Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
© 2024 Polish Graphic Design Foundation. All rights reserved.
Motto
Idea first, design second.
Poland
Oksana
Shmygol
Design
graphic design, logo design, editorial design, packaging design
Bio
A graphic designer and creative director, a partner at Studio Otwarte (based in Krakow, Poland), which she has been co-creating for over 14 years. Specialises in branding, editorial and packaging design. She has worked on visual identities for a wide range of brands of different sizes and profiles, as well as for cities and cultural institutions and many award-winning branding projects.
She is also a University lecturer, online and offline workshop leader and a speaker at Polish and international conferences.
Clients
Unit8, City of Rybnik, City of Racibórz, Ringer Axel Springer, Jewish Culture Festival, Ludowy Theater
Awards
3x 2024 Golden Pin Design Award Mark Winner, Red dot, 2x European design awards, 2x Type Directors Club Awards, Polish Project of the Year, Polish Team of the year 2020, 11x Polish Graphic Design Award, 9x Ad Creators Club (Poland)
More Speakers and Mentors
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.
HyoJun
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.
Te Ming
Wang
Taiwan's design culture integrates influences from diverse cultures, including Chinese, Japanese, Western, and indigenous elements, creating a unique and multifaceted style. Additionally, Taiwanese designers emphasize refinement and intricacy, often incorporating local cultural elements such as temple fairs, calligraphy, and traditional crafts into their designs, highlighting cultural heritage. The design industry in Taiwan is closely linked with the technology sector, demonstrating competitiveness in UI/UX design and smart product design. These characteristics may not be fully understood or recognized internationally. Furthermore, Taiwanese design is often influenced by social and political contexts, reflecting concerns about issues such as the environment and local identity.
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.