Ariana Grande’s new single “Petal” carries a quiet Indonesian signature most fans will never notice at first glance. The bold red title that flashes on screen and the wide shot of Hollywood Boulevard both came from a studio in Depok.

Tsaqif Baihaqi of Rising67 Studio handled the text design and matte painting for the music video. This is his second job with Grande’s team. He previously created artwork for the single “Hate That I Made You Love Me.” The latest collaboration was reported on 1 August 2026 by local accounts citing the studio’s Instagram.

At a glance

• Second collaboration between Tsaqif Baihaqi / Rising67 Studio and Ariana Grande’s team

• Text design referenced Alfred Hitchcock’s Psycho title style

• Matte painting drew from the aerial views in North by Northwest

• Work delivered through Rising67 Studio in Depok

Who is the Depok illustrator behind Ariana Grande's "Petal"?

Tsaqif Baihaqi is an illustrator based in Depok who, through his studio Rising67, was hired again by Ariana Grande’s creative team in 2026 to design the on-screen title treatment and a key matte-painting background for the “Petal” music video. The text uses a cracked, fractured lettering style developed from Psycho references. The matte painting reworks the high-angle cityscape feel of North by Northwest into a Hollywood Boulevard scene complete with Walk of Fame stars.

What did Tsaqif Baihaqi create for the “Petal” music video?
The brief for the title was clear. Grande’s team sent the Psycho font as a starting point the sharp, sliced look that has defined that film for decades. Tsaqif did not copy it. He broke the letters further, varying the direction and pattern of the cracks so the word “PETAL” feels original while still carrying that tension. The final version sits in heavy red against dark backgrounds, the kind of graphic that lands hard even on a phone screen.

For the matte painting he looked at another Hitchcock classic. The famous overhead views in North by Northwest became the base for a reconstructed Hollywood Boulevard. Stars on the sidewalk, the long stretch of pavement, the sense of looking down from above all of it was rebuilt so the video could place Ariana in that setting without a full location shoot. The result is a quiet technical flex: a digital backdrop that feels lived-in rather than pasted on.

Why does this collaboration matter for Indonesian creatives?
What makes the story land for Indonesian readers is the distance. A working illustrator in Depok is now part of the visual chain for a global pop release. No press conference, no big announcement just a studio credit that local media picked up and shared. The same hands that once delivered the “Hate That I Made You Love Me” artwork were trusted again for something more visible inside the actual video.

The atmosphere of the project itself stays low-key. Studio posts and the subsequent coverage show a straightforward professional loop: brief received, references studied, final files delivered. There is no drama in the telling, only the quiet fact that the work passed the test twice.

One specific line from the coverage captures the practical side: the text design kept the Hitchcock reference but changed the crack patterns and directions so the final treatment still felt distinct. That single adjustment is the difference between a direct homage and a usable new asset for a major artist.

The larger point is easy to miss if you only watch the video once. Indonesian visual talent is no longer waiting at the edge of these projects. In this case it is already inside the frame.