Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
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Motto
I work with people who respect and acknowledge each other's value, and in the future, everything will turn out as we envision it.
South Korea
Daeki
Shim
Design
Graphic Design, Branding, Typography
Bio
Daeki Shim is a co-founder of the graphic design studio DAEKI & JUN. As a co-founder, he has been recognized for his work and has won over 100 awards at international design competitions and biennales. Notably, he won the Grand Prix at the 2017 Red Dot Design Award, the Judge’s Choice Award at the 2017 Society of Typographic Arts (STA100) in Chicago, and the Platinum & Gold Awards at the Graphis Annual in 2016 and 2017.
He holds a bachelor's degree in Graphic Design from the University of the Arts London (UAL), a master's degree in Digital Anthropology from University College London (UCL), and a doctoral degree in Design from Seoul National University. He is currently an adjunct professor at Korea National University of Arts, Sejong University, and Seoul Tech University. Additionally, he has served in various prominent roles, including design director and flag exhibition curator for the ‹2021 Wave: East Sea International Art Pre-Biennale›, planning steering committee member for the ‹2019 DDP Design Fair›, director and curator of ‹2018 DDP Seoul Design Brand: Communication Tools›, and chief curator for ‹Typojanchi 2017: International Typography Biennale›, among other positions.
He has participated in over 60 exhibitions at a variety of institutions, including the German Red Dot Design Museum, Die Neue Sammlung (Munich, Germany), Le Signe National Center for Graphic Design (Chaumont, France), 019 (Ghent, Belgium), Ginza Graphic Gallery (GGG, Tokyo, Japan), Hangaram Art Museum at the Seoul Arts Center, Sejong Museum of Art, the National Hangeul Museum, and Culture Station Seoul 284. His work is included in the collections of Die Neue Sammlung, the German Red Dot Design Museum, 019, and the National Hangeul Museum.
Clients
Dongdaemun Design Plaza(DDP), Seoul Design Foundation, Seoul Metropolitan Government, Gangwon State Office, Gangwon Institute of Design Promotion
Awards
Red Dot Design Award, STA(Society of Typographic Arts) 100, Graphis Annual, Tokyo TDC Annual Award, New York TDC(Type Directors Club), Good Design Award, Moscow Global Biennale of Graphic Design Golden Bee, Ecuador Poster Biennale, Brno International Biennial of Graphic Design, Bienal Internacional del Cartel en México, and etc
More Speakers and Mentors
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.
Lars
Harmsen
Many people think we Germans are perfect. What nonsense!
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.
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.