Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
© 2024 Polish Graphic Design Foundation. All rights reserved.
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
Lars
Harmsen
Many people think we Germans are perfect. What nonsense!
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.
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.
Yoshiko
Hada
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?)