This project is a concept design for the battle armor of a German space soldier, developed for an animation project in production. The design combines futuristic technology with elements inspired by German military aesthetics. I focused on the armor’s structure, materials, and functional details to make the design believable within a sci-fi setting while maintaining a clear visual identity. The final artwork was created as a visual reference for a 3D model that would be developed in Blender for use in an animated film.

https://www.twine.net/signin

This project was developed around 2022 as an NFT collection based on an original intellectual property that I created. The story takes place in a post-apocalyptic future where the last remaining unaugmented humans struggle to survive in a society dominated by advanced bio-engineered synthetic humans.

My role covered the entire creative process, including developing the core concept, worldbuilding, character lore, visual direction, and illustration. The project was planned as a large-scale collection consisting of approximately 4,000 unique character variations generated from a wide range of visual attributes and design combinations.

The goal was to build a consistent fictional universe supported by a large cast of collectible characters while maintaining a cohesive visual identity across the collection. Due to the scale of the project, development required a significant amount of time and preparation. As the NFT market began to decline during production, the project was eventually discontinued before release.

Although it was never launched publicly, the project provided valuable experience in long-form worldbuilding, character design systems, asset planning, and the creation of large-volume visual content based on a single original IP.

https://www.twine.net/signin

The Beachbuds is an animated TV series developed for international distribution. As part of the project, I was responsible for designing a microsite used as a presentation and pitching platform for television networks and potential international partners.

The microsite was developed to introduce the series through its main concept, setting, characters, and visual direction. I worked with character illustrations and animation footage provided by the in-house 2D team and international animation partners, arranging these materials into a clear and consistent digital presentation.

My role covered the visual design, layout, and overall structure of the microsite, with the aim of making the information easy to navigate while maintaining the visual identity of the series. The site was used by the sales team during the pitching process to present The Beachbuds to international networks, and later supported the project in securing a broadcasting agreement with Disney+ Hotstar.

Design Direction & Project Management: Adihutama Fitrah
Web Design: Randy Agitarius, Adihutama Fitrah
Art Direction: Karen Poon
lllustrations: JToon Studios Indonesia 2D Concept Team

The client specifically requested a logo design that exudes a touch of abstraction, adding a sense of intrigue and visual interest. This requirement pose a challenge for me to craft a logo that captured Denpoo’s excellence and resonated with mid-tier consumers.

The rebranded Denpoo logo features a unique interpretation of a speech bubble – flowing lines and abstract forms. The colors reflect Denpoo’s warmth, and modern typography adds freshness. The success is seen in positive consumer feedback, sparking curiosity and lasting impressions. Collaborating closely with Denpoo, I ensured the logo resonates emotionally with the audience. Proud to be part of Denpoo’s rebranding, this work continues to inspire mid-tier consumers, forging a strong and approachable brand identity.

Flower of Destiny - The Musical is a musical theater performance that tells the story of a princess who is of noble descent, the child of a renowned king in her region, and who possesses a pure heart and courageous nature to defend the truth. Aquila, a brave girl, is able to overcome evil with love and the purity of her heart. The story serves as a reminder of the pure magnificence that originates from within ourselves.

This design project is, for me, one of the several exciting projects to work on. In this project, my team and I contribute to working on the design according to our respective specializations. My team consists of myself as a brand designer and illustrator, a typographer, a visual artist, and a pattern designer. In the initial process, each member of my team and I proposed several design concepts to our superior, the Chief Creative Officer. The concept I proposed used silhouette illustrations to depict one of the iconic scenes from the Flowers of Destiny script. Eventually, my design concept was chosen, and we developed it together.

The double exposure silhouette illustrations of the Princess acted as a frame for the scenery illustrations depicting fantasy world themes and a silhouette of a male protagonist in the foreground.

The golden flower icon symbolizes the Flower of Destiny, an item that is an essentials in the musical’s lore.

Both the illustration and iconography serve as design elements that can be utilized as a visual system and implemented across various media, including digital and print media.

Design Direction & Illustration: Adihutama Fitrah
Logo Design & Type Designer: Andes Vergia
Icon Designer: Reski Tridoanda
Brand Designer: Randy Agitarius
​​​​​​​Motion Graphics Video: 2d Illustrations & 3d CG Animations team

In 2011, a notable Indonesian business magazine known as SWA Sembada contacted DMID for a rebranding. SWA magazine is quite a legendary business magazine that started to launched in 1985. Their need for rebranding is caused by the emergence of international business magazines released in Indonesia such as Fortune Indonesia, Forbes Indonesia, and Bloomberg Businessweek Indonesia. Those international business magazine brands going local are starting to pose a threat to SWA magazine as those magazines come with more polished looks and consistent layouts. These magazines already have a cohesive design language across their products, communications, and media. SWA leadership and stakeholders are in fear that their outdated look and inconsistency would deem their brand irrelevant to the modern-day business magazine target audience.

The Solution

In this project, I’m working at DMID as a brand designer under a creative team led by a Creative Director. Our team started to do a visual audit of the existing SWA magazines and their whole brand identity, in this phase our team uncover the strength and weaknesses of the current brand identity using SWOT analysis. In contrast, our fellow brand consultants in the agency conducted a competitor review and mapped out the new brand strategy for SWA. All the finding and discoveries and brand strategy done by our fellow brand consultants is then compiled as a presentation known as ‘Brand Essence’, which contains a new direction for the brand.

We as the brand designers use the brand essence as the groundwork to start conceiving initial concepts and ideas for the brand identity. I along with other two designers starting to design different routes of the new visual identity. With me contributing two design options, while my two friends contribute one option respectively.

One of my two design routes eventually chosen by the client as their main identity (and still in use until this day). We give a title to every design routes we present to our clients. And the chosen design route is titled ‘The Layers of Knowledge’. As the name suggests, I’m using a philosophy of learning process, that one must acquire layers upon layer of knowledge until he/she become expert. Layers of knowledge that we always find in a book, the tool necessary for one’s improvement.

In terms of visual, layers also resemble magazine pages that stores knowledge, specifically business knowledge. I visually translated this layers of knowledge philosophy into a design language. Where the layers is represented as a transparent shapes in a gradient red overlapping into one another, ultimately transforming the shapes into alphabet S, W, and A. This overlapping transparent visual element is later utilized as a design language, which appear cohesively across all media and communications.

The Challenge

At that time, PLN, a state-owned company, wanted to launch a new option for consumers where this service could make it easier for electricity users to save more with the prepaid electricity method. This method is possible by installing a new electricity meter that can function after entering a certain pin according to the quantity purchased by the consumer.

The Solution

Our brand strategists come up with the brand name Listrik Pintar and the concept revolved around the ideas of using ‘smart electricity’ as the main feature of this brand. Listrik Pintar itself is a wordplay that is a combination between ‘pin’ as in pin numbers and ‘pintar’ as in smart electricity concept. This ideas resonated through a simple brandmark design and visual system.

Brand Strategist: Primo Rizky
Creative Director: Stefanus Alvie
Brand Designer (Logo design): Adihutama Fitrah
Brand Designer (Brand guidelines) : Erick Raharja