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
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.
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.
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.
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.