Refining Unity: Bram Patria Yoshugi on Designing Indonesia’s 80th Independence Day Logo
In commemoration of the 80th National Independence Day, President Prabowo Subianto officially launched the celebration’s official theme and logo at the Presidential Palace. The announcement marked the beginning of a month-long national celebration, emblemising the spirit of the nation’s pride. In recent years, the annual reveal of Independence Day’s visual identity has evolved into a much-anticipated event, capturing the public’s attention and sparking national conversations. This year’s visual identity was developed through a collaborative effort between the government and the Indonesian Graphic Designers Association (ADGI). As part of its commitment, ADGI has taken charge of implementing a standardized visual identity across all layers of Indonesian society—from provinces down to neighborhood associations—broadening public engagement with a design language that underscores unity in celebration.
Under the theme of “Bersatu Berdaulat Rakyat Sejahtera Indonesia Maju” (translated to Unity in Sovereignty among A Prosperous People to Advance Indonesia), this ambitious project was led by Bram Patria Yoshugi, Art Director at Thinking*Room and a member of ADGI’s Bandung Chapter. In an interview with Grafis Masa Kini, Bram shared his processes, challenges, and reflections on this monumental task of designing a nationwide logo that has become a milestone that will be remembered for years to come—amongst Bram, his studio, and by the people.
In a significant shift from its previous years, the design competition was open to the public—moving away from ADGI’s long-standing tradition of restricting entries to members only. This change was an exciting opportunity for many designers, including Bram, who had longed for a chance to contribute. He credited the alignment in timing: “I’ve been hoping for a chance like this for a long time. It’s one of the few moments where graphic design enters and is used in such a public manner, especially for a national celebration. Everyone gets to see the work and form their own opinion (about it). This was the first time ADGI invited public participation, and I saw it as a real opportunity to be involved.”Despite initial concerns regarding the pressure over the weight of responsibility at a national scale, Bram—an alumnus of ITB (Bandung Institute of Technology) and a veteran in Indonesia’s design landscape—embraced the challenge. He understood the importance of the Independence Day identity not just as a graphic project, but as a cultural artifact: one that reflects the current zeitgeist and the vision of its designer. “Every year, each of the visual identities captures the spirit of its time and the unique perspective of its designer. That was what drove me to take part in creating this year’s Independence Day visual identity,” he said.
From proposal to final presentation, Bram worked closely under the guidance of ADGI’s central committee. Bram found that he still enjoyed the overall process, describing it as “ideal”, despite the challenges of a tight timeline. He noted that his greatest challenge lies in translating his vision into a national identity that could resonate widely, transcending the borders, interests, and varying tastes of the Indonesian public. In surrendering the outcome, he set aside external expectations and the pressure to win, focusing on his desire to give his best.
These anxieties eventually became Bram’s source of inspiration and formed the foundation for the winning idea: an Independence Day visual identity that resonates with the people. “In the sense that I didn’t want the design to feel overly complex, drenched in symbolism, overtly ‘nationalistic’, have strong associations to the government, or almost reverent. For me, it had to be truly a vehicle of expression for the people, as a symbol of the collective celebration.” His first step in the identity design was to collect documentation of previous Independence Day murals—seen across alley walls, roadside fences, and handmade neighborhood arches. “It’s rare to see a visual identity inspire such widespread public participation, where people contribute visually through their paintings of murals and even recreations of the logo,” Bram explained. Upon recognising this, he understood the limitations of implementing beautiful but overly intricate designs that may complicate implementation by the people in everyday elements. “So I started from there—with the idea of wanting to create something people could celebrate and replicate widely.”
With this strong foundation, Bram worked to align his concept with the theme that the government has set to commemorate the 80th Independence Day: “Bersatu Berdaulat Rakyat Sejahtera Indonesia Maju.” He felt this theme had a vast-yet-distant approach, and because of this, he delegated himself with the task of humanising it—translating the theme at a micro-scale. “The macro-level approach in this year’s theme is very much aligned with the state’s vision, whilst the micro level is the reality shared amongst the people, and that is where we can figure out how people actually feel. In theory, these may differ in their expression, but the essence remains the same,” Bram explained. “When the government speaks of national stability, the public may be thinking about living in harmony and cooperating with each other. Similarly to when the government talks about sovereignty, for the people may mean choosing and chasing our own dreams.”He noticed a disconnect in the contexts of national celebration: intricately designed banners on major streets rarely held up well when placed in alleyways and small neighborhoods. “I wanted to make something easy to use and applicable everywhere. I thought about how to reflect the theme with a simple but meaningful form,” he said.
The circle became the first shape Bram explored in conceptualising the visual identity. “From the beginning, I wanted to create a design that could bridge both macro and micro perspectives. I also wanted the identity to be participatory, allowing people to implement broadly for their different contexts,” he said. Starting with three circles representing the number 80, Bram aimed to build a symbol that was bold yet simple, easily understandable, and replicable. For the government, it is a symbol of national pride and strength, but for its people, the logo offers a sense of hope.
The journey to achieving its final form required multiple iterations: from sketching with his team at Thinking*Room to experimenting with acrylic cutouts to determine the ideal structure. Throughout the entirety of this process, Bram remained committed to the idea of a “participative identity”—one that allowed citizens to adapt and reinterpret its design. “Throughout this entire process, that was always on my mind—how can the public take part in celebrating this identity?” he said. Bram still found the long and often rigorous experience relatively rewarding. “I also enjoy working with limitations: the stricter the framework, the more fun the concept exploration becomes.”
To the passerby, the final design may look simple, but Bram noted that its simplicity is often misunderstood: “There’s this idea that if something looks simple, it must’ve been easy to make. But in reality, there’s a long, industry-grade and meticulous process behind it,” he explained. Designing a national identity that will be seen and used by all corners of Indonesian society requires deep commitment, discipline, and responsibility.
An additional challenge to designing something at such a scale is how it is received once in the hands of the audience. When the logo was released to the public, social media lit up within minutes—triggering a flood of reactions, from earnest critique to lighthearted memes. Rather than being discouraged, Bram saw this as a reflection of deep public engagement. “To me, this just shows how creative the Indonesian people are. They’re responding (to the logo) in their own ways—sometimes even revealing their hopes through their criticisms.” Bram embraced the public’s response and saw it as an extension of his participative design ethos: “It’s just a matter of celebration and expression of what their own vision for Indonesia is. Embedded in their criticism (of the visual identity) are their hopes. This identity becomes a collective platform that is open to all to voice their concerns, critiques, and reflections. And that, to me, is incredibly meaningful. I’m glad the design can be used in that manner,” he said.
Bram’s approach also marked a departure from the design styles that have been attached to the previous iterations. This is particularly evident in the absence of supporting supergraphics or heavy decorative elements, and instead opted for a stripped-down form, spotlighting its essential elements, which can be seen in the choice of typography. Instead of following in the footsteps of previous Independence Day visual identities that favor the use of sans-serif fonts, Bram chose a more nuanced and subtle condensed typeface. “Being direct doesn’t mean you have to shout,” he explained. Every decision was made carefully, and concerned with its accessibility towards the public—ensuring its convenient implementability.
Naturally, not everyone is able to immediately embrace change. “I get it—innovation or novelty can feel disruptive. But that’s to be expected. It is human to struggle when facing change,” Bram said. He compared the situation to early backlash over global rebrands, like Instagram’s logo revamp. For Bram, this moment is a time to see how far this identity can live and grow among the people. He believes that the meaning and connection to this visual identity doesn’t fall solely on the government or designer—but also in how people use, interpret, and celebrate it in their daily lives.
As part of a long lineage of Independence Day identities that is continuously changed and shaped, Bram Patria Yoshugi’s work marks a new visual chapter for Indonesia. Within the simplicity of the design, there is a space for public participation, critique, hope, and love for the nation. And in that very space, the true power of design emerges—not just in form, but in how it is celebrated together.
