Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
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Motto
Japan
Kiyonori
Muroga
Design
Bio
Editor, writer, educator. He has worked on publication and projects on graphic design, typography, and visual culture. He recently co-directed “Modes and Characters: Poetics of Graphic Design” (21_21 DESIGN SIGHT). Editor-in-chief of The Graphic Design Review (JAGDA). Former editor-in-chief of IDEA magazine.
Clients
Awards
More Speakers and Mentors
Jan
Diehl-Michalowski
In Poland, design is still in the development phase and there is currently no one specific dominant style characteristic only of our country. Until recently, we were trying to design correctly, and now we are looking at how to design incorrectly.
Michal
Piernikowski
Polish design consistently marks its presence on global markets, combining diferent perspectives that reflects the cultural context of Poland, while perfectly adapting to the expectations of customers from all over the world. Today polish design not only draws on its history and regional motifs, creatively reinterpreting patterns from the past, but also develops by embracing new values like: innovation, responsibility, resourcefulness, locality, and nostalgia.
Lars
Harmsen
Many people think we Germans are perfect. What nonsense!
Dohee
Lee
As someone who studied design at a university in Korea, I’ve observed that there are a vast number of design schools in the country. Considering Korea's population size, the number of design graduates is quite substantial. I find this to be an interesting fact when it comes to understanding the Korean design scene.