Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four

social design
Director of the Łódź Design Festival. Enthusiast of urban activities and design. Initiator and co-organizer of many projects related to the creative industries, m.in. the Ad Days Advertising Festival, the Creative Industries Conference, Art_Inkubatora and Fotofestiwal. Co-founder of Łódź Art Center, member of the team implementing activities in Łódź to popularize broadly understood design.
make me!, must have, Polish Job, Polish Job 2.0,
Annual Award of the Minister of Culture and National Heritage in Design
Design Alive Award
Badge of Merit for the City of Lodz

We're getting there.

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.

In the world of graphic design Poland is known for Polish School of Posters active in 1950s-1980s with expressive solutions based mainly on illustration. In the last years we finally started discovering the unknown heritage in logo design and typography with great masters such as Karol Śliwka, Ryszard Bojar and many more.

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.