Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
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Motto
We must rethink design’s role in society by embracing inclusive, ethical, and community-driven practices. Design should promote justice, healing, and connection to nature, moving beyond sustainability toward regeneration. Our work must support a more equitable and ecological future for all.
Poland / Indonesia
Kuki
Iwanski
Design
Illustration
Bio
Kuki, born on 1985, involved in poster design, branding, and illustration. His work thrives on spontaneity, but don’t be fooled—it’s all about balance and order. With influences from Neo-Plasticism and Bauhaus, Kuki’s style leans into clean, geometric shapes that keep things fresh and modern.
He’s all about ditching realism for abstract forms, creating designs where simplicity rules. You’ll see shapes overlap, but never fully hide, keeping things visually engaging without getting too chaotic. Kuki’s design journey is all about experimenting without losing his cool.
He believes good design can come from anywhere—whether it’s branding, prints, or commercial projects. With a bit of intuition and a dash of creativity, he blends fun with functionality, proving design can be thoughtful without being overly serious.
Clients
Netflix, Warner Bros Discovery, Wordbank, Heineken, Studio, Malta
Awards
European Design Awards, China International Poster Biennale, Polish Film Festival, Oesol International Typography Award, B.I International Poster Art Biennale, Communication Arts, International China Poster Biennale, TDC Annual Awards
More Speakers and Mentors
Yui
Takada
The typsetting is unique. The ability to use hiragana, katakana, kanji, and alphanumeric characters in both vertical and horizontal writing is, we feel, unique in Japanese design culture.
Ian
Lynam
There are three different reading directions for typeset Japanese!
Zofia
Dzierzawska-Bojanowska
Polish design history has been very tumuluous and directly related to the country's history and political systems.
Patryk
Hardziej
In Poland after World War II, many designers were active in creating graphic symbols. Due to specific political conditions, these projects could be much more free and artistic than in the West. Besides the Polish poster, it is the graphic symbol that is particularly noteworthy when it comes to design in Poland.