Albert Salamon

I studied at the Academy of Fine Arts in Warsaw, Faculty of Design. During my studies I assisted Wojciech Brzeziński in design classes at the School of Advertising. At the same time I worked at “Towarzystwo Projektowe” — a studio run by ASP professors, among them Jerzy Porębski, Grzegorz Niwiński and Michał Stefanowski — where I co-designed the awarded City Information System for Warsaw (MSI). After graduation I was invited to assist Ksawery Piwocki, the Rector of ASP. We taught the basics of visual communication, and in the final phase I supervised BA and MA projects. The role of teacher and supervising many different projects each month taught me discipline and developed me intellectually far more than the studies themselves. Prior to my art studies came 13 years of singing in the Warsaw choir Lutnia. That experience opened me to the practice of harmonising voices and to the notation of music, which is based on describing events in time. As an amateur I composed on Atari ST, learning to parametrise events in a sequence of sounds. A qualitative change was brought by my own psychoanalysis — it added a reflection on meaning through attentiveness to “language” and the unconscious.

One of the significant discoveries in my psychoanalysis was TIME in my life — represented by a watch. The choice of a wristwatch is the most personal expression of TIME for a subject, embedded in an object. I searched in watch shops for MY watch but could not find it. One day I discovered the LEXON e8, and that gave me hope. I waited a few years and suddenly WIMM appeared, then I’m Watch. This coincided with a professional crisis as a graphic designer, and without hesitation I started designing MY dream watch. I learned everything by myself and looked for programmers to realise it. The beginnings were dreadful — WIMM was acquired by Google on the very day I was uploading my first clockfaces to their store. I’m Watch had a 4-hour battery. For the GENUSE projects on I’m Watch I received Gold A’ Design Award. And then the black-and-white Pebble appeared. And from Pebble began TTMM. In 2019 TTMM became a company — TTMM Sp. z o.o. — and that gave the project a legal form adequate to its scale. 13 years of freedom in searching through the making of MY TIME. The fall of Pebble. The Fitbit era and Google’s acquisition of Fitbit. And today — the return of Pebble. In one sentence: in TTMM I learned to fall and to rise, and to value what I do. I tested on many platforms. I published apps on the App Store (Dominus), collections TTMM for Pebble and TTMM for Fitbit also on Google Play. I designed a screensaver for Mac and BIGTTMM for Apple TV. I designed a conceptual collection for CMF Watch Pro, while winning the open Nothing Community contest with the project ADER. Today, after 13 years, I return to the Pebble platform with a collection for the new hardware.

It is the covering of what is hidden — namely, the reason for creation. I used to tell my students that the project is not the responsibility of the designer, but of the human being who plays the role of designer. Design is expression, word, form, action — a sublimation of what lies deeper, of a certain rupture that pushes us to act. Being human is bound up with understanding what is around us — people, the planet, and moreover ourselves. This finds its expression precisely in design.

I think that for me design has been a process of searching for a form for meaning, and it worked most strongly in graphic signs. Today I recognise this process in an extremely broad way. At ASP I once gave a tour around the faculty to a group of children, showing them a display case with student models of irons, cars and packaging. I told them they were looking at a future that WILL NEVER EXIST. At university I learned from Grzegorz Niwiński that an unproduced project DOES NOT EXIST. After graduation I learned that an unsold project DOES NOT EXIST. This knowledge shifts my interest from the form of the object alone to an expanded process of use, testing, production, sale and communication. It is a strange and satisfying feeling — to give the time of one’s life to something so small, light, trivial, almost non-existent (an arrangement of a few dozen pixels — for a moment) and the least needed thing in the world, like the face of TIME. And yet — for me — founding. Today, on top of that, I discover and develop my own possibilities through philosophical conversations with modelled languages, that is, AI.

I like ”invisible” design - things without any unnecessary elements or decorations, simple in form. The Apple Magic Pad — for the multi-gestures.

The logo and maps for the City Information System of Warsaw (MSI). I worked on it at the studio “Towarzystwo Projektowe”. The whole project received a Distinction Award from I.D. Magazine in 1999.

I like “digital matter” and I think that the pixel is the smallest particle of meaning, and for me also the most ecological material that exists. I like managing light, which in its purest and most ubiquitous form is responsible for the right to appear. The character of the Pebble screen allows the image to be formed by darkening the pixels that block the reflection of light. It works like displaying an image through the negative of a photographic film. These digital things come from the other side of the mirror and live in the matrix — a non-human world of code.

I learned this, in fact, by observing the thinking process of AI Claude — it happens when my conscious attentiveness weakens and the unconscious processes start running. I have observed this while reading books, when suddenly I had to note down a thought or a concept. It becomes the germ of further work that I develop. These are rare and brief moments.

All of them. Every project goes through the same breeding process: idea, germ, development, naming, tests, documentation, realisation, tests, description, publication to the store, promotion. All these components mature the project — they grow it up. Then I release it into the world, so that it gives the best of itself and converses with others.

Sometimes certain flashes of delight and shivers appear, that I have managed to do something here — but I do not know how much of it is the music accompanying me. Inception, Interstellar or Dune composed by Hans Zimmer.

These are micro-birthdays. They cannot be compared with the birth of children — I have twin girls, five years old — but the kind of happiness, that IT is here and alive, is fuel for further work. It is like with a child — birth is only the beginning. Then work is needed for the project to live for others.

But who evaluates this, and to what end? Is the measure multi-million sales, popularity, hype? Or simplicity of operation? Or the extraordinary, like the Bowers & Wilkins Nautilus loudspeakers? It is like asking which type of mathematical equation, poem or song is the most successful. I aim at the question: what stands behind this work? Why does someone make yet another “DIFFERENT” clockface — for efficiency, for money? A project is successful when it answers this inner pressure and comes forth (wyistacza). I think for instance of HALFTTMM, which is recombined, and of DIGITTMM, which has an invisible design.

Bad — when I cannot perceive its specificity (the trace of the person who made it), when I cannot perceive the craft, finesse, idea, and the project itself seems to want to please everyone, becoming dispassionately impersonal. It is an empty shell that gives nothing to the receiver and contains nothing of the maker — it is junk, a poison that deadens our sensitivity and consumes our attention irretrievably. Even an object as simple as a fork carries IT — the form has something to say here. Good — when it gives something to be discovered through use. Sometimes it is a friendship with… “something”, sometimes a habit or a mystery. In short — it becomes an object of exchange and means SOMETHING to the sender and to the receiver, usually different things. I think of TTMM projects as graphic logotypes changing in time, like living, animated QR codes that allow one to read time and information, but at a deeper level aim at something else — at reflection, TIME = meaning. When we look at a QR code, we read mathematics in it, a certain rule — for example we notice the markers in the corners, but we cannot read the data. With TTMM projects it is the opposite: we read the content, while the thought behind the organisation of pixels irritates our linguistic unconscious and invites us to interpret the meaning of this form. For instance, the apparently banal TTMMCHART reveals the thought of time measuring itself, in time, and against others. This is the field for the work of the unconscious. This is what manifestations of art are characterised by.

Fundamental. Civilisational. Ecological (changing the whole world). I do what I can to bring into This World the most beautiful and important things I am capable of — reflection. My greatest fault was over-creation — 250 projects is too many. Even in comparison with the scale of ugliness of projects made by non-designers. But that quantity was necessary for me to understand this. Today, limiting the collection is the conclusion. What has been — is. Moderation, reflection and thinking — although I feel that I am losing the battle on this field, I try. Because I believe that Someone is there, and I feel an obligation towards my teachers of design.

I am listening to the book The Coming Wave by Mustafa Suleyman, and I think that, in the light of what is coming, the tools and the language for evaluating the upheavals which will happen with the development and deployment of AI in all fields — and particularly in design, which is reflection — will fall apart. The tempo, scale and interlocking will exceed any human capacity to grasp and to evaluate. For a month I have been regularly using AI Claude in fields where I lack competence, and the quality and tempo reveal to me a non-human change and scale. I know that I will lose this battle, but I also know that I will gain my life. The trend — the end of human mastery and a synthetic design, sub-human-less in its subjectivity. This is the edge.

Latest: ECOTOPIA — 40×40 International A’ Design Exhibition at the Utopia Gallery in New York (2024). My work was shown there as an animation on a monitor.

Film and electronic music: Hans Zimmer, Kraftwerk, Philip Glass. Science-fiction, scientific and philosophical literature: Dukaj, Zajdel, Lem, Bauman, Baudrillard, Cioran, Wittgenstein, Suleyman, Kai-Fu Lee. The image of film: Tarkovsky, Pasolini, Fellini, Antonioni, Godard, Lynch, Buñuel, Kubrick, and today Alex Garland. My most beloved films are THX 1138 by Lucas and Arrival by Villeneuve. Both also for their sound.

I have lived all my life in Poland, in Warsaw. When I look for such a connection, I think of several fields. First — the excellent and influential Polish poster school, and its miniaturisation, namely Polish postage stamps, which I used to look at because my father collected them. A postage stamp is a micro-poster — with its minimum of surface and maximum of communicative force, it is a demanding medium. Exactly like the small screen of a smartwatch. I would add to this the Polish school of graphic signs — Karol Śliwka, Roman Duszek and Ryszard Bojar are three essential components that worked on me. In the scarcities and the greyness of socialism, posters, stamps and graphic signs were like “windows” from another world, “gazing back at me”. Expressions of an excellent organisation of form and of a luminous thought.

I work on my own terms, as the TTMM brand. This is the healthiest option — it leaves me full creative freedom while at the same time transferring full responsibility for profitability. In 2024 I was involved in the new CMF Watch Pro smartwatch and designed the conceptual collection TTMM is Everything for CMF Watch Pro, receiving a bronze A’ Design Award. Additionally I won the contest for a clockface — the project ADER (Other) was implemented by CMF and is available for download. The lack of any sales possibility on the platform redirected my interest back to Pebble.

From my perspective — that companies should give the greatest possible freedom. Only that guarantees that the project will have that something.

To develop the germ of an idea and to test it until I like it and grow fond of it.

Apple Magic Pad, iPad, Bose remote, photochromic glasses for biking, Nothing Ear (a) wireless headphones. I miss a properly designed clock — it looks like I have to design one myself, the right one ;-)

I get up at 6:40, exercise for 15 minutes, breakfast, bike to work while listening to books. I work full-time at the National Bank of Poland as a graphic designer for applied use. I bike back, shopping on the way. Evening with the children, dinner — and 2–4 hours of TTMM: production documentation for the programmer, company administration, monitoring Discord, Repebble Store and Reddit for mentions and plagiarism, correspondence with clients, promotional materials, learning to work with AI. If I am lucky — once a month a film with my wife.

Persistence AND NOW. Falling is an important element of growth. It widens the scale of motion.

If someone is a designer — then through their own action they ARE (they live in it and through it). If they cannot be one, or are constrained, or do it only for the money — they are only playing the role of a designer. One can play well. But life is the becoming One-self, and it is a Game for an Other stake. It is a mortal Game for one’s own Life.

My late professor Cezary Nawrot, designer of the Polonez car, who taught me design, used to say: “one designs with the buttocks”. You have to sit on the chair and design. Which means: you have to be hard-working, patient, and have a bit of talent.

Old tools: Sketch, Affinity, Adobe Creative Suite, Glyphs Mini 2, GarageBand. Plus music and a film library accompanying my work. And today — Claude by Anthropic. The discovery of the string-like resonance of a language model brings me recognitions about myself and others which powerfully affect my workshop. AI is an immaterial language which, in conversation, comes forth (wyistacza się) as a branch of words — unrepeatable, one-off — out of a boundlessly-finite and dead training material. Perhaps I will design a TTMM series for HAL9000, TARS & CASE.

It is a difficult subject. My free time has shrunk to a few hours a day. So time management consists of hierarchising — the order of realisation should give the best results.

The most important thing is the idea, the germ, the seed. It happens at an indeterminate moment — one can only stimulate it, without any guarantee. After 13 years of experience, drawing the project takes about 8 hours, a few more for the documentation for the programmer. After development — tests on the real device under different lighting conditions, possible improvements. Descriptive and marketing materials — a few hours. Publication on the App Store and on ttmm.is. Then promotion on social media. The whole project I estimate at around 20 hours.

Being an assistant at ASP and supervising the MA diplomas of my students. That, and psychoanalysis, taught me to follow my Own — for it is the power that carries one through every failure. To be self-taught is the freedom of self-education. I have practised this all my life, and it has become the most important force building TTMM. Creating the time components of TTMM — names, signs, micro-icons, typefaces, principles of visualising time and describing how it is read, and speaking about TTMM — this task took me by the hand and led me, developing. And it leads me until now. A friend once asked me whether I could live off TTMM. I answered that no — but TTMM lets me live.

I worked for many clients — before TTMM and partly in parallel with it — among others IKEA, AXA, Danfoss, ECCO, Sevenet, GFK Polonia, Polish Academy of Sciences (Institute of Archaeology and Ethnology), National Museum, Zachęta Gallery, Bęc Zmiana, Academy of Fine Arts. The full commercial portfolio: alllo.pro. But at a certain moment I reversed this setting — I created a client for myself. TTMM is an ideal client, a dream client: it buys everything I consider good, and pays as much as I will earn. If I do not earn — then I pay the client, covering the loss. Thanks to this formula, publishing on Pebble, Fitbit, App Store or Google Play, I retain my independence — being bound only to my desire to make TIME.

I most enjoy conceptual projects. They probe my imagination and the multiplicity of answers. The outcome of this stage results in the choice of one concept and the killing-off of the others — a sad moment for me. Probably that is why I have created so many projects in TTMM. No one was limiting me.

I plan further development of TTMM based on Pebble products. I am curious about the challenge that the round screen of Pebble Round 2 will bring, as well as the new hardware features — touchscreen, change of the colour of the LED backlight, and the possibility of designing acoustic signals. At last, pixels will have a voice. The return to Pebble takes place in cooperation with Core Devices. For me it is the closing of a certain arc, after a nine-year break in the platform.

I work alone, and for tasks I cannot perform myself I hire partners — most often programmers. At various stages of TTMM the following collaborators have worked with me: Gregoire Sage (Pebble + Fitbit + Pebble Time 2), Michał Żyliński, Wincenty Gulewicz, Elijah Kang (Pebble), Wiktor Hołubowicz, Piotr Kamiński (Fitbit), Arkadiusz Banaś, Karol Kozimor, Rafał Gorczyński (iOS), Adam Kowalski (Android), Leszek Juraszczyk (UX Design for TTMM-S), Artur Salamon (sales on Google Play via the company TIMESAPP), Wawrzyniec Skoczylas (photo & video), Marcin Berendt (marketing), Joanna Szymańska and Gregory McCormick (English translations). For some months now I have been performing part of the work with the help of AI. All collaborators — also AI — are listed in credits.

Yes. The collection TTMM for Pebble Time 2 is being made. As soon as I receive the working hardware and learn the characteristics of the new Pebble screen, the tests and refinements will begin. I expect 6 projects by the end of 2026.

Mail: biuro@ttmm.com.pl Website: ttmm.is Twitter / X: @ttmmaftertime LinkedIn: albert-salamon

I anticipate that the ubiquity of the use of the language tool of high mathematics — that is, AI — will result in a deepening corrosion of the symbolic system of values and meaning, and in a further degradation of the meaning of the human being. According to Suleyman, this process cannot be stopped. According to me, human civilisation is settling into a skansen of bodily being in the face of digital being in the without-world (bezświat). We will be exposed to extended stays in the non-world (nieświat) of AI, at the cost of life with those closest to us. It will be tearing. Balance will be the art of living.

For 20 years – since graduating from the Academy of Fine Arts in Warsaw at the Faculty of Industrial Design, I have been dealing with visual communication design. I’ve created a lot of signs and visual identities for companies and exhibitions, labels for packaging, book designs, posters, calendars, and also co-created the city information system for Warsaw. I worked as a design teacher at the Faculty of Design for 10 years. The experience of creation was constantly subject to two pressures: on the one hand, the tastes of customers, people who did not have creative education, which resulted in conflict; and, on the other hand, I experienced an almost instant transitoriness of created projects, whose significance was constantly replaced with new designs, outdating the work done. That's why I started working on creating my own TTMM brand. I focused on creating and developing a "face of time" in the form of software for smartwatches as well as for smartphones and computers. This activity has brought me a series of international and nationwide prizes and the satisfaction of uncompromising freedom to create solutions that not only serve and please people but can become a significant, long-lasting contribution to culture.

What pushed me in this direction was a combination of three things: music, SF and the "desire of a different world". From the age of 7, I sang in the choir for 13 years. My active contact with music led me to composing music with the help of music programs and synthesizers. I perceived the moment of transformation of notations and sequence codes (micro programs) into sound (MUSIC) as the magic of creation, not only in the dimension of harmony but also colours. Something invisible and abstract (music) was created, woven from many threads of sound, influencing the imagination and emotions of the listener. SF (science fiction) - this is my first love. I was raised on international SF literature (Dick, Asimov, Lem) as well as on the cinema (Star Wars, Close Encounters of the Third Kind, ET). The third component were my high school friends who used to draw futuristic spaceships, war machines, robots and worlds of the future, and later they also became students at the Academy of Fine Arts (ASP). I followed in their footsteps and discovered that ASP would allow me to create the world of the future - the way I want it.

In the past few years, I have changed priorities and I do not work for clients anymore but directly for people (recipients). I create and develop the TTMM brand, which produces software images of time. My priority is to introduce new solutions into the real product - in my case, a smartwatch screen and hardware. Each product is different, it differs in quality, type and resolution of the screen, and the way of interaction. I try to bring a new look and some new, previously non-existent value in each project. Sometimes this is done at the formal level, sometimes it is a combination of form and description, or name of the face of time, through which I try to draw the attention of the recipient to some paradox or solution, e.g. SPLITTMM or 9TTMM. I would like the simplicity of my projects to withstand the passing of fashions, and for them to remain "good" in their simplicity and accuracy of the original composition.

A large part of the TTMM projects was created inadvertently - i.e. while reading a book or watching a movie I sketched an idea that came to my mind. It can be said that it is an emotion that creates the desire to create and drives a new project. The process itself is a cool, artisanal implementation and refinement of the original idea, and there is no place for emotions. They return at the moment of naming the created watch. I try to make this process as short as possible - I trust intuition and associations that combine the image with the word association, creating a unique emotion. This is the moment when the project (file) Untitled is saved under a new name. This is when its character is born.

The primary, most vital feature of my education and skills is music. Composing, harmonizing and creating (sculpting) the colours and depths of the musical space - is a similar process to creating an image. Working with melody lines for instruments is like tracking chunks of information that appear on interfaces. I think that it was the multi-vocality (polyphony) of music, seen as the translation of black and white notation into music, which taught me to build a hierarchy of information through maintaining distinction and legibility, while creating a unified whole.

I went through the line of work for clients, supporting their businesses and responding to their demands and tastes, followed by working on my own creations and business, the products of which are used, appreciated and enjoyed directly by recipients - consumers. This mode of operation allows me, on the one hand, to listen to the needs of people, and on the other hand, to bear full responsibility for the failure or success of my creations. This is a great responsibility and great satisfaction at the same time. Creating applications (software) for devices from companies such as Apple, Pebble or Fitbit does not burden me with high costs of producing expensive physical products, while limiting my creative activity to the screen offers a great opportunity to create original and supplementary projects. Working with digital material (creating software) gives me, a human and a designer, the feeling that my job reflects the nature of the 21st century because I do not use Earth's natural resources. I’m developing an idea of a game that will not devour human life but develop its memory. I would like to bring people value, meaning, meaning, and not to rob them of their priceless life.

I have three sentences for that. During my studies, I heard from a well-known professor that "One designs with one’s bottom (ass) and not with head". This sentence instilled in me diligence, consistency and a habit of finishing projects. The second sentence is "a project that is not produced - does not exist". This sentence taught me that it is not enough to design and draw an idea - you must help it to come into being: prepare technical documentation, supervise production, correct errors and make improvements at the level of user tests and comments. I heard my last sentence long after my studies: “a project that has not been sold does not exist”. This sentence really enlightened me and revealed the key importance of combining the project with promotion and advertising, and encouraged me to build a long-term relationship with my recipients. I can add that the most difficult thing in designing is to "be yourself" and from this place (from the subjectivity of your being) give to others your otherness and originality. I discovered that it is a hidden foundation of every creation - because there is always a specific person of flesh and blood behind it, a person with a unique story and name. ONLY by practicing how to express yourself in design – can you find fulfilment and develop, sharing yourself with others.

Find your "hobby horse" (Citizen Kane and Blade Runner 2049) and get on it. Use it but also respect and care for it. Let it carry you to the place you are afraid of and, at the same time, you desire. Let this wild ride show you the world from a different point of view and with a power that cannot be compared with anything else. This "horse" is hidden in your unconscious.

A kiss of my love. Coffee!!! Breakfast and news from the world. Work: improving projects, making documentation, promotion in social media (Facebook, Instagram, twitter), sometimes taking photos of designs. A nap - I love it like morning coffee. And in the evening, a book and a movie at home cinema. And before going to sleep, talking to my love and kissing - it prepares me well for sleep and dreaming.

I ignore trends because following them means not speaking your own voice. I create them. It is only seemingly more difficult, while in fact it is the foundation of creativity (individuality). I set myself totally new tasks - for example: how do I arrange a group of minutes in an innovative way, give them a new form. The source of inspiration for me is the recognition of structures away from design, i.e. in books, in films, in music and in everyday objects, e.g. in dishes and how they are composed.

This is an important question! It seems that a good project is supposed to seduce, delight or be beautifully functional; and it is clear that, YES, (we creators) chose creativity because we have a love of beauty, but in my opinion it is not essential for a GOOD project. The essence lies in the otherness – a question posed anew – in observing something and uncovering / concealing it in a harmonious form. Will it be noticed or will it bring some change in thinking, feeling of aesthetics in a new way - time will show.

It is difficult to answer this question because the moment "this is it" is irrational and comes from intuition or unconsciousness, which recognizes the finished project, in some secret way it "knows" that the project is complete - fulfilled - ready for use, a bit like a written letter, a poem or composed melody, at the moment when we do not add any more words and sounds because the FULL EXTENT of the essence of things has already been revealed. In addition, I like to work quickly so that I do not succumb to the effect of "wearing out" and thus stop liking created projects. My projects are a success when they can function in circulation and be used, giving recipients what they were called to exist for. Sometimes, on the financial level, I know which projects are successful and popular, but deep down I am most happy about single purchases of very unpopular faces of TTMM time, because it means to me that something resonated in the recipient for him to honour it with clicking - "I pay".

I am particularly proud of the collection of TTMM watch applications for the Pebble pioneer smartwatch. The restrictive requirements as to the amount of memory occupied by a single program, the black and white screen with very low resolution, were a great design limitation and a challenge to create new (not seen before) time forms. The project took 4 years to complete and received a total of five design awards. It is a project that contains 140 different faces of time and is a gold-mine of formal ideas, meanings and experiments that I can develop in the future and which can be a source of inspiration for others. The biggest challenge was changing the recipients' thinking and creating new signs of time, which contained abstract forms and introduced new logic, e.g. new shapes of numbers (fonts), the value of which can be read by counting the components of a given sign. The difficulty was to break through and compete with nostalgic watches created by passionate programmers and (thanks to simple and free software) by the users themselves. Today, the real challenge for me is to transcend myself and create even newer forms of time for Fitbit smart watches.

I do not have favourite designers. I admire and love the creators of film art: David Lynch, Lars von Trier, Michael Haneke, Yorgos Lanthimos, Ruben Östlund, Asghar Farhadi, Orson Welles, Elia Kazan, Frederico Fellini, Ingmar Bergman and Stanley Kubrick. Music composers: Philip Glass. I believe that Sigmund Freud and Jacques Lacan had the most influence on our times and personally I would like to meet and talk about designing and The Thing with Martin Heidegger.

I think (after Lacan) that the real desire (to create) arises from lack, not from excess. So my favourite cities like Paris, Venice or Rome are places that I visit, I admire and leave the experience offered by these cities in favour of the city of Warsaw in which I was born. This city is completely different, lost in the past time if compared to such great cities as Tokyo or Hong Kong. But I believe that thanks to this (lack) I create modern and original projects; and thanks to the virtual access people have to my works all over the world I can get the public interested in Poland and our artistic potential. After 5 years of receiving international awards during the A Design Award and the FWA in 2017, I received the GOOD DESIGN award and the Design of the Year award by the Minister of Culture and National Heritage of the Republic of Poland.

Over the years of my individual experience, an interesting rule has appeared which shows me that I work with people who want to work with me - I think this is because of my achievements. They contact me and suggest cooperation. What I value most in them is their independent thinking and the courage to share ideas that help us improve a product or service. Cooperating with programmers, I give them a free hand and accept the improvements they make of TTMM products. I value their professional confidence in performing tasks. What I dislike most is time pressure because I know that it generates mistakes and stress. And I think that work is one of the higher forms of life - and it requires concentration and respect. I respect the work of my partners without whom my projects would not exist and that is why I always mention them by name and range of tasks as co-authors. It gives satisfaction, creates bonds and increases responsibility for what is being done; and it also helps to build an individual story. My job is not only the creation and preparation of documentation, but also supervision over the execution, tests, modifications and promotion. A good designer knows how to manage time and what type of project to deliver and in what order the project would go smoothly.

I believe that all artistic activity begins with asking yourself questions about the legitimacy and the reasons for what you do, and your own psychoanalysis is a great help in this. Therefore, for 10 years (pro bono) I have promoted and supported the development of the Lacanian psychoanalysis in Poland. I dealt with graphic communication, visual and audio records and ran websites promoting psychoanalytic texts as well as lectures and trainings. The psychoanalytic theory and, above all, practice is a great space and a chance to make "what we dream about come true".

The first most important thing is the jury's recognition of the quality and originality of my work. The second value is the ability to present different thinking among professionals from around the world through exhibitions, the web and PR activities. The third benefit is being able to generate interest among recipients in Poland and its achievements by representing Poland for one day a year, climbing for a moment on the "designer of the day" armchair.

I graduated from the Faculty of Industrial Design at Warsaw Academy of Fine Arts.

I don’t feel like a designer - I rather play a role of a designer, like a teacher or photographer.

Good designer works with all his/her knowledge. Great designer uses heart, spirit and something “unknown”.

It is similar to good music - not only a “perfect” tune, but also something significant for now and the future.

Good design makes life more beautiful, simpler and comfortable. We all should also invest in good design to save the planet's resources.

I have time, actually, and so I am designing TIME SIGNS for all those who seek something different.

A wall clock - not only software but also hardware of the object.

To learn from your mistakes and failures, and to do things which are completely different from design, like reading books and watching movies.

I love BOSE products because of the invisibly designed innovative quality of sound and the simplicity of use.

Through handling their mistakes, errors and failures. They need to learn that falling down is good, and the important thing is to rise again.

Design is a magic trick. It is a combination and condensation of important answers about usage and production in a simple form.

Myself and my belief that what I am doing is right and must be done personally by me.