Designers in Seoul
Designers in Tokyo
Designers in Taipei
Column Four
Strategy, Visual Design, Visual Identity, Market Acquisition, Hero Campaign
I come from Slovakia, where my journey in design began. After honing my craft through studies, I set out to explore the world, working in Prague, Taipei, and eventually Tokyo. Tokyo, with its unique blend of tradition and modernity, became the place where I could challenge conventions and push boundaries. Starting with a small design studio in Shibuya, I spent a decade refining my craft, digging deep into what makes brands resonate on a human level.
My work isn’t about flashy titles or buzzwords; it’s about getting to the core of what truly matters. I believe that design is more than aesthetics—it’s about creating value that speaks to people on a fundamental level. Over the years, I’ve built a reputation for cutting through the noise and delivering work that doesn’t just look good but makes a real impact. Whether working with clients or developing in-house projects, my focus is on authenticity, purpose, and making design work for real people in the real world.
Through my journey, I’ve stayed true to the values that drove me to start in this field: a relentless pursuit of meaningful work and a commitment to making a difference through design. My path from a design studio in Shibuya to a key figure in the world of brand consulting isn’t just a career trajectory; it’s a testament to what can be achieved when you stay grounded in your principles and keep pushing the boundaries of what’s possible.
VOLVO, ISUZU, UD TRUCKS, GRAMMARLY, CURAPROX, BENTLEY
第二次世界大战后的波兰,许多设计师积极创作图形符号。由于特定的政治条件,这些项目可能比西方更加自由和艺术化。除了波兰的海报外,在波兰的设计中,它是一个特别值得注意的图形符号。
波兰的设计文化深深植根于丰富的海报艺术传统,被称为 “波兰海报艺术学校”,该运动将大胆的图形和强烈的象征意义相结合,以最少的资源传达复杂的信息。当代波兰设计经常从这种传统中汲取灵感,包括 “手工设计”,同时将其与现代数字美学融为一体。
我认为波兰的设计主要与波兰的海报流派有关,这绝对是肤浅的,因为我们有非常优秀的插画家,还有一段非常有趣的排版历史和影响其发展的地缘政治变化。
波兰的设计史非常动荡,与该国的历史和政治制度直接相关。