Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
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.
DENTSU INC., HAKUHODO Inc., Mori Building Co., Ltd., 21_21 DESIGN SHIGHT inc., JAGDA...
JP
FOREIN
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.
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.
Many people think we Germans are perfect. What nonsense!
Though this is about illustration, I think there is a tendency to prefer narrative and explanatory elements over visual (graphical ) interest. (But maybe things have changed a bit recently?)