from its previous version, where the triangles were separate. We merged them to symbolise the unity of Wazdan’s team. The verbal identity centred on presenting unique strengths, attitudes, and values. While the key messaging focuses on gains, the company adopts a non-cynical approach, valuing both business partners and players.

Work on visual and verbal architecture involved over 1.5 years of analysis and refinement. The iGaming industry is known for its extremely vibrant imagery and extravagant loot piñatas. This presents a challenge when designing a more subdued, informative, and structured brand communication. Continuing with game aesthetics for the sake of coherence was not an option. Instead, we had to adapt the existing products to new templates for websites and collateral materials. We utilised gradients as a flexible tool to complement the vibrancy of the games and solutions offered. The text architecture focuses on user comfort and maximising the accessibility of key information.

The brand font, Wazdan Sans, is a fork of Plus Jakarta Sans.

A comprehensive archive of over 200 logos designed by Thinking*Room spanning the last 20 years, with essays from Eric Widjaja, Bram Patria Yoshugi, Ira Carella, and Ritter Willy Putra. Beyond a preservation of Thinking*Room’s storied portfolio, TRADEMARKS is a journey through the two-decade-long evolution of the logo design practice.

The book was edited by Kireina Masri and Handanu Ardhata, and designed by Thinking*Room. It features a debossed linen cover with edge printing, and contains 428 pages measuring 10×10 cm.

École Nationale d’Ingénieurs de Metz (ENI Metz, or ENIM) is a French engineering school established in 1960.

In September 2025, the school announced a rebranding designed by Metz-based studio steez.

The new wordmark is set in Scope, with slight modifications to the letters i and M. The tagline uses Sora. Additional typefaces use in the identity include Cal Sans, Plus Jakarta Sans, and Roboto Mono.

Together with agency Jellyfish, Triboro has developed a new identity system for Japan Airlines. With the exception of JAL’s iconic crane logo (designed in 1959), we altered all aspects of the airline’s identity toolkit, including new typefaces, graphic patterns, imagery approach and bespoke iconography.

Founded in 1951 Japan Airlines is the flag carrier of Japan, and the sixth largest airline in the world based on passenger counts. JAL flies to 220 destinations in 35 countries worldwide, with a fleet of 279 aircraft.

David Heasty, Partner at Triboro, explains: “Collaborating with Japan Airlines on the redesign of their visual identity was a dream project. Each design element was carefully crafted to honor the legacy of Japan Airlines while infusing it with a fresh, contemporary energy that speaks to the spirit of innovation that is so core to the brand’s ethos. We embraced the challenge of reimagining the airline's visual identity and exploring new possibilities to create something truly timeless”.

One key component of the identity system to highlight are a collection of cloud patterns which complement imagery and subdivide layouts. In addition, Triboro created an iconography library of graphics which can be used for key communications.

Michael Walsh Kirwan, VP Creative at Jellyfish, says: “Japan Airlines came to us with a significant challenge – to breathe new life into a storied brand that was due a refresh across global markets. We’ve created an entirely new visual identity that ushers in a new era of modernity, flexibility and dynamism for the brand, and we’re excited to see it rolled out on an international scale”.

For more about the project, watch “Jupiter to Japan” held in the Herb Lubalin Lecture Series at Cooper Union on June 24, 2025.

Round Condensed and Plus Jakarta Sans are used for 9-9bis.

From Studio Paul Andali (translated and adjusted):

Visual identity for 9-9bis, an Établissement Public de Coopération Culturelle (“Public cultural cooperation establishment”) located on a former mining site in Pas-de-Calais, recognized as a UNESCO World Heritage site. Dedicated to artistic creation, cultural programming, and heritage preservation, 9-9bis is a vibrant cultural hub.

The identity plays on the duality of the two nines—9-9—to evoke a space of convergence, where disciplines, audiences, and creative energies intersect. This concept is expressed through a modular and evolving graphic system: a stable, grounded wordmark interacts with a range of dynamic visual elements, reflecting the diversity and vitality of the site's programming.

Emeric Desgranges provided the motion design. See the full case study on the website of Studio Paul Andali.

Secret Project’s logo

Ragam Collective’s identity for Secret Project features Inter (Rasmus Andersson) for the logotype, complemented with Plus Jakarta Sans (Tokotype) across all brand deliverables and communication.

Secret Project is the first and only academy teaching Berkeley-level CS education, specifically on AI development, to high school and college students from scratch using a project-based approach.

Outer space serves as a metaphor for Secret Project’s narrative of pioneering and exploring unknown territories. The brand identity incorporates elements of outer space, reflected in the eclipse icon, the predominant use of dark blue and purple hues, and gradients.

Design by Vania Prananto, content ideation and copywriting by Giselle Widjaja and Gloria Kantjana

Secret Project’s Instagram feed

Secret Project’s brand colors

Secret Project's Instagram posts

Secret Project's Instagram Reels

Since around 2018, Gbatteries Energy Canada Inc uses Desk Sans for the logo. As of 2024, it appears on the website alongside text rendered in Lora and Plus Jakarta Sans.

From their About page:

Founded in 2014, GBatteries is creating safe next-generation energy storage products. Operating at the intersection of artificial intelligence, electrochemistry, and signal processing, GBatteries is building the future of intelligent, high-energy-density batteries. Our goal is to pave the way for a sustainable future, innovating battery technology that will rapidly accelerate the mass adoption of electric mobility, from land to air.

Scorpion Rose Studio partnered with boutique Eugenie to develop a brand look and feel centered around the vision of its founder: a new destination where every generation can shop timeless staples from stylish and sustainable brands. Named after the founder’s great-aunt, the brand icon inspiration came from a feather Eugenie's husband sported in an old photo.

SRS created an identity system that spanned across stationery, social media, and packaging. They then created a comprehensive set of brand guidelines that was passed along to (Estudio) Buena Suerte for the website design and development.

View the full case study.

Starring Thibault Chaplain, photographed by Bazil Lamy, written by César André, and designed by Maël Ravassard.

The book, with dimensions of 172 mm × 244 mm and comprising 132 pages, was printed on Munken Pure Rough paper of 120 g/m². Its binding, created with a square stitched spine and visible stitching, allows the book to lie flat. This feature proves particularly convenient for a photo book, providing the opportunity to admire double-page photos as they should be.

The Barry title featured on the book cover is lettering created specifically for this project. I will extend it into a complete display font.

For the body text, I use Tokotype's Frasa regular and italic fonts, which enhance the overall typographic experience. I like to use their Elzevirian numerals for the folio pages and table of contents.

Barry, Le Dernier Cowboy du Luberon was self-published in November 2023 in a limited edition of 200 copies – which we have sold out already.

Carmilla by Joseph Sheridan Le Fanu (1872), edited by Carmen Maria Machado (2019)

Clockwork Editions is a series of books with Gothic tales from the late 18th century, published by Lanternfish Press. For the cover designs of the first three volumes, Kimberly Glyder combined biological illustrations with typography in Melbourne (a version of Milton) and Mohave.

The King in Yellow by Robert W. Chambers (1895), edited by John Edgar Browning (2019)

Medusa’s Daughters, edited by Theodora Goss (2020)

Description of the project by the designers of the studio Thinking*Room:

We Refuse To Grow Up is a book that tells the story of growing up as a graphic design studio in Indonesia. The book pries open the expectedly-complicated yet unpredictably-simple process that is the design process, the behind-the-scenes of how an idea goes from the drawing board into the hands of the consumers, the relationship between the designer and the client, nurturing future generations of designers to even subjects that are rarely talked about in the Indonesian design industry – the profession being undervalued yet constantly growing interests as time goes. Exploring in-depth the journey of these aspects of design, we take readers by the lessons we learned through past projects, while visually and expressively communicating a 15-year long journey with various visual elements.

Alex Slobzheninov’s Right Grotesk (Pangram Pangram) and TR Grotesk, Thinking*Room’s custom typeface by Tokotype, are used throughout the design.

Creative direction: Eric Widjaja
Art direction: Ritter Willy Putra, Ira Carella
Design: Bram Patria Yoshugi, Clifford Caleb, Leonardo Laurensius
Writing and editing: Gana Adi, Eva Mega Astria, Sasqia Pristia
Props (cover art): Querramellca

Indisch Zwijgen, Dutch for ”Indo's Silence”, is a documentary by Sven Peetoom and Juliette Dominicus, where they follow three Dutch-Indonesian artists of the third generation who delve into their family history in an attempt to look for answers and to break generations of silence.

The Dutch East Indies, known today as Indonesia, were colonised by the Netherlands in the early 19th century. The descendants from the Dutch and the Indonesians were nicknamed ‘Indo’. They became a separate class between the coloniser and the colonised. After centuries of colonisation, the Japanese occupation and the war for independence, around 300,000 Indos fled to the Netherlands. Currently there are between 1.5 to 2 million Dutch people with Indonesian roots, but most of them know next to nothing about their family history back in the former Dutch East Indies.

While working on this documentary by and for Dutch-Indos as a Dutch graphic designer, I chose to only use typefaces designed by Indonesian type foundries, to support, involve and give space for Indonesian design within the documentary. Considering my own social relation to this documentary, the subject at hand, and of course the quality of typefaces that the Global South can produce, it wouldn’t make sense not to.

Eventually we chose to use Tokotype's Frasa, a contemporary and formal serif combined with Stroma as a more elegant and vulnerable display typeface for the title.

What Bungalows Can Tell is the result of extensive artistic and architectural research on the village of Kaliurang (Yogyakarta region, Indonesia). It brings together different essays and a series of photographs that critically explore the spatial, transformative effects of globalisation and heritage formation on a local scale. It looks specifically at the colonial bungalows and the stories in and around them. What can they tell?

The essays are written in Indonesian and English. The main typeface used, Frasa, was made by Tokotype — an Indonesian type foundry. For us it was important to not split the two languages but to have them run next to each other, with highlighting the Indonesian text as the main language.

Editor: Mira Asriningtyas, Paoletta Holst, Brigita Murti
Text; Editor: Amy Gowen, Paoletta Holst
Translator: Dito Yuwono
Made possible by: 900mdpl, Marinus Plantema Foundation
Publisher: Onomatopee Projects

ODG is a new Italian web magazine dedicated to cinema culture:

In the world of cinema, the agenda [in Italian: ordine del giorno], abbreviated with ODG, is the document distributed daily to the crew to make everyone aware of the work plans for the next day. ODG magazine wants to understand cinema with the help of those who make it, with an eclectic and passionate editorial proposal.

Art direction by Simone Ellero and Leonardo De Marchi. The typography pairs Futura Passata by Alfatypefonts and Gramatika by Tokotype.