Interviews with Kazune Watanabe

The catalyst for my interest in design came from two artists.
Firstly, when I was 17 years old, I encountered the manga of Japanese artist Tsutomu Nihei. His manga had a grand-scale, unprecedented science fiction world that I had never seen before. It was a story about a colossal building where one could spend countless hours and years in an elevator but never reach the top floor. Inspired by this manga, I attended the design event called "Superflat Exhibition" where the manga artist participated. There, I encountered numerous creators such as Takashi Murakami, Groovisions, Masafumi Sanai, hiromix, Yoshitomo Nara, and Hiro Sugiyama, which expanded my perspective.
The second influence came from my passion for techno music. Witnessing the activities of the creative collective "Tomato" inspired me to pursue a career in design.

·Whether I am conscious of the future and how it differs from past expressions.
·Whether I can express my intended message concisely and whether the way I present the answer is compelling and interesting.
·Avoiding superficial design treatments.

The most important aspect for me is the initial idea and concept. Sometimes, during the course of the design process, I may veer away from the original concept. In those moments, I pause and reflect on what was truly important to focus on.
My favorite part of the process is when I finish laying the foundation and move on to creating intricate design details. I enjoy incorporating playful elements that may catch the attention of those who notice them.

I believe that about three out of ten parts in a project are dedicated to the process of turning ideas into tangible form. I consider the other seven parts to be equally important for realizing those ideas. In order to convey something better, design is not merely about creating something cool. It involves skills such as effective communication and negotiation with others, the ability to maintain balance, understanding the atmosphere, and the power to anticipate and expand upon what the other party envisions.

I have received an award for my work in a book. I believe that the concept behind this design has the potential for further expansion and exploration. I plan to scale up and expand its reach in the future. My goal is to make an announcement within this year if possible.

It is important to understand various principles and perspectives in order to have an overview of the entire picture. From a technical standpoint, try not to focus too much on individual elements and avoid linear thinking. Instead, consider the connections from the core and allow for further development. Design should be crafted like phrases, with seamless transitions and a sense of continuity.

I believe that design can evoke a sense of excitement by adding something small to everyday scenes. Regardless of scale, whether it's understanding the current situation or figuring out what should be done, I believe that the way we find answers can turn ordinary things into something special.

For one hour before starting work, I play shogi (Japanese chess) every morning. During the day while working, I try to take breaks every 30 minutes to 1 hour, in order to avoid seeing things from the same perspective. In the evenings, when I feel stuck in my design work, I go for a walk for about 2 hours. Walking allows me to generate different thoughts and helps me organize my ideas.

I consider whether the design is appropriate for the object and whether it is not overdone. I believe that it is better to have minimal intervention whenever possible, as it leads to better outcomes.

Since design has no end, the deadline becomes the inevitable point of completion. To make it better, I try to think of other possible methods as much as possible. As time goes by, values and means of expression change.

My biggest design work is Kuwasawa Design School 2022 Guidebook, for which I received the award this time. From the very beginning, I created it with the sole intention of making people who hold it feel the design and be amazed to the point of expressing their astonishment.
This design will continue to evolve from here. I have plans to present it as an exhibition this year, so please look forward to it.

Theo Jansen
I think it can change depending on the mood and the timing.

I believe that music and design are closely related. I think that what is unseen is more important to designers than what is visible. It allows us to delve into how a person has approached their work and follow their thought process without unnecessary distractions. I see it as a medium that enables us to carefully trace the intentions behind the creation.

Until now, my focus has been entirely on giving my all to my work. However, I gradually want to start directing my attention towards other things as well.

I believe that awards are a way to verbalize the excellence of a design. Since the value of design varies for each individual, I think that by clearly defining it, new standards for design can be established. Additionally, participating in design competitions helps designers clarify how they want to approach their work, so I believe it is beneficial in that aspect as well.

Regarding being Designer of the Day, I am still a work in progress, but I am delighted to have this opportunity. I hope to continue making strides that will lead to future developments.

Our main focus was exploring how to translate the kind of energy and emotion that can be difficult to convey through digital media alone into something people could physically experience. We wanted to create a three-dimensional, interactive expression that changes depending on the viewer’s position and perspective, allowing people to enjoy the transformation itself while naturally becoming immersed in the experience and discovering something new along the way.

We would like to continue exploring and expanding interactive visual approaches, including scanimation, both in future projects and through our own creative work.

These days, so much of communication happens through social media, but we still believe there are experiences and forms of expression that only exist in a physical space. With this project, we wanted to focus on the kinds of sensations and discoveries that can only happen when you’re actually there. The goal was to create something memorable — something that stays with people because they experienced it in person.

This design was created and used as the official visual identity for DESIGNTIDE TOKYO 2024.

Inspired by the concept of DESIGNTIDE as a “major movement in design,” we were drawn to the idea of tides being formed by the moon’s gravity. We wanted to translate the theme of the “tide” into both a visual and physical experience, creating something dynamic and interactive for viewers. To express this, we designed the graphics to remain in constant motion and change.

Designers, anyone with an interest in design, and the broader public.

What sets this work apart is its use of physical, non-digital materials to create an interactive visual experience. While digital media is now commonly used in event and spatial design, this project takes a different approach, relying entirely on analog materials such as fabric and acrylic. Without any digital technology, it still creates a dynamic experience that shifts depending on the viewer’s distance and perspective, almost as if it were responding in real time.

What makes this work unique is that, as an event visual identity, it goes beyond a fixed symbol, logo, or flat graphic. Instead, it creates an interactive visual experience that changes with the viewer’s distance and perspective. What looks like a static image at first starts to shift as people move around it, revealing different expressions in response to their movement. This responsive system also extends beyond the main graphic, connecting to printed materials like the event book and even smaller signage throughout the venue.

We used scanimation as the basis for this work.
Typically, scanimation is limited to simple motion made up of three to five frames. Here, we explored the slit pitch and the structure of the original program, pushing the technique beyond its usual limitations and turning it into something more complex and interactive.

One of the main challenges was that it was difficult, due to budget constraints, to implement dynamic signage at a large scale. To address this, we developed a solution using scanimation and UV printing, creating a low-cost, analog material that appears almost like a digital screen without relying on LCDs or other devices.
Another challenge was ensuring that the work looked its best from different viewpoints and in different spatial configurations. We went through countless rounds of testing and adjustments based on how people would see it and how it would be installed in the space.

We wanted to share DESIGNTIDE TOKYO’s work and activities, along with our visual design work, with a wider international audience.

By working with and expanding the principles of scanimation, we were able to explore new types of visual expression that we hadn’t tried before. What we learned from this project is something we are still building on, and we continue to test and apply it in future projects and in our own creative work.

I placed great importance on capturing the impression that one would feel when holding this piece. Above all, I wanted it to evoke a surprised and amazed reaction.

Currently, it has been materialized in the form of a book, but I envision expanding it on a larger scale to create an even more exciting experience. My goal is to have an exhibition by the end of this year. I would like to showcase it not only in Japan but also, if possible, overseas.

The concept itself took about 1-2 days. However, determining the most suitable form of expression from there took approximately six months.

The design was commissioned by the design school, "Kuwasawa Design School." It was created with the intention of being a medium that aspiring designers could first experience and intuitively grasp design.

My designs have not been produced or used by other companies. However, in the future, I plan to create original works using the same approach and introduce them for sale.

All creators and designers who evoke a sense of science fiction.

All those who aspire to become designers in the future.

It embodies digital expression to the extent that it is often mistaken for a digital product.

I used Adobe CC, specifically Indesign and Illustrator.

The intentional arrangement and expression of typography.

I collaborated with colleagues internally while developing and validating the design.

It involves recognizing the strengths of both analog and digital approaches and reaffirming their respective positions.

In researching the appropriate expressions for creating moving animations within a print format.

To achieve the complexity and dynamism of the expression, we created and tested approximately 100 different variations.

I felt that the way of thinking and creating in Japanese design was different. By winning an award in an international design competition, I aimed to gain social credibility.

I became a designer because the field of design appeared incredibly glamorous to me. Each designer presented unique designs, and I was fascinated by the thought process behind them.

I chose to become a designer on my own.

I design a wide range of things that involve the use of typography, such as posters, books, spaces, and websites. I would like to expand my work beyond Japan and explore different ways of designing.

They should start by thoroughly learning the fundamentals of design. Regardless of the genre, it's important for them to immerse themselves in the perspective of the creators when looking at things and works they encounter in their daily lives. By considering the intentions behind their creation and what sets them apart, they can make a difference.
Furthermore, it's crucial for them to have a holistic view of themselves and recognize what they lack and what they need to improve. Understanding what they need to think about and do in order to fill those gaps is also essential.

I think the difference lies in their ability to digest what is being demanded and effectively convey the power and passion to respond to it.

It is whether it effectively represents the "now" of the object.

I believe that good design is created by considering various elements. Investing in good design can be seen as a way of expressing agreement with those ideas.

I would like to engage in the process of delving deeper into design for our own company, for ourselves.

Firstly, I would like to initiate a project within a scale that can be accomplished with the company as a whole. However, ultimately, I aim to move towards projects on a larger scale.

I believe it is the process of contemplating what is different between the past and the present, and how things will change in the future.

I don't have just one person that I can single out.

I consider Kuwasawa Design School 2022 Guidebook I submitted to A' Design Award this time to be my best design. I believe it has the finest craftsmanship, from the value of the materials to the attention given to even the smallest details.

I believe that the key to becoming a better designer lies in how deeply you can incorporate your leisure activities into your design work, making them a part of your own identity.

I think I would be involved in gambling as a profession. I am intrigued by the idea of figuring out the rules for winning through actions, perspectives, and thoughts. From an outsider's perspective, it may seem like everyone is doing the same thing, but in reality, they may be doing completely different things, and I find that fascinating. Design is similar in that even though we may be looking at the same things, each person sees different aspects and approaches them with different thoughts. It is because of these differences in perception and thinking that I believe design can be pursued as a profession.

I believe that design is about creating the future from the present.

It's my family.

The wisdom of previous generations, including numerous creators and literary figures.

One obstacle was realizing that design encompasses important aspects beyond just design itself. Having focused solely on studying design until now, I had many areas that I struggled with before gaining awareness and being able to embody those aspects.

I believe it is important not to create with the mindset of it being solely your own.

I plan to pursue projects that further develop the expressions for which I received the award this time. I believe they will be something that can excite people on a global scale, so please look forward to it.

My ultimate goal as a designer is to be recognized as cool or admirable by my family and colleagues.

I believe people expect a designer to be like a relay. The wisdom of the predecessors is something that cannot be achieved without their guidance, and it is the act of creating and connecting the best possible future that we can contribute to the future ahead.

By being conscious of what is beneficial for the future and engaging in the creation of things with that awareness, I believe design can play a role, big or small, in shaping the path ahead.

I am particularly excited about the opportunity for the expression that received this award to further develop and grow.

Kuwasawa Design School 2022 Guidebook, which is the project that received this award. The reason is that it not only received numerous awards but also excited many people who saw it.

If there is an outdated system, I would like to see it completely revamped. I believe that staying the same for 5 or 10 years is not acceptable.

It depends on the project. Generally, from concept to final output, it may take around 2 weeks to 1 month.

I start by considering how to approach the problem and whether the solution I come up with is truly interesting.

To see things through to the end.

I believe it's a combination of both.

I believe it is one of the factors to consider when thinking about the present and the future.

I use Adobe CC, specifically Indesign and Illustrator.

Colors, materials, and atmosphere can be articulated and serve as the criteria for an object. I believe they should be decided based on rationality rather than just relying on intuition.

I would like people to ask to see more of my work and inquire about when they can expect new creations.

I consider them as a benchmark or baseline for the quality of my future works.

Katsuhiro Otomo

Katsuhiro Otomo "AKIRA"

Through daily work, thinking, and finding solutions.

I like colors such as gold, silver, fluorescent, and sparkling ones that children would enjoy.

There was a time when I wanted to know how products were made, so I dismantled them. I had a dangerous experience with electricity. (I nearly died a few times.)

I'm inherently lazy, so I often push myself by taking on some kind of work.

No, I didn't have any idea.

A thousand years in the future is too vast to easily imagine, but I appreciate works that are thoroughly discussed, assembled, and depict imagined futures. I also constantly think about it and want to contemplate it myself. I approach it by thinking about the near future—1 year, 5 years, 10 years—from different perspectives.

I have plans to unveil new works at an exhibition this year. I will be announcing it on social media (Instagram/Twitter), so please be sure to check it out.

There There was established in 2018. We primarily focus on graphic and editorial design and engage in design activities using typography without limiting ourselves to specific areas. We prioritize capturing the essence and atmosphere of the subject in our designs.

I believe that design is the act of capturing the present moment. It is the process of envisioning and improving for the near future.

I prefer design that involves contemplating and finding answers about the essence and nature of an object, rather than design focused solely on creating visuals.

I like the works of Theo Jansen. They evoke various elements such as the Earth, life, and the future. I believe that design is an act of envisioning the future and contemplating it.

The first thing I designed was the company's business card. I consider the business card to be a representation of everything that encompasses the design approach we take. I created it with the intention of being an indication of our future direction. While keeping it simple, I incorporated the company's values and aspirations into the design.

My favorite material is aluminum. While I keep track of platforms and technologies as sources of information, I don't have any specific favorites.

The time when I feel most creative is when I'm contemplating the definition of things.

I place emphasis on how much intervention is needed to enhance the overall presence of the object. Depending on the nature of the object, there are cases where the design takes the forefront and cases where it doesn't. I strive to avoid designs that rely solely on techniques to mask shortcomings.

The process of untangling thoughts and establishing a way of thinking requires patience and often puts me in a mentally intense state. I tend to thrive when under pressure, as I don't function well without it.

I am curious about the genuine reactions of people who engage with my designs. I wonder what aspects they notice or pay attention to. I also observe whether they notice the subtle design points I have incorporated.

I believe that what makes a design successful is the sincere engagement with the object.

·Whether it is an appropriate expression of the present moment.
·Where the novelty lies.
·The thought process behind establishing the essence of the design.

The responsibility of designers is to avoid excessively exaggerated designs for the sake of the object.

I feel that design is evolving alongside technology. The future of design may lie in shaping the future of society and the world.

In February 2023, I held an exhibition at einBuch.haus in Berlin, Germany. I am planning to organize a new experimental exhibition within the year 2023.

I consider the current situation and contemplate the cause-and-effect relationships to determine the direction in which things are heading. I also think about how to express the present and the near future and what approach would be best for that.

I believe that expressing my individuality as little as possible is what makes it unique. I capture the expressions and manifestations that surround us and contemplate how those expressions can be intriguing. I aim to create a slight sense of unease with minimal adjustments in the state of objects, understanding that even a small margin can significantly alter perception.

I live in Tokyo, Japan. While I am aware of the cultural heritage and what it represents, I have limited opportunities to directly engage with it. I appreciate the importance of things that endure, but I am also interested in how it can transform and evolve in the present and future.
The mainstream design principles in Japan may differ from my own design approach, but I believe that these differences allow me to highlight my unique perspective and stand out.

·Thinking about the object itself.
·Contemplating how the object can take on a slightly futuristic form.
·Establishing a solid base concept and considering methods of expression.
·Selecting appropriate means of expression and eliminating unnecessary elements.
·Engaging in detailed design work to enhance the overall aesthetic.

·Artek Ronan & Erwan - Bouroullec Table
·E&Y Futamata Koichi - Hammock Coffee Table
·Maison Martin Margiela Published by RIZZOLI
·MAX LAMB - My Grandfather's Tree Trineko Woodwork (Actual piece)
·Hans J. Wegner - GE258 Sofa Bed

For one hour before starting work, I play shogi (Japanese chess) every morning. During the day while working, I try to take breaks every 30 minutes to 1 hour, in order to avoid seeing things from the same perspective. In the evenings, when I feel stuck in my design work, I go for a walk for about 2 hours. Walking allows me to generate different thoughts and helps me organize my ideas.

There is nothing you shouldn't do, so I believe it's good to freely express yourself while sincerely engaging with the subject. I think it's important to consider what actions are necessary for the other person to feel good about it.

Being a designer may seem glamorous, but it also requires down-to-earth and persistent effort. It cultivates a way of seeing things, but at the same time, creating something without a clear goal requires a certain level of determination and commitment.

The "golden rule" in design is to be simple and to provide answers that are relevant to the present moment.

The ability to perceive and think about things and to approach them systematically.

I determine my optimal working hours and make sure not to exceed them within a day.

I determine my optimal working hours and make sure not to exceed them within a day.

The ideation process can vary, sometimes ideas come quickly, while others may take two weeks to a month or even longer. The actual output phase often takes 1-2 days to create. However, the design work to convince and refine the output can take up to ten times longer than the actual output. These time frames serve as a general, but depending on the project, it may require longer periods of time.

Kuwasawa Design School 2022 Guidebook

I find it most enjoyable to work with people who are open to incorporating new perspectives. When I collaborate with individuals who don't rely solely on their own viewpoints, there is a higher potential for innovative design to emerge.

I will explore more deeply the design concept for which I received the award this time. This time it was a book, but in the future I would like to develop it on a larger scale in a space.

I work as part of a team within a company. This allows me to collaborate and achieve things that would be difficult to accomplish individually.

I would like to create numerous works that resemble digital creations but are entirely analog in their expression, without using electricity.

Please send a message to the email address listed on the website or through social media platforms such as Instagram and Twitter.

The most significant technical challenge was to make the printed typography appear to move while simultaneously ensuring it functioned rigorously as a piece of graphic design.Through over one hundred prototypes, my team sought to strike a delicate balance: creating a dynamic transformation that surprises the user upon touch, while maintaining the graphical integrity required for a school prospectus cover when in its static state. Rather than making decisions solely on-screen, we iterated by producing physical mockups—touching and shifting them to validate the experience.Another crucial objective was determining how close we could bring the slit animation—which typically functions as a simple, looping visual effect—to an intuitive user interface. The typography responds instantly to the act of a person touching and moving the book. Our goal was not merely to exhibit an animation, but to design an experience where physical interaction and visual shift are directly linked.Ultimately, my priority was not to showcase a technically complex mechanism, but to ensure that anyone picking up the booklet would naturally interact with it without reading instructions, experiencing the typographic transformation the exact moment they moved it. The surprise occurs before the user even becomes conscious of the underlying gimmick. To realize this simple, intuitive experience, over one hundred physical trials were absolutely essential.What this production process revealed is that in kinetic printed matter, graphics, material properties, finishing, and binding cannot be treated as separate phases. The very structure of the book serves as the interface,

When I was entrusted with designing the school prospectus as an alumnus, I decided to candidly express the core design values I hold today. This choice stemmed from my belief that these very values were cultivated and forged during my time studying at Kuwasawa. Instead of explaining the institution from an outsider's perspective, I wanted to manifest my current creative philosophy through the prospectus itself.What I learned at Kuwasawa was not to accept preexisting formats as they are, but to think critically, engage with my own hands, and seek new methodologies through continuous trial and error. For this project, rather than mimicking the established formats of conventional school prospectuses, I chose to reconsider the very nature of the book as a medium.I believe that Kuwasawa's pioneering spirit as Japan’s first design school is not demonstrated by visually referencing its historical imagery. Rather, it lies in the attitude of questioning established conventions and continuously challenging oneself to create new expressions required by the times. By presenting my own design without reservation, I believed it would ultimately convey both the education I received at Kuwasawa and the true essence of what the school stands for today.

The RGB flicker effect is not a result of digital manipulation; rather, it harnesses a phenomenon generated inherently through the printing process.Instead of printing solely in black, colors such as cyan and magenta were integrated, with the composition output directly across multiple plates. When observed with the naked eye from a standard distance, the graphic appears almost completely solid black. However, when magnified through a loupe, one can discern that cyan and magenta emerge as minute misregistrations around the perimeter of the black ink.While this color registration shift is nearly imperceptible in a static state, once intertwined with the kinetic movement generated by the slit animation, it is perceived as a flicker effect—as if RGB colors are flashing for a split second.Rather than making colors emit light digitally, I generated a luminous phenomenon exclusively through analogue print, exploiting the layering of printing plates and the human eye's perception when capturing motion.

Over the past decade, I feel that the values surrounding media have fundamentally shifted. In Japan, it was once a given that everyone owned a television and received information from the exact same screen, but that dynamic has changed dramatically today.At a time when how we receive information and how we engage with media are in flux, I felt there was no need to constrain the concept of a book within its conventional definition.Rather than positioning digital and print in opposition to each other, I explored how the physical medium of the book could accommodate our bodily sensations—which have become thoroughly accustomed to touching and swiping screens. The departure point for this project was an attempt to redefine the book: not only as a publication meant for reading, but as an interface meant for touching, moving, and discovering transformation.Precisely because we live in an era where values and the roles of media are shifting, I wanted to reconsider what a book truly is,

While the school prospectus for Kuwasawa takes the physical form of a book, I intended from the outset that the experience should not remain entirely self-contained within the object itself. In addition to the tactile experience when holding the actual artifact, the piece was deliberately engineered so that its kinetic quality could be instinctively communicated through social media and web platforms.The phenomenon of a static printed object transforming through manual manipulation is powerful enough to instantly convey its underlying mechanism and sense of surprise, even within a brief video clip. Upon completing the design, I recognized that this expression possessed a rare, distinctive quality on a global scale—one that held the potential to resonate across boundaries of language and culture.The subsequent widespread sharing of the project, both domestically and internationally, reaffirmed my belief that physical media and digital dissemination are not mutually exclusive. Even for an experience exclusive to the physical artifact, if the core movement and wonder are lucidly defined, they can generate engagement in the digital realm and, in turn, steer people back toward the physical object.What this response revealed is that the value of printed matter does not terminate at the edges of the paper. Rather, it suggests that a physical experience can serve as a catalyst, expanding outward into entirely different media ecosystems.

The primary reason for dividing the prospectus into separate volumes was to categorize the diverse information about the school by content, making it easier for readers to enter from whatever topic sparks their interest. Instead of forcing them to read about the curriculum, student life, and admissions in a predetermined sequence, the structure allows readers to autonomously select the specific booklet they need.Furthermore, this multi-volume format was not implemented solely for the purpose of organizing information. I intended to transform the very acts of pulling out, selecting, arranging, and comparing the booklets into the core experience of the prospectus itself. Even before reading a single page, the reader begins to forge a relationship with the school in their own unique order.Kuwasawa is an environment where students with diverse backgrounds and perspectives gather, each seeking their own individual methodologies. Rather than consolidating the institution into a single, cohesive image within one book, we believed that providing multiple entry points would better reflect the true essence of the school. For prospective students aiming for Kuwasawa, I hoped that this publication itself would serve as their very first design experience—one that allows them to touch upon the joy of making choices and uncovering discoveries.

I do not presume to suggest that this school prospectus represents the evolution of Japanese design education as a whole. However, I do believe it signals one of the fundamental shifts that design education is currently confronting.Kuwasawa possesses a rich heritage of pedagogy rooted in engaging with materials, working with one's own hands, and thinking through physical creation. In producing this prospectus, I utilized conventional techniques such as paper, print, finishing, and binding. Yet, instead of treating them as rigid formats to be preserved, I explored how they could be connected to contemporary sensibilities.Today's students have interacted with smartphones and tablets from an early age, accepting it as second nature that a screen responds immediately to physical movement. Therefore, rather than presenting a paper book as an archaic medium isolated from the digital world, I reconfigured it as an interface where images transform instantly upon touch. While leveraging traditional printing technologies, our goal was to achieve an intuitive immediacy akin to a digital experience.What is required in contemporary design education is not to position tradition and innovation in opposition to each other, but to re-read preexisting techniques and materials from a modern perspective, thereby forging new relationships. Furthermore, it is crucial that students do not merely learn finalized methodologies, but rather formulate their own questions, engage physically, and discover new paths through iterative prototyping.The very production process of this school prospectus became an endeavor to update the practical, hands-on learning inherited at Kuwasawa,

I believe the most significant factor was the project’s resonance on social media. The phenomenon of printed typography shifting through manual manipulation conveyed its mechanism and sense of wonder instantly, even within a brief video clip, leading to widespread sharing both within Japan and internationally. I feel it served as a catalyst for individuals who were previously unfamiliar with Kuwasawa to become aware of the school’s name and its underlying philosophy toward design.Furthermore, recognition in both domestic and international design competitions provided sustained momentum for this visibility. In addition to the immediate curiosity generated via social media, the validation from these external panels expanded public interest beyond the prospectus itself, shifting focus toward Kuwasawa’s pedagogy and its institutional attitude toward design.It is impossible to attribute direct fluctuations in enrollment inquiries solely to this prospectus. However, I am confident it fulfilled a vital role in leaving a powerful impression on prospective students, demonstrating exactly what kind of values Kuwasawa upholds and the nature of the design education it delivers.

I firmly believe that printing still holds immense, untapped potential. The slit animation technique employed in this project, while rooted in a simple principle, is a remarkably profound form of expression that yields diverse possibilities through its interplay with typography, color, kinetic movement, material properties, and the human body.Moving forward, I intend to investigate this mode of expression even more deeply. However, rather than merely replicating the same visual effect, my focus will be on validating how it can be developed into entirely new experiences by altering the scale of the medium, the choice of materials, the viewing distance, and its relationship with the surrounding space.Rather than pursuing the technology as an end in itself, I want to slightly expand the conventional definition of printed matter beyond something simply meant to be "seen" or "read." My goal is to continue exploring its possibilities as a dynamic medium designed for people to touch, move, and discover.

My choice of an analogue approach was not intended as a countermeasure against digital technology. Rather, through this project, I questioned whether interaction and real-time response are concepts that truly belong only to the digital realm.The graphics shift on the spot in response to physical movement. Although without using sensors, programming, or screens, it functions as a highly direct, real-time system in the sense that different images emerge depending on the viewer’s position, speed, and distance.In digital interfaces, the relationship between input and output is usually controlled by a program running behind the screen. In contrast, within this identity, the viewer's physical body itself becomes the input, and the output is the visual phenomenon generated by the relationship between the slits, the printed image, the light, and the distance. The entire mechanism is laid bare right before one’s eyes, allowing the response to be understood through physical sensation.Furthermore, analogue mechanisms lack the perfect reproducibility found in digital technology. The way the image shifts varies slightly depending on the viewing angle, walking speed, installation environment, and ambient light. I embraced this inconsistency—not as a lack of precision, but as a space where the experience is generated through the relationship between the viewer and the material. Rather than adding complex processing, my team pursued how richly we could connect physical movement with visual change within a set of limited principles.Through this identity, I sought to redefine interaction—not as something tied to a specific technology, but as a relationship that emerges among the body, the material, and the space.

Now that social media has become the primary medium of communication and designers can easily share their work and thoughts individually, I wanted to reconsider the purpose of hosting a physical design event in Tokyo today.A real-life event requires people to physically show up to experience it. Precisely for this reason, I felt there was a need for an experience seen with one’s own eyes and felt with one’s own body—something that cannot be captured by screens or photographs.The graphics I designed for this project shift as viewers approach, walk away, or change their position. Rather than unilaterally presenting information, the visual experience only realizes itself when viewers move and actively discover the changes.While social platforms are vital spaces that connect people and ideas across distances, there are relationships that can only be forged when we place our physical bodies in the same time and space. Just as one person’s movement might prompt another to notice a change in the graphic, individual experiences become gently interconnected within the shared space.Cultural tides do not emerge solely from the broadcasting of completed works or opinions. I believe that the next movement is born from the layering of small, immediate reactions felt on-site,

Looking back at the past iterations of DESIGNTIDE TOKYO, I felt a powerful sense of the energy and enthusiasm of that era. While preserving the core essence of DESIGNTIDE TOKYO that long-time fans have cherished, I wanted to present an expression that we believe is truly new today, more than a decade later.At the same time, the environment surrounding design and how information is received have shifted dramatically between then and now. Therefore, rather than directly referencing past visual expressions, I focused on allowing diverse interpretations to emerge through different positions and perspectives.Instead of anchoring the event with a single, rigid image, the visual state changes depending on the viewer's position, distance, and movement—always remaining slightly in flux. I believed that an identity with this kind of openness and fluid dynamism is what best suits DESIGNTIDE TOKYO today.Furthermore, DESIGNTIDE TOKYO is a platform where each exhibitor challenges new expressions and possibilities. For this reason, I felt that the graphics supporting the event should also demonstrate a willingness to take risks, rather than relying on past achievements or established methods. Instead of crafting an expression that is safely and easily understood, it was essential for us to present new perspectives and experiences through my own process of trial and error.What I inherited from the past is not a specific color or shape, but the attitude of embracing new talent and movements to generate the tide of the times. While keeping that spirit intact, I moved away from past visual styles and built the presentation entirely from scratch through a contemporary lens.

Standard scanimation basic principles typically involve looping a simple, flipbook-like animation by switching between two to five frames of images. In this project, rather than merely shifting the positions of the letterforms, we explored diverse visual expressions where the very skeleton and weight of the typography transform—including variations in condensed, extended, and italic states.Specifically, in addition to shifts along the X and Y axes, I integrated relationships along the Z axis, such as the distance between the slits and the underlying image, as well as the viewer's position relative to them.At the same time, I meticulously calibrated the relationship between the underlying typography and the slits. If I had prioritized only the kinetic effect, the graphic would cease to function as a coherent piece when the slits were removed. Therefore, it was crucial to strike a balance: creating dynamic transformation when viewed through the slits, while ensuring the underlying image itself retained its strength as a compelling, static graphic on its own.To make this function within a three-dimensional space, multiple variables had to be adjusted simultaneously—such as the width and intervals of the slits, the distance from the underlying image, the viewing position and angle, and the overall scale of the piece. A minute variance in the values could result in unintended letterforms or distorted imagery emerging.The greatest uncertainty lay in whether the transformations that succeeded in small-scale mockups would function effectively at the final production size, which stood at approximately 2 meters in height and 10 meters in width. Between a 1/2 scale prototype and the full-scale installation, the field of vision and the optimal viewing distance changed dramatically; simply blowing up the same data did not yield the same experience.Consequently, I iterated through numerous prototypes while altering the scales and slit conditions, verifying what kind of transformations appeared at what distance and speed as a person physically moved through the space. Ultimately, rather than completing the work solely through digital calculations on screen, I sought the most precise calibration by producing physical mockups and validating the visual experience with our own bodies.

My starting point was not to directly depict the shapes of tides or waves, but to question how a tide is generated in the first place. A tide is not composed solely of the waves that appear on the surface; it is born from the interplay of multiple invisible forces. Similarly, I perceived the design tide within DESIGNTIDE not as something created by a single dominant will, but as something formed gradually through the layering of small movements and reactions from different designers, works, and visitors.Therefore, rather than presenting a single image that was completed from the outset, I wanted to create a graphic whose state alters through human engagement. The most natural physical actions—such as a person approaching, moving away, or moving sideways—directly affect how the graphic itself is perceived. It was essential that the viewer does not merely appreciate a completed image from the outside, but that their very presence becomes one of the conditions that allows the image to exist.At the same time, I set a requirement that the design must transform through physical movement within the exhibition space, translate effectively onto social media and the web, and still function seamlessly on a single sheet of paper like an A2 poster. Furthermore, I wanted to focus on typography, shifting the positions, forms, and expressions of the letterforms themselves.During the development process, my team explored various expressive methods involving light, transparency, layering, and shifts in perspective. Among these, we came to realize that the most appropriate approach was to further develop the scanimation technique—which we had explored in previous projects—to fit our specific conditions. Scanimation allows a piece to function as a coherent, static graphic while revealing different images through human movement. It also possessed the potential to deploy the same underlying principle in distinct forms across various media, from physical spaces to printed matter and video.Once this direction was adopted, instead of simply applying scanimation as a single visual effect pasted across all media, we translated it into distinct experiences depending on the material, scale, and viewing distance. With the A2 printed piece, viewers engage with the graphic at a relatively close distance, discovering transformations through their own subtle movements. Conversely, in the large-scale installation at the venue, the time spent walking along the graphic and the shifting distance within the space itself become integral parts of the experience.My choice of wood, acrylic, and fabric was also not intended merely as a variation of materials. I selected the materials best suited to their required roles based on their respective strength, transparency, flexibility, and installation methods. While maintaining the same visual principle, I calibrated how the images manifest and how they relate to people in accordance with the physical conditions of each material.

What struck me most was that many visitors naturally began to move their bodies without any explanation of the mechanism. They would pause, sway from side to side, approach the piece, and then step back to view it once more. Some even pointed out the transformations they discovered to the person standing next to them. Realizing that the physical relationship we intended had emerged without the mediation of verbal explanation was a profound discovery for me.At the same time, the reactions did not converge into a single, predetermined interpretation. Some enjoyed it as animation, others received it as abstract graphics, while others became fascinated by the materials and production methods. Even when looking at the exact same piece, diverse interpretations emerged—shaped not only by the viewer's position and movement but also by their individual backgrounds. I believe this multiplicity was inherently vital to this identity.Receiving recognition through the A’ Design Award and having the work reach individuals who did not experience the physical venue was a deeply rewarding response. By its very nature, this work relies on the relationship between the body and space, meaning it is impossible to convey everything through photographs or video alone. Nevertheless, I find it highly significant that the concept of an identity that shifts through human movement, rather than remaining a fixed graphic, resonated and was valued across different cultures and boundaries.The reactions on-site and international design accolades represent two distinct dimensions. At the venue, visitors moved their bodies and experienced the work first, even before understanding how the mechanism functioned. Conversely, the award evaluated the underlying philosophy, the technique, and the structure as a brand system. The fact that both aspects succeeded reaffirmed for me that sensory experience and logical design are not mutually exclusive.Based on these responses, it is impossible to definitively declare what contemporary audiences are seeking from a single specific standpoint. However, I sense that people are far more open than we might imagine to having space for discovery through their own bodies and actions, rather than merely consuming a completed image or a readily understandable message unilaterally.Furthermore, perhaps what audiences seek in design is not just absolute perfection, but the experimental quality born from trial and error, and an attitude that dares to challenge the unseen. DESIGNTIDE is a platform where exhibitors present new possibilities. I believe that the graphic identity should not remain a mere background supporting the event; it must be an active participant that continues to push boundaries alongside the exhibitors.In that sense, the 2024 identity is not a final, completed form, but a single step in an ongoing process. Embracing the feedback and reactions from this iteration, it is essential to sustain this philosophy and develop it into our next expression.

In selecting the materials, my primary focus was not merely on the visual impression, but on the specific role each material played within the principles of this identity.This graphic experience is realized through the interplay among the viewer's physical body, the distance between the slits and the underlying image, the light, and the thickness and transparency of the materials. Therefore, the choices of wood, acrylic, and fabric were not decorative decisions meant to simply display the same motif on different surfaces. I selected them because each possesses distinct physical properties that alter how the images manifest and how the space is experienced.At the same time, when producing large-scale spatial graphics, it is impossible to entirely avoid environmental impact. Because events are brief by nature, it is easy to fall into a structure where vast amounts of materials are utilized to generate a powerful short-term visual effect, only to be immediately discarded. I feel this is an issue that must be confronted every time we engage in physical design.My decision to repurpose the acrylic used at the venue after the event concluded stemmed from a desire to integrate the after-life of the materials into the production requirements themselves. While reusing materials does not eliminate environmental impact altogether, I believed it was meaningful to secure their subsequent use in advance, rather than treating them as short-lived display items to be thrown away after a brief exhibition period.Personally, I believe that physical experiences possess a value that cannot be completely replicated by digital means. Having people actually walk through the space, shift their distance from the materials, and discover visual transformations through their own bodies was the absolute core of this identity. Photographs and videos alone cannot convey that experience in the same form.However, I do not believe that any physical production can be justified solely on the grounds that "physical experience has value." What is essential is to critically examine each element: whether the experience truly cannot exist without that specific scale or material, whether consumption can be reduced, whether components can be converted to other uses, and whether the production has become excessive relative to its short-term effect.Physical production should be pursued only when a scale itself is not the ultimate goal, but rather when that scale is essential to generating a unique physical relationship. Beyond that, the scope of design must encompass durability, repurposing, and the fate of the materials after disassembly. While we do not yet possess a perfect solution, we believe it is necessary to accept these contradictions as inherent conditions of production, rather than rendering them invisible.

When observing an object, people naturally alter their way of seeing depending on its scale and the context in which it is placed. If it is a small object, they hold it in their hands and change its angle. If it is large, they approach, step back, or shift their eye level to inspect both the whole and its details. Even with the exact same visual expression, the way people interact with it and how it is perceived differ fundamentally between printed matter and physical space.Within this identity, my team consciously designed the experience so that distinct images emerge in response to these natural physical movements. However, instead of guiding the viewer toward a single "correct" way of seeing, our goal was to create a state where individuals can discover transformations in their own way, as they explore their own distance and position.In an era where diverse values coexist, rather than presenting a single, fixed vision, I wondered if the very "way of seeing" or "mode of perception" appropriate to the subject and medium could itself be treated as the medium of design.I believe that brand identity is not merely about consolidating complex entities into a single, simplified image. It is about deeply confronting the context in which the subject is situated and its relationship with people, unraveling what should remain fixed and what should be left open to change. Through this project, I felt that identity is not just about the imagery we display, but about designing how people perceive it and forge a relationship with it.

From a technical standpoint, the greatest innovation was integrating relationships along the depth dimension, moving beyond the two-dimensional shifts typical of standard scanimation.While designing the kinetic typography and structural transformations—such as condensed, extended, and italic states—along the X and Y axes, I introduced a physical distance between the slits and the underlying image along the Z axis. By carefully calibrating the distance between the slits and the graphic, alongside the viewer's position and eye level relative to it, entirely different letterforms and images emerge. This mechanism transforms the work from a simple, unidirectional animation into a structure where multiple visual expressions can be discovered through the viewer's physical positioning.What I want to convey to students and young designers is the importance of first determining the core experience you wish to create, rather than chasing the novelty of a technique from the outset. From there, you can treat not only the graphics but also the properties of the materials, the way of seeing, and the distance to the subject as a singular, unified design. The craft of this project lay not in demonstrating complex technology, but in developing a simple principle into a comprehensive experience that encompasses both the body and the space.