Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
© 2024 Polish Graphic Design Foundation. All rights reserved.
Motto
More feelings and less thinking. Be grateful. Trust yourself. Love your family and friends.
Germany
Lars
Harmsen
Design
Teaching, Typography
Bio
Prof. Lars Harmsen is creative director and partner of Munich-based agency Melville Brand Design and initiator & head of Slanted Publishers, co-founded in 2014.
Since 2011 he is professor for typography and editorial design at the Dortmund University of Applied Sciences & Art and was Associate Professor at the American University of Sharjah (2018).
He also is curator of the artist book series 100for10 and co-founder of Poster Rex, a silkscreen poster project. Harmsen is author and designer of numerous books on design, typography and photography. His work has been awarded nationally and internationally.
Clients
Slanted, Adidas, Canon, Prestel, Makers Bible, 100for10
Awards
ADC Wettbewerb, Deutscher Designer Club, ADC of Europe, Annual Multimedia, Berliner Type, Designpreis der Bundesrepublik Deutschland, European Design Awards, German Design Award, Gregor International Calendar Award, iF communication design award, Lead Awards, Red Dot Award Communication Design, Tokyo TDC, Type Directors Club NY, Werkbund Label
More Speakers and Mentors
Mateusz
Machalski
I think that Polish design is mainly associated with the Polish school of posters – and this is definitely superficial, because we had very good illustrators and an extremely interesting history of typography and the geopolitical changes that influenced its development.
Ola
Niepsuj
Polish design culture is deeply rooted in a rich tradition of poster art, known as the "Polish School of Poster Art," a movement that combined bold graphics and a strong sense of symbolism to convey complex messages with minimal resources. Contemporary Polish design often draws inspiration from this heritage, including "designing by hand", while blending it with a modern, digital aesthetic.
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.
Ada
Zielinska
People from other countries might not know that the design culture in Poland is deeply rooted in both tradition and innovation. The iconic Polish School of Poster, which emerged in the mid-20th century, remains influential, known for its unique blend of surrealism, symbolism, and minimalism. Another lesser-known aspect is the role of graphic design. While Polish posters have gained international recognition, graphic design, including elements like logos, packaging, and printed materials, has only recently been rediscovered and appreciated. Polish graphic design icons such as Karol Śliwka, Jerzy Treutler, and Roman Duszek are behind these influential works.