Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
© 2024 Polish Graphic Design Foundation. All rights reserved.
Motto
Nulla dies sine linea – Not a day without a line
Poland
Mateusz
Machalski
Design
Research & Lecturer
Bio
Dr hab. Mateusz Machalski is an award-winning designer whose practice focuses on the role of typography in branding and visual communication. In addition to his design work, he curates exhibitions, conducts research, lead workshops and is a professor at the Academy of Fine Arts in Warsaw
Selected as the Designer of the Year 2019 in the Polish Graphic Awards. Winner of the scholarship of the Minister of Science and Higher Education for outstanding young scientists. Five-time scholarship holder of the Minister of Culture. Winner of the "Młoda Polska" scholarship of the National Center for Culture. Member of the board of the Association of Applied Graphic Designers. Member of the program board of the International Poster Biennale. Member of ATypI (Association Typographique Internationale). Winner of the Best of Design 2018 award - Klub Twórców Reklamy. Featured as "Ascender 2018" by Type Directors Club New York. He received the "Animator 2020" award in the DESIGN ALIVE competition. Decorated by the President of the Republic of Poland with the Medal of the Centenary of Regained Independence.
Author of over 50 type families, numerous corporate and multi-script typefaces and over 150 visual identifications of companies, institutions and events. Team leader in revival project "BRYGADA 1918" which premiered at the Presidential Palace with the participation of the President. Author of the intergenerational Bona Nova project carried out together with Andrzej Heidrich – the designer of Polish banknotes. Co-founder of the BORUTTA creative group, RESPECT WWA foundation. Author of numerous texts and articles about graphic design, visual culture and typography.
Clients
Google Fonts, Adobe Fonts, Tupperware, Lech, Żywiec, Allegro, Hayb, Myfonts, Monotype
Awards
PGDA, Design Alive, KTR, TDC New York
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.
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.
Ada
Zielinska
People from other countries might not know that the design culture in Poland is deeply rooted in both tradition and innovation. The iconic Polish School of Poster, which emerged in the mid-20th century, remains influential, known for its unique blend of surrealism, symbolism, and minimalism. Another lesser-known aspect is the role of graphic design. While Polish posters have gained international recognition, graphic design, including elements like logos, packaging, and printed materials, has only recently been rediscovered and appreciated. Polish graphic design icons such as Karol Śliwka, Jerzy Treutler, and Roman Duszek are behind these influential works.
Lars
Harmsen
Many people think we Germans are perfect. What nonsense!