Jerzy Janiszewski: We Particularly Need Solidarity in Europe Today [INTERVIEW]
Can a graphic sign be a national treasure? Can culture react to political turbulence? Can universal values be communicated via a single sign? Jerzy Janiszewski, the author of the iconic Solidarity logo and designer of the logotype for the Polish Presidency of the Council of the European Union in 2025, discusses all these issues with Culture.pl’s Anna Cymer.
Anna Cymer: You designed the logotype for the Polish Presidency of the Council of the European Union. What content, message and energy did you intend to convey in this sign now, in 2025, in the current political, economic and social context?
Jerzy Janiszewski: The Polish presidency is taking place in a new, turbulent context, both here in Poland and in Europe. After eight years, Poland has finally achieved long-awaited normality, the return of democratic standards, the rule of law, proper international relations and substantive European debate. However, even this isn’t taking place without problems. A geopolitical transformation is taking place in the international arena: in Hungary, Germany, Slovakia, France and Serbia, nationalist and right-wing extremist parties and groups are gaining ground; we have to face enormous challenges, such as migration and climate change; there’s an ongoing war in Ukraine; and the government of the United States is changing.
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Logo of the Polish Presidency, designed by Jerzy Janiszewski, 2025, photo: courtesy of the designer
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I wanted to show, in line with my beliefs, how important it is today, in this complicated, difficult and not very optimistic context, for Europe to be strong, integrated, cohesive, harmonious and, as a result, safe. Poland can and should play an important role in such a Europe, not only together with others but also in a leading role. That’s why the Polish colours appear here in a unifying, integrating and consolidating role – our country as a leader in Europe. The energy, dynamism, solidarity and openness that we need so much today are clear.
AC: What has changed in your reflection on that subject since 2011, when Poland previously held the presidency and when you also designed the graphic identity of that event? What has changed in these fourteen years, both in graphic design and in European culture?
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Logo of the Polish Presidency, designed by Jerzy Janiszewski, 2011, photo: courtesy of the designer
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JJ: In 2011, when Poland held the presidency for the first time after joining the European Union, the dominant feeling was satisfaction with the first years of integration, transformation and community activity. That’s why the logotype from that period was multicoloured, showing the colours of the flags of the EU countries, which were heading towards the future under the united leadership of Poland. When we look back on those years today, they seem peaceful; there was no major turbulence in Europe then, in contrast to the tensions in the international arena that are so important today.
Political and social events have always had an impact on culture and, therefore, on graphic design. This was particularly evident in the 1980s and 1990s, when not only the Solidarity revolution but also many other global movements changed our reality. Today, social media have an impact that’s just as great as politics and the economy, and the message reaches more and more recipients faster and faster, so it has to adapt to these realities.
AC: The logotype of the Polish presidency is a sign that’s supposed to identify Poland in Europe, so it must be understandable for audiences from other countries. Is it different when designing for the ‘domestic market’, for fellow Poles, and different again when the sign is supposed to be understandable outside of Poland? Or should we look for universal, timeless and ‘transnational’ forms in graphic design?
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EU Solidarity logotype, designed by Jerzy Janiszewski, 2016, photo: courtesy of the designer
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JJ: For me, the audience is always universal; I don’t divide or distinguish between nationalities or languages. It doesn’t matter whether I work in Poland, France or Spain; my message must be clear and understandable to everyone. When designing a graphic sign expressing opposition or support for various political decisions or actions, I see to it that the message is always understandable to the opposing side as well. When devising the logo for the presidency, creative assumptions such as clarity, simplicity and memorability are obvious. The aim was for the logo to evoke positive associations in line with the ambitions and significance of the Polish presidency.
AC: You haven’t lived in Poland for years but have stayed in touch with what’s happening in Polish culture. Over the years, have you noticed any important, key changes in the relationship between Polish culture and European culture?
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San Fermin poster, designed by Jerzy Janiszewski, 2022, photo: courtesy of the designer
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JJ: My point of view is personal and limited to the zones where I live and work. I observe changes, of course; I see both the positive and the negative. Most importantly, a fundamental change occurred during this time: cultural relations have become accessible, open and free compared to what used to be very limited, for political reasons (no possibility of travelling, being present and participating in events). Thanks to the ‘demolition of walls’, relations have begun to strengthen, and as a result, interest in contemporary Polish culture, which was previously little known, has increased dramatically. It ceased to be enigmatic and has officially become part of European heritage. And vice versa: we have gained broad access to what’s happening in the world, and we experience and know the values of European culture. This is a change that was once difficult to imagine – it was revolutionary and long-awaited.
AC: You are the creator of one of the most important graphic signs in the world, which is undoubtedly the most recognisable symbol of Poland. Can this success also be seen as a kind of burden, comparable to an actor who can’t free himself from being typecast after playing one well-known, characteristic role? Don’t customers expect you to keep repeating motifs associated with the symbol of Solidarity?
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Ukraine, designed by Jerzy Janiszewski, 2022, photo: courtesy of the designer
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JJ: In the 1980s, I naturally experienced great satisfaction in seeing the growing importance of the sign, which became a symbol of the struggle for a free Poland. But at the same time, I was also aware of the risk of becoming dependent on that typeface, of remaining artistically in the same comfortable place. So, I very quickly started to take on new challenges to prove to everyone, and to myself, that I could work in a multidisciplinary way, design in different ways and use other forms. And at that time, I wasn’t even thirty! I’m aware of the importance of this symbol and its impact on democratic change in Poland, but I think I managed to avoid being burdened with this success. When I was compiling my first portfolio in Paris, the Solidarity logo was not the most important part of it, and I don’t bring it to the forefront in professional contacts. Indeed, customers occasionally expect me to use the Solidaryca (Solidarics) typeface. One of the first was Andrzej Wajda for the film Man of Iron (Człowiek z żelaza); there were book covers and titles for documentaries, including the Freedom’s Battle series by Ewa Ewart created for the BBC.
I try to use this typeface only in the most important contexts, when the symbolism of this logo can show the importance of the cause, in protests in defence of basic rights, the rule of law, free media and against aggression in Ukraine.
AC: The Solidarity logo is occasionally used for various political purposes; it’s reworked and used in contexts that contradict the values it originally stood for. This is also done without respecting your copyright. Is it possible to determine where the line is drawn for such use? Is it a good thing that the logo takes on a life of its own and becomes a ‘national treasure’ that everyone can identify with, or should the content, meaning and form of such an important graphic heritage be protected?
JJ: My copyright has never been questioned. It’s a different matter as to whether it’s being respected. In August 1980, when the logo was created, copyright law in Poland was essentially an abstract concept, and there was virtually no possibility of proper supervision. The logo was therefore often reproduced and altered, usually in a rather amateurish way. Such alterations are practised to this day, and some indeed take place without respect for its historical values; such actions are particularly eagerly undertaken by the right side of the political scene, which tries to identify itself autocratically with the sign and claims all rights to it. That’s unacceptable, not least out of respect for the struggle and sacrifices for a free, independent Poland, the rule of law and fundamental human rights.
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Installation, designed by Jerzy Janiszewski, Łódź, 2016, photo: courtesy of the designer
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The Solidarity logo as a ‘national treasure’? Yes, but… not for just any organisation, group or political party that contradicts the values it originally stood for. Its meaning, historical heritage and the context in which it’s used must be protected, as well as its graphic integrity.
AC: In your portfolio, you have film posters, brochures and websites, as well as the visual identity system of the Polish Parliament and ministries. Does each of these design projects carry a different ‘weight’? Different rank, significance for the designer? Does every project require a different approach?
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'Chopin' poster, designed by Jerzy Janiszewski, 2010, photo: courtesy of the designer
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JJ: A poster and a logo (and the visual identity behind it) are separate spheres of creative activity, even when they share a common theme, title or form of concise expression. In a poster, whether it relates to cultural or socio-political topics, the possibilities of visual narration are numerous. Posters offer you an opportunity to express yourself personally and creatively through the use of different techniques, such as photographs, typography, information or a range of colours. It’s quite easy to distinguish the author’s style, means and methods of expression and, hence, to recognise the creator. The graphic sign and its visual information system are a completely different design challenge. Narration is excluded; here, the subject matter, message and communication to the audience must be conveyed in the simplest, most concise form.
All these challenges are exciting to me, and I don’t disparage any topic, commission or client.
Translated by Agnieszka Mistur