Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
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Motto
Japan
Yuri
Uenishi
Design
Bio
Born in Tokyo in 1987, Uenishi graduated from Tama Art University and joined Dentsu in 2010. She then started working independently in 2021, established in hokkyoku co., ltd.. Her works cover various fields, including branding, campaigning, images, spaces, books and magazines. Her past works include the poster of the World Table Tennis Championships 2015, graphic design for the exhibition "The Year 2121: Futures In-Sight," LAFORET GRAND BAZAR SUMMER 2018 & 2019, and after, and magazine Kohkoku (published by Hakuhodo.) She has won many awards, including the Cannes Lions Gold, NYADC Gold, D&AD Gold, Tokyo ADC Award, and JAGDA New Designer Award.
Clients
DENTSU INC., HAKUHODO Inc., Mori Building Co., Ltd., 21_21 DESIGN SHIGHT inc., JAGDA...
Awards
JP
- TOKYO ADC Prize
- JAGDA Prize
- JAGDA New Designer Prize
- International Poster Triennial In Toyama 15 _ Silver
- ACC Grand Prix
- GOOD DESIGN AWARD BEST 100
- 朝日広告賞 準Grand Prix
FOREIN
- D&AD _ Gold
- NY ADC _ Gold
- CANNES LIONS _ Gold
- CANNES YOUNG LIONS _ Gold
- ONE SHOW _ Silver
- CLIO AWARD _Gold
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.
Ksawery
Komputery
Poland's design culture is deeply rooted in its rich history and traditions, blending modern aesthetics with folk art. One aspect that people from other countries might not know is the strong influence of Polish Poster Art, which emerged in the mid-20th century and is characterized by its unique combination of simplicity, bold colors, and surreal elements. Additionally, Polish designers often draw inspiration from the country's turbulent history and diverse architecture, creating works that are both innovative and reflective of Poland's cultural heritage.
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.
Zofia
Dzierzawska-Bojanowska
Polish design history has been very tumuluous and directly related to the country's history and political systems.