Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
© 2024 Polish Graphic Design Foundation. All rights reserved.
Motto
Everything is very uncertain and that's what calms me down - Moomins, Tove Jansson
Poland
Martyna
Blaszczyk
Design
Sustainability, Social Design, Solutions for the City
Bio
Art historian, continuing her scientific work as part of her doctorate, focusing on issues related to intercultural dialogue, hybridity of art and the problem of cultural identity.
Professionally associated with Tri-City cultural institutions since 2014. Since 2020, a member of the Gdynia Design Days team and PPNT Gdynia | Design Center. Curator of exhibitions, manager of exhibition program for the festival, manager of the MANUBA project, author of articles on design and history of art.
Clients
MANUBA project, Long Live Design Exhibition, Creative Circular Cities EU project, Gdynia Design Days exhibitions, IKEA partnership, Porsche partnership
Awards
More Speakers and Mentors
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.
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.
Daeki
Shim
It's not unique to Korea; a one-sided relationship has no future, so please work with people who respect and acknowledge each other's value.
Yoshiko
Hada
Though this is about illustration, I think there is a tendency to prefer narrative and explanatory elements over visual (graphical ) interest. (But maybe things have changed a bit recently?)