Exclusive Interview: A special conversation with Thonik Studio, the World-Class graphic design powerhouse

"...In the ever-evolving world of contemporary design, only a handful of studios stand out with a vision that is both distinctive and enduring. Thonik Studio is one such name, renowned for crafting bold and meaningful identities for cultural institutions, organisations, and brands across the globe. In an exclusive interview between #legend_th and Thomas Widdershoven, co-founder of Thonik Studio, we delve into the design philosophy that drives their work, their fearless approach to typography and colour, and how they strike a balance between conceptual depth and functional purpose. Every insight reveals a perspective that is both profound and forward-thinking, inspiring the next generation of designers while offering a glimpse into their diverse global projects..."

#legend_TH: Can you walk us through the core philosophy or principles that guide your design work at Thonik?

TW: At Thonik, we believe in the power of design as both an expressive and organizing principle. Design is more than aesthetics, it shapes identity, creates cohesion, and builds connections. A strong example of this is the three crosses in the identity of the city of Amsterdam. Originally derived from the medieval coat of arms, they have evolved into a modern, widely recognized symbol that represents the city and its people.

This is a key approach in our work: using design not just as a visual tool, but as a structural system that defines typography, layout, and communication. A well-designed identity should not only be expressive but also serve as a framework that supports clarity and meaning. Whether working with brands, institutions, or cities, our goal is to develop visual languages that are both bold and functional, impactful and adaptable.

#legend_TH: Your designs often feature bold typography and vibrant colour schemes. What role do these elements play in your creative process?

TW: Our use of bold typography and vibrant colours is strategic, it allows cultural institutions to stand out in a landscape dominated by commercial communication. The reality is that 99% of visual communication is commercial, leaving little space for non-profits, cultural organizations, or public institutions to be seen. Commercial branding often relies on strong colours and typography, but these choices don’t always align with the deeper philosophy of a brand. Take IKEA, for example, their strong yellow and blue identity ties into Swedish heritage, yet it doesn’t fully reflect the refined, modernist design philosophy that shapes their interiors.

At Thonik, we use the power of colour and type in a way that authentically represents the institution we are designing for. Take our work for M+ in Hong Kong, a museum for visual culture that opened during COVID. The museum’s Herzog & de Meuron-designed building has a mid-grey concrete interior, so instead of choosing a single brand colour, we created an adaptive colour system, a vast palette of mid-tones, from greys to vibrant cyan, green, and pink. This approach ensures that white and black typography remain equally legible, and each artwork can find a complementary background colour within the system. The result is a flexible yet highly conceptual identity that can be bold and attention-grabbing in communication or elegant and understated when needed.

#legend_TH: What is your process for translating a brand's identity into a visual language? Do you start with research, intuition, or a combination of both?

TW: It's always a combination. Research provides the necessary context, to understanding a brand’s history, audience, and cultural relevance. But intuition is what transforms that knowledge into something unique and compelling. Our process often involves close collaboration with clients, deep dives into their ecosystem, and then translating those insights into a distinct, forward-thinking visual identity.

#legend_TH: Thonik is known for its conceptual approach. How do you ensure your designs communicate a clear and meaningful message without losing their artistic value?

TW: The key is finding the balance between concept and function. A strong conceptual approach ensures that every design decision has intent. But clarity is just as important, we always ask: What is the core message? How can we express it in the most powerful way? Our methodology combines rigorous experimentation with a disciplined approach to form, ensuring that the message never gets lost in artistic excess.

#legend_TH: Can you describe a project where you faced a significant creative challenge and how you overcame it?

TW: One of our most challenging and rewarding projects was the identity for the Power Station of Art in Shanghai. Our goal was to create a balanced visual language between Chinese and Western typography, reflecting a multi-polar world, one where the East and West coexist in mutual respect and equilibrium. This concept was not just aesthetic but deeply social, expressing a shift in global power dynamics.

The challenge lay in integrating Chinese and Latin scripts in a way that felt truly equal, rather than one dominating the other. Traditional approaches often force Chinese characters into Western typographic logic, or vice versa, resulting in a hierarchical rather than harmonious relationship. To break this pattern, we immersed ourselves in the history and structure of Chinese typography, speaking with professors at CAFA in Beijing and studying historical methods of bilingual text integration.

A turning point in the project was when Simpson Tse, a Hong Kong-born designer raised in Australia, joined our team. With his deep understanding of both Mandarin and Cantonese, and our Thonik approach to typography, we developed a system where bilingual design became the defining element of the identity—from the logo to all communication materials.

By treating both languages with equal visual weight, we were able to create a typographic system that not only functions beautifully but also carries a strong conceptual message about cultural balance and mutual respect. It was a project where deep research, collaboration, and a strong conceptual foundation led to a design solution that was both meaningful and visually striking.

#legend_TH: How do you stay inspired and keep pushing the boundaries of design in a rapidly changing visual landscape?

TW: At Thonik, collaboration across generations, cultures, and disciplines is key to staying inspired and innovative. Our studio brings together experts in typography, motion design, strategy, UX, UI, and more, ensuring that we are always evolving with new media, tools, and styles.

Design is never static, it’s shaped by technology, culture, and society. By working in an interdisciplinary and intergenerational way, we challenge each other’s perspectives and push beyond familiar approaches. New tools like AI, real-time motion graphics, and interactive experiences open up fresh possibilities, but the key is to use them with intention and conceptually grounded thinking.

Ultimately, our drive to experiment and embrace change is what allows us to keep innovating. Rather than following trends, we engage deeply with the why behind the design, ensuring that each project is not only visually compelling but also meaningful and future-proof.

#legend_TH: With your work in branding and identity, how do you ensure that the designs you create remain timeless but also adaptable to future trends?

TW: Timelessness is not about staying static, it’s about building systems rather than fixed identities. Our work often includes flexible design systems that allow brands to evolve while maintaining a recognisable core. A great identity should have the capacity to grow and shift without losing its essence. We achieve this by designing with scalability and modularity in mind.

#legend_TH: What advice would you give to emerging designers or studios looking to establish a unique creative voice in the design world?

TW: When sound artist John Cage was asked the same question, he answered: get out of whatever Cage you find yourself in.

Explore the design works of Thonik Studio at www.thonik.nl.