Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
© 2024 Polish Graphic Design Foundation. All rights reserved.
Motto
Nulla dies sine linea – Not a day without a line
Poland
Mateusz
Machalski
Design
Research & Lecturer
Bio
Dr hab. Mateusz Machalski is an award-winning designer whose practice focuses on the role of typography in branding and visual communication. In addition to his design work, he curates exhibitions, conducts research, lead workshops and is a professor at the Academy of Fine Arts in Warsaw
Selected as the Designer of the Year 2019 in the Polish Graphic Awards. Winner of the scholarship of the Minister of Science and Higher Education for outstanding young scientists. Five-time scholarship holder of the Minister of Culture. Winner of the "Młoda Polska" scholarship of the National Center for Culture. Member of the board of the Association of Applied Graphic Designers. Member of the program board of the International Poster Biennale. Member of ATypI (Association Typographique Internationale). Winner of the Best of Design 2018 award - Klub Twórców Reklamy. Featured as "Ascender 2018" by Type Directors Club New York. He received the "Animator 2020" award in the DESIGN ALIVE competition. Decorated by the President of the Republic of Poland with the Medal of the Centenary of Regained Independence.
Author of over 50 type families, numerous corporate and multi-script typefaces and over 150 visual identifications of companies, institutions and events. Team leader in revival project "BRYGADA 1918" which premiered at the Presidential Palace with the participation of the President. Author of the intergenerational Bona Nova project carried out together with Andrzej Heidrich – the designer of Polish banknotes. Co-founder of the BORUTTA creative group, RESPECT WWA foundation. Author of numerous texts and articles about graphic design, visual culture and typography.
Clients
Google Fonts, Adobe Fonts, Tupperware, Lech, Żywiec, Allegro, Hayb, Myfonts, Monotype
Awards
PGDA, Design Alive, KTR, TDC New York
More Speakers and Mentors
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.
Oksana
Shmygol
While the most known and celebrated inspirations from the Polish graphic design history is the 1950-80s Polish School of Posters, there is also a less known history of great logo design and typography, which we only started discovering recently. Nowadays Poland has amazing and internationally renowned designers in different fields - illustration, branding, typography and more. The community of professionals - individual designers and studios - is strong and friendly, we learn from each other and give each other advice, but also consciously build market standards together.
Lars
Harmsen
Many people think we Germans are perfect. What nonsense!
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.