Eric Widjaja’s Notes from the Typography Jury Table at the D&AD Awards 2025
Eric Widjaja, Design Principal at Thinking*Room, was entrusted to be one of the judges for the Typography category at this year’s D&AD Awards—alongside a lineup of acclaimed names such as Samar Maakaroun (Partner & Creative Director at Pentagram), Matt Baxter (Founder & Creative Director of Baxter & Bailey), Simon Chong (Senior Creative Director at Wolff Olins), and many more. When the news broke, we were proud (and unsurprised), as we have been familiar with Eric Widjaja’s remarkable work and contributions to the Indonesian graphic design landscape. As a graduate of the Academy of Art University in San Francisco, Eric has dedicated over 15 years to graphic design, leading to his understanding of design as a form of language. With such extensive experience, being selected as a judge at a prestigious event like D&AD has become an achievement in itself. Speaking to Grafis Masa Kini, Eric shared insights on his journey.
The hustle and bustle of London faded as Eric entered the intimate and contemplative jury room. His entry had not been an instant process. From the moment he received the invitation to become part of the jury panel, there were several stages he needed to endure: multiple online sessions were held beforehand to ensure a thorough understanding of the judging process—an experience Eric himself described as smooth and well-organized. “D&AD has an internal team that pre-screens hundreds of entries (upon judging). So, we as judges aren’t overwhelmed in the process,” Eric explained. As part of the initial evaluation, Eric and his fellow jurors were given access to review submissions online, tagging each entry with a simple “yes” or “no.” This step was integral to select the shortlist of entries that would later qualify for the in-person judging sessions.
Facing a table filled with extraordinary typographic works from all over the world, Eric realized the weight of his responsibility. Every decision in the judging process had to be accounted for, as it would impact the global reputation of the awards. Compared to his previous experiences, the pressure at D&AD was significantly higher—particularly when it came to deciding whether a piece deserved an award. “The hardest part was asking ourselves whether we made the right choice. That pressure was felt by all participating judges. That’s why we were extremely critical in determining who deserved a Pencil,” Eric noted. The judging in the Typography category, especially under Typography Craft, emphasized three key aspects: the freshness and originality of the work, the quality of craftsmanship, and the appropriateness of typographic media in its application. “Did the work make us go ‘wow’? Have we seen something like this before? Is the craftsmanship excellent? Is the use of media precise? Those were our guiding questions, leading us to decide whether the piece could set a benchmark for the year ahead.”
Regarding trends, Eric observed that this year’s submissions were notably diverse—colorful and non-repetitive. However, he also noted a significant number of entries utilizing digital type tools for digital mediums. “There were still a lot of works playing with digital type. In terms of major trends, I didn’t see anything dramatically new. But in a conversation I had with Samar Maakaroun, she felt that typography was moving toward tactile approaches, as people seem to be returning to manual techniques,” Eric shared. In line with that observation, many of the awarded pieces leaned towards craft-based, tactile executions against the saturation of digital methods. One such example was Tameko, who won the Yellow Pencil in the category. Although the final product was digital in its execution, the piece appeared extremely simple and tactile, and was built around a single typewriter element. The merging of analogue and digital was executed so seamlessly that there is a sense of effortlessness in its design. Tameko is a new Danish textile company specializing in fabrics for tables, beds, and homeware. Inspired by typewriter art, Tameko’s typographic identity emulates the fabric it represents—a design that prioritizes craftsmanship over flashy digital effects. For Eric, Tameko’s success proved how trends always come full circle. “I believe trends are cyclical. Perhaps now we’re growing tired of all things digital, and we’re heading back to what feels more manual.”
Beyond execution, Eric emphasized that the judges weren’t only evaluating visual appeal—they were also considering whether the work left a lasting impact and moved the audience emotionally. “Take Studio Woork’s piece, for instance, which won a Wood Pencil. When one judge read the concept, they said, ‘It moves me.’ Emotionally, they were touched. I also shared a personal theory with the other judges: when I see a piece, it should make me feel ‘why didn’t I make this?’ That feeling of envy, of awe, has made judging easier,” Eric revealed.
Following Studio Woork’s success, Eric believes that Indonesian designers have great potential to make their mark at D&AD. He shared a few valuable lessons from his judging experience for those looking to submit their work. “Narrative is essential, especially since the judges don’t see the design process firsthand. You must prepare a solid concept narrative, explain the cultural context, and the execution,” he advised. Additionally, Eric encouraged Indonesian designers to consider the broader impact of their work, as this becomes a critical factor during judging. “A beautiful design alone isn’t enough if it doesn’t reach the community or create social impact. That kind of work might not stand out, because impact has become one of the most important criteria.”
D&AD also has a strict content ethics system. There is a special alert feature that flags submissions containing inappropriate racial, religious, or sexual content. Eric recalled one technically impressive piece that was ultimately eliminated for being visually unethical and its lack of a clear message.
Reflecting on this experience, Eric saw his participation in D&AD as not merely as a mark of prestige, but also as a moment to reflect on whether one’s work truly resonates beyond borders. He urged Indonesian designers to be more confident and step onto the global stage. “I think it’s crucial for us, as Indonesian designers, to take that next step,” Eric emphasized. He also raised an interesting discussion around works that are heavily rooted in local cultural elements. In a discussion with ADGI representatives, Eric concluded that D&AD is not explicitly seeking work that is overtly “Indonesian,” but rather pieces that demonstrate strong value and impact across our communities. “Make work that matters. Do the best you can. If you’re confident and proud of what you’ve created, just submit it. Don’t be afraid. At the very least, you’ve tried—and there’s nothing wrong with that.”
As the conversation wrapped up, Eric reflected that judging at D&AD reminded him of his university days, when critique was an essential part of the learning process in design. The jury discussions were highly productive—not just a matter of likes and dislikes, but also involved reasoning, arguments, and seeing design critically.
For Eric Widjaja, the D&AD judging experience was not only an affirmation of his seasoned career in design, but also a reminder that Indonesian designers have a voice that deserves to be heard globally. Design, after all, is not just about outcomes—it’s about the courage to begin, and to create honest, relevant, and meaningful ideas. In an ever-evolving design landscape, one truth remains constant: honest, impactful design will always find its place.
Photo Credit: D&AD & Scott Little Photography
