[From the Creative Scene in the Netherlands Vol. 5] Creating a "System" to Move Society Through Design | Studio thonik (Amsterdam)

What is Studio thonik?

Founded in 1993 by Nikki Gonnissen and Thomas Widdershoven, this Amsterdam-based design studio operates under the concept of "the power of design," emphasizing the implementation of design as a "visual strategy" to achieve brand objectives. They specialize in visual languages ​​that utilize strong contrast and typography within minimalist compositions, and their clients include cultural institutions and museums. Notable projects include "City of Amsterdam," "M+," and "Dutch Design Week."

SHIFTBRAIN's Art Director's Top Picks for thonik

Case Study 1: Phion Symphony Orchestra

The Phion Symphony Orchestra is a symphony orchestra based in the Netherlands. thonik created a new brand identity for the orchestra, employing a unique approach of "expressing music itself through text."

What was particularly striking was how the movement of a conductor's baton was incorporated into the typography. The base typeface, "GT Planar," was uniquely customized, with the capital letters swaying in time with the music, and the following letters responding naturally. As a result, even a static logo conveys the rhythm and dynamism of a performance, creating a unique identity.

Furthermore, this system has been deployed across various media, including posters, digital signage, and websites, consistently conveying the dynamic expressiveness of music. A distinctive feature is that it not only visually represents music but also expresses the unique character of the orchestra itself through typography.

This project was recognized for its innovative typography and was selected as "The World's Best Typography" by the Type Directors Club (TDC). I felt it was a typical example of thonik's work, demonstrating that design is not merely about decorating music, but also a means of visualizing its essence and movement.

Case Study 2: The City of Amsterdam

In Amsterdam, countless logos were used, each created independently by different departments and projects. At the time, there were as many as 50 different logos, making it difficult for citizens to understand the overall picture of the administration. Furthermore, there was a lack of unity within the organization, with each department operating under a disparate identity.

To resolve this chaos, thonik proposed returning to "an iconic symbol that has long existed in Amsterdam" rather than "creating a new logo." He suggested placing the city's coat of arms, long familiar to citizens, at the heart of the brand, and that the city hall should use the symbol in its simplest form. This unified the identity and restructured the brand for the entire city.

As a result, Amsterdam's coat of arms (with three X's) is now ubiquitous throughout the city and has become a beloved symbol for its citizens. It's so widespread that it's used everywhere, from croquette bags to museum signs.

Furthermore, it employs timeless, modernist typography, which later evolved into the custom font "Amsterdam Sans." It continues to be used today, more than 25 years later, creating a universally appealing design.

Case Study 3: Dutch Design Week 2025

Dutch Design Week is one of the largest design festivals in Northern Europe, held annually in Eindhoven, Netherlands. thonik has been responsible for the visual identity since 2021, and in 2025, coinciding with the festival's 25th anniversary, they further developed their brand system.

What was impressive was that instead of "creating a new logo," they developed the tulip logo, which had been familiar for about 20 years, into the entire brand. Based on the simple geometric shapes that make up the tulip, they developed new typography and built a flexible design system that can be applied not only to the logo but also to posters, websites, and motion graphics.

Furthermore, this typeface was designed based on a poster created in 1963 by Wim Crouwel, a leading Dutch graphic designer. thonik reinterprets Crouwel's geometric and experimental typography in a modern way, connecting Dutch design history with DDW's new identity.

This example made me realize that a brand isn't about completely overhauling the past, but rather about inheriting the history of long-loved symbols and designs while evolving them towards the future.

Case Study 4: Schiphol Airport

At Schiphol Airport, we defined our brand concept as "home for world travelers," and designed the overall identity of the airport based on this idea.

The goal of this project was not simply to refresh the logo, but to redesign the traveler experience itself in a massive public space that attracts people from all over the world.

At the time, airports lacked consistency in naming and signage across boarding passes, apps, websites, and internal signage, leading to confusion for users. Furthermore, the vast, impersonal spaces lacked warmth, and the separate, independent guidance and digital pathways prevented a consistent brand experience from being created.

Therefore, thonik established "AMS," the airport code, as the common language for the brand, and built a design system that spans signage, digital elements, and spatial design, based on the concept of "a home where people from all over the world gather." Furthermore, they incorporated warm colors into the interior, giving the massive airport a welcoming feel.

What was impressive was the way they approached the proposal. Instead of simply presenting reference designs, they first visualized how fragmented and confusing the current signage and flow of traffic were, sharing the problem itself. Then, they presented the idea that "design is not just about making things look nice, but an infrastructure that connects people, organizations, and experiences," and gained the client's understanding.

This project was a prime example of thonik's philosophy, demonstrating that design can be more than just visual; it can be a mechanism that supports the very experience of complex public spaces.

Studio thonik's manufacturing process

We spoke with Nikki and Thomas, the founders and creative directors of the company.

Design is not about creating a "logo," but about creating a "system."

What kind of company is Studio thonik?

We consider ourselves a "design agency," not a "branding agency." This is because we view design not merely as a way to improve appearances, but as a strategic tool. Traditional branding has emphasized rules such as placing a logo in a designated place and at a designated size. However, in today's digital-first world, that approach alone is no longer sufficient.

Therefore, we design our products as a "toolbox." Instead of providing a single logo to our clients, we offer a collection of design elements—typography, color, graphic systems, and more—that can be flexibly used in various situations. We build identities that maintain consistency while adapting to different contexts, from online to offline, including street signage.

We believe that design has the power to bring out the inherent charm of people and organizations and communicate it to society. That's why we place the utmost importance on discovering the essence of our clients and amplifying it through design.

Furthermore, we want to use that power to make society better. That's why we actively work on cultural projects such as culture, music, theater, and art. In recent years, we've seen an increase in requests from organizations aiming for sustainability and a circular economy, and we believe that these socially meaningful activities are the area in which we most want to contribute. We don't care about the scale of the project. What matters is what kind of value the initiative creates for society. That's why we're not keen on work that is solely for commercial profit, and instead, we want to pour the power of design into projects that will move society in a more positive direction.

Start with the problem, then generate ideas from motion.

How is the project progressing?

We don't show too many examples of other companies' designs in the early stages of a project. This is because presenting references can lead to the idea of ​​"we want to make this design similar," which ultimately results in imitation.

Instead, the first thing we do is share the "current challenges" with the client. For example, in the case of an airport or a large public facility, we thoroughly analyze apps, signage plans, and traffic flow, and visualize "where the problems are and why improvements are needed" using photos and diagrams. By first ensuring that the client correctly understands the challenges, they can then discuss the concept from the same perspective.

In our projects, we value direct communication between designers and developers with clients, often bypassing the project manager. In the Netherlands, frank exchange of opinions is deeply ingrained in the culture, and we believe that honest discussions prevent misunderstandings and lead to better results.

A distinctive feature of our design approach is that we begin our ideas with "motion." When we only consider still images, we tend to fall into existing patterns, but by starting with movement and physics calculations, we can create unexpected shapes and rhythms. This element of chance brings new discoveries and originality to our designs.

Furthermore, we do not share the mood boards we create with clients. This is because if people only see the images, they may interpret them differently, potentially leading the discussion in an unintended direction. Once the concept is solidified, we prioritize translating it into actual design as quickly as possible and proposing it as a concrete output.

Using design to make society a little bit better

Finally, could you tell us about the kind of organization thonik aims to be and its future prospects?

We value the idea that "no one works alone." We believe that design is not born from the talent of one person alone, but rather from repeated discussions within a team, which fosters objectivity and leads to better output.

In team building, we emphasize three key principles: "transcending generations, transcending cultures, and transcending academic disciplines." We believe that the intersection of veteran experience, the new technologies of younger generations, and perspectives from different cultures and fields of expertise fosters free thinking unconstrained by preconceived notions. Furthermore, we value a reciprocal learning relationship where older generations not only teach younger generations, but also learn from younger generations.

Furthermore, we don't want to expand the company unnecessarily. We believe that a team of around 15 to 20 people, where everyone can see each other's faces, have lunch together every day, and engage in casual discussions, is the ideal size for fostering the most creativity.

Our goal is to solve societal problems through the power of design, working alongside our clients, sometimes even clashing over ideas. We believe that it is through this process that an identity that will continue to be loved even after 25 years is created.

Going forward, we want to continue viewing design not merely as decoration, but as a tool to guide people and society in a better direction, helping to make the world a little wiser and more beautiful.

Voices of the visiting members

Ishizuka (Art Director / Designer)

The first place I visited on this business trip was thonik.

Now that this business trip is over, I realize how impressive it is that they have their own building in Amsterdam. Moreover, the high ceilings and large windows let in plenty of natural light, creating a bright and airy space that seemed like a genuinely pleasant place to work.

Also, I think there are quite a few studios that display their own work on the walls, but at thonik, they've extended the graphics they've created so far to cushions and rugs, which I found really refreshing. They said they created these because they've had exhibitions in Japan and other places, and I liked how their work was used so naturally within the space. I'd like to try that someday.

Lunchtime was also a refreshing experience. Everyone shared bread and vegetables, a sight I don't often see in Japanese design companies.

Regarding the projects I worked on, many of them were quite conventional in a good way, and the output was largely based on the strength of the graphic design itself and the story behind its creation. They were simply cool, and I honestly thought, "I want to create something like this."

Kin (Motion Designer)

I had heard about Studio thonik from an acquaintance who used to work there as a motion designer, so I really wanted to visit it during this trip to Amsterdam.

It's not uncommon for studios to be jointly led by two representatives, but the seamless banter between the two at thonik was so captivating that we were completely drawn into their conversation. They both gave the impression of being seasoned veterans, even on the pitch.

What particularly impressed me was their approach of narrowing down their proposed ideas to just one and creating the mood boards themselves. They said they don't prepare what's known in Japan as "throwaway ideas"—ideas designed to steer the other party's attention in the direction they want to go.

I was also impressed by the fact that Dutch clients prefer to be frankly told what went wrong with their brand communication during the rebranding process. I was very envious of the culture of building such open relationships with clients, something that is quite difficult to imagine in Japan.

Okada (Producer)

What I remember most about Thonik was lunchtime.

At lunchtime, all the members gather in one space and eat lunch using the ingredients that have been prepared for them. When I heard that they do this every day, I thought it was a really great culture. I also took some salad and made sandwiches, trying to imitate them a little awkwardly, wondering, "Is this how you make it?", and I remember someone saying, "That's very Dutch-style," when they saw me doing it (laughs).

To be honest, I didn't know much about thonik before my visit. However, after actually speaking with them, I learned that they have worked on many projects that actually function within the city and society, such as the visual identity of Amsterdam and the logo for Schiphol Airport.

What was even more impressive was that as I walked around Amsterdam afterward, I saw their work everywhere. Seeing their creations naturally integrated into the city's landscape was a truly wonderful experience, and I felt it was an amazing part of their work.

Another thing that left a strong impression on me was Thomas's presentation. I had the opportunity to interview Nikki and Thomas, and I was particularly captivated by the high level of polish in Thomas's speaking style and communication.

He explained his achievements by saying, "This is the background, and this is what we did," and his presentation was so precise and compelling that I felt he must have spoken about these things many times before in public speaking and presentations. As a salesperson and producer myself, I felt there was a lot I could learn from him, and I was genuinely impressed.

Tsuboi (Project Manager)

The first thing that impressed me was how luxurious and beautiful the office was. It's impressive enough that it's their own building, but the office was also decorated with merchandise featuring logos and graphics from projects they've worked on, and the space surrounded by these items was wonderful. It was clear that they value their work.

What I found particularly interesting in the stories I heard was how one project naturally leads to the next, and how ideas generated within those projects are then utilized in yet another. I felt that this cycle of good work leading to more good work is one of the reasons why they have been able to remain at the forefront of their field for so many years.

I also had the opportunity to speak with Japanese designer Nakagawa-san during lunch. The atmosphere, where multinational members communicated naturally while working together, was very impressive, and I felt that thonik's philosophy that "design connects people" was reflected not only in their work but also in their team building.

Conclusion

What struck me most about our conversation was that for thonik, design isn't about "making things look beautiful," but rather "a system for organizing societal issues and connecting people to people, and people to organizations." The fact that they've been able to create an identity that's been used for over 25 years is a testament to their commitment to the essence of things, rather than simply following trends. It was a time that made me reconsider the role of design.

Next time we look forward to!