Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
© 2024 Polish Graphic Design Foundation. All rights reserved.
Motto
South Korea
Moa
Ku
Design
Calligraphy
Bio
As a type designer at Sandoll, I worked on and designed various font projects as a senior researcher and team leader at AG Typography Institute.
I am currently the CEO and type designer of graphic studio 'woooa', conducting research on types and teaching type design.
Clients
Happiness Sans, 87MM ILSANG, AG Choi Jungho Screen, Sandoll LateSpring, Sandoll GyeokdongMyeongjo
Awards
Granshan, Red Dot Design Award
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.
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.
Michal
Piernikowski
Polish design consistently marks its presence on global markets, combining diferent perspectives that reflects the cultural context of Poland, while perfectly adapting to the expectations of customers from all over the world. Today polish design not only draws on its history and regional motifs, creatively reinterpreting patterns from the past, but also develops by embracing new values like: innovation, responsibility, resourcefulness, locality, and nostalgia.
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.