Interviews with Midori Yamazaki

The main focus was a three-dimensional reproduction of the momentary shape of a wave in perfect shape, ideal for surfing.

To recreate a perfect wave in life-size and share its beauty with the audience.

It took two years to come up with the idea, and six months to come up with the concept.

This piece is a self-initiated work that follows my own inspiration.

It is intented to produce by myself, and 2D digital art is now being sold.

I met a researcher who specializes in oceanography and got the opportunity to realize the idea for this piece that I had been nurturing for a long time.

Inspiration sources for this work include simulations of ocean physics.

This artwork is to people who understand digital arts as an art.

The title is intended to convey that the metaverse will become one of the spaces in which we humans exist, and although the definition of existence will be distorted, we will continue to evolve while flexibly recognizing and accepting the chaos of reality and unreality with positive hope.

The artwork was created through a playful creative process that moves between the digital and physical world, mixing reality and virtuality. So I used various type of tools both digital and physical, such as computer language, software, and stone powder.

Research on physical oceanography, geophysics.

To make it applicable to various tools, the size that can be created is limited.

This work was created in the relatively new category of "digital art," so I thought that submitting it to the A' design award, which is flexible in accepting new categories, would be an effective way to ensure that it would receive proper evaluation.

This work uses both handcraft and digital techniques, and attempts to fuse reality and virtuality, so I was able to learn a variety of production methods.

I used to make clothes for famous brands such as Burberry and COMME des GARÇONSs, but I began to want to not only create high-quality products, but also increase sales through brand marketing, which led to my current job as a designer.

At first I was forced to choose a completely different profession, but I chose to become a designer. It wasn't a natural decision, it took willpower.

I am interested in the algorithms that lead to the aesthetics, so I would like to create more related work.

The creative process is what makes a design better.

Good design makes the target aware of their true needs.

I want to create a life-size version of the perfect wave I designed in my award-winning work "Waiting for the Wave in Metaverse".

Inevitability is the key to successful design.

Nick Knight, Rei Kawakubo, Kaoru Kasai, FIELD, Gaudi, etc. And I think I am most influenced by nature.

My goal is to work with photographer Nick Knight. He uses the latest technology to create his own unique worldview and has a major impact on the world.

Being able to judge the quality of the designs you have created, in other words, learning standards for judging design, is an effective way to improve your design skills.

Design is "value creation"

I have learned so much from everyone I have met, both good and bad, and I believe that has shaped me into who I am.

I have experienced design plagiarism many times. Still, I want to continue creating original works and become a designer who can have an impact on the world.

I am currently working on a dream project that has been about 10 years in the making. I can't reveal any details yet, but I am having a lot of fun.

Establishing and expanding my design.

I believe that design is good at creating a better society. I think we should just design as we always do, "designing a better society."

Being able to create a design that I never expected.

It all depends on the situation; sometimes I was only allowed three hours, and sometimes it takes 10 years for the situation to be right.

Start by imagining what went well in the project and letting my imagination run wild.

I use technology to design, but I try to use it to realize the ideas I have in mind, and not to be technology-driven.

Color has a direct effect on the senses, so it is an element that is very important to me.

I'd love to hear what you think when you see or use a design I made.

I don't have a perfect design partner. I believe in co-design, but the conditions for successful collaboration are rare.

I was impressed by the designs of my classmates at the art university I studied at, and I learned a lot from them.

I have a lot of them, but the photo book I bought at Nick Knight's studio is my favorite.

I was self-taught in design for a long time, and then studied at art school, so I think I have acquired skills from both on-the-job learning and research-led design.

I like summer when the light is strong and everything looks shiny.

Your comments, an offer for a project, a commission of artwork, and an invitation to go surfing are always welcome.

Out of Blue is a creative lab that maximizes the power of art and design with research to give you unexpected views. Out of Blue is active in major aesthetic fields, such as communication design Including digital, graphic, and space design, branding, and experimental one-off artwork. It distinguishes itself by a unique methodology drawn from a wide range of experiences.

I am interested in Aesthetics in design. Since I have been designing for mass media, I would like to be able to create beauty as the greatest common denominator, in other words, beauty that everyone finds beautiful and that is universal.　In order to do so, I became interested in what makes people feel beautiful.

To be more specific, I am interested in the Golden Rule, fractals, fluid dynamics, etc., which formalize the laws of nature. For example, as a surfer, there is a physical reason for the shape of the waves that I am interested in, and it can be expressed in mathematical formulas. This is the main reason why I am studying programming.

The ability to program = the ability to understand and apply. I believe that this opens up new possibilities. I feel that there are relatively many digital creators with engineering backgrounds, but I am interested in what can be done if designers, who have the methodology to create beautiful things in the first place, can interpret programs.

My work ranges from graphics to space and installation and is said to be innovative, but the source of this image is various things that I consider "aesthetically pleasing". I believe that human beings are very simple in theory, and I think it is important to express what I simply feel is "aesthetically pleasing", and to integrate that into communication.

In fact, the very beginning of my career was in fashion. My first memorable experience was creating the pattern for a Burberry coat from scratch, which had over 100 parts.

What I am trying to do these days is to combine elements of design and science. I am challenging myself to use the latest technology to create designs that have never been seen before.

I feel creative when inspiration strikes me suddenly.

Does it create new value? Is it universal? Is it unique? And does the audience feel the aesthetics?

Creating good design feels similar to meditating.

I feel embarrassed and happy at the same time.

I believe that design with a creative process is the key to success.

When I judge a design, I focus on two things: whether it is memorable and whether it can make people feel good.

I believe that the role of a designer to society is to be a visionary. I believe that by visualizing and sharing a positive vision for the future, we can make it a reality.

I had a digital exhibition and presentation at SIGGRAPH 2024, the world's largest academic conference on computer graphics and interactive technologies lately.

I am interested in Aesthetics in design.
To be more specific, I am interested in the Golden Rule, fractals, fluid dynamics, etc., which formalize the laws of nature. This is the main reason why I am studying programming.

I want to be able to create universal beauty that anyone can find beautiful, and for that reason, I started to become interested in what makes people aesthetically pleasing.

I live in Tokyo, Japan. Japan has four seasons, and I think Japanese people are very sensitive to the beauty of nature, and I feel that my design is influenced by that.

I choose the appropriate way depending on the job, but I try to maintain good relationships.

I try to allow the imagination to flow freely and allow for a more creative process.

A pencil that I sharpened to your desired shape.
A scrapbook of myfavorite designs.
Design-related books that I have bought in various countries.
A desk and chair that I designed and customized myself.
A perfume that changes my mood.

Being able to judge the quality of the designs you have created, in other words, learning standards for judging design, is an effective way to improve your design skills.

Being a designer has really broadened my world. There aren't many negative aspects to it. If I had to say one thing negative, it would be that it keeps me busy.

Logically Attention to the aesthetics.

I think the most important thing is to become skilled in the coordination of imagination and action. I believe that good design can be achieved when the brain and hands are smoothly connected.

I collect things that catch my eye every day, so I don't have anything in particular in mind.

I accept that design can be a very time-consuming task at times, and I don't try to control it too much because it becomes stressful.

It really depends on the work situation. I've created an award-winning design in three hours, and I've also had projects where I spent 10 years creating the production environment.

I enjoy doing design work that I have never experienced before. This is because there is so much potential to create new designs.

I am currently creating an art installation using the laws of nature, which I am currently researching, and I would like to actually exhibit it.

Sometimes I work in a team and other times I develop designs myself. Each has its advantages.

If you have any inquiries to me, please send me an email (info@out-of-blue.com).

My hand-drawn sketches are the culmination of years of dedicated training, driven by an intuitive pursuit of what constitutes a beautiful curve and how to render it myself. This journey was deeply personal, an exploration of aesthetic principles through repeated practice and observation. While I felt a strong conviction about the beauty and accuracy of my lines, I lacked a quantifiable way to prove it.The collaboration with EPFL, particularly the integration of ocean physics simulations, provided this missing validation. Witnessing my intuitively drawn wave forms being affirmed by rigorous scientific models was profoundly impactful. It wasn't just about verifying my artistic choices; it was about revealing a deeper connection between intuitive artistry and scientific precision. This convergence underscored the idea that what we perceive as aesthetically pleasing often has an underlying basis in natural laws and mathematical principles, even if our initial engagement with it is purely emotional or intuitive. This realization not only boosted my confidence but also significantly expanded my creative freedom. Knowing that my intrinsic sense of beauty resonated with scientific truths allowed me to approach future works with an even greater sense of assurance, pushing the boundaries of what's possible at this fascinating intersection.

Waiting for the Wave in Metaverse Digital Artworks directly addresses the escalating tension between our physical existence and virtual identities by subtly, yet powerfully, re-emphasizing the profound importance of the real, tangible sensations we experience in nature. In an era where the lines between reality and digital spaces are not merely blurred but often seem to vanish entirely, my work serves as a contemplative mirror, reflecting on what we might lose as we increasingly immerse ourselves in virtual realms.The project doesn't condemn the digital; rather, it uses the digital medium of the metaverse to highlight the irreplaceable richness of the physical. By digitally rendering the raw, elemental power of waves—a force inherently tied to our physical world and sensory perception—it aims to evoke a nostalgia for the authentic, unmediated experiences that ground our humanity. The "waiting" in the title is not just for a digital event, but for a conscious reconnection with the natural world, prompting viewers to consider the qualitative difference between a simulated experience and the visceral reality of standing before a crashing wave, feeling the spray, hearing its roar, and sensing its immense power. This intentional contrast encourages a critical awareness of how our engagement with virtual identities might inadvertently diminish our appreciation for, and connection to, the very physical world that shapes who we are. It's a gentle nudge towards finding balance, reminding us that while digital spaces offer boundless possibilities, the true essence of our being often lies in the unreplicable sensations of physical reality.

My motivation for adopting a multi-layered approach to materiality in Waiting for the Wave in Metaverse Digital Artworks, transitioning from hand-drawn sketches to stone powder sculptures and then to digital formats, was rooted in a desire for explicit comparison with the simulations. I wanted to meticulously follow a fundamental craftwork process: starting with 2D sketches, moving to 2D three-view drawings, and finally creating three-dimensional objects. This methodical progression allowed for a clear and tangible pathway to compare the organic evolution of a hand-crafted form against the precise, data-driven outputs of wave simulations.This traditional workflow served as a crucial anchor. By first translating my initial, intuitive sketches into physical sculptures, I was able to imbue them with a palpable sense of presence and materiality. These sculptures became physical manifestations of my artistic vision, embodying the nuances and imperfections inherent in human creation. Then, bringing these physical forms into the digital realm via 3D scanning and further digital manipulation allowed for a direct juxtaposition with the simulated waves. This entire cycle wasn't just about creating art; it was an experiment in exploring how different forms of materiality—from the ephemeral pencil line to the solid sculpture, and finally to the fluid digital data—each contribute to our perception of a concept. It allowed me to highlight the unique characteristics of each medium while simultaneously demonstrating their surprising harmony when brought together.

My exploration of the perfect surfing wave shape in Waiting for the Wave in Metaverse Digital Artworks was driven by a conviction that all forms in nature adhere to underlying aesthetic laws. Among these, the curve of a wave stands out as an exceptionally symbolic representation of these natural principles. This deep dive into the specific morphology of a breaking wave was not merely an exercise in artistic rendering; it became a profound inquiry into human cognitive abilities and our aesthetic experience.The very act of identifying what constitutes a "perfect" wave – a form that is both dynamically powerful and visually captivating – pushes the boundaries of our perception. It highlights our innate human capacity to recognize, appreciate, and even predict patterns in the natural world. This pursuit forces us to engage with complex concepts like fluid dynamics and energy transfer, not through scientific equations, but through an intuitive, visual understanding. Our ability to find beauty in such a powerful and transient natural phenomenon speaks volumes about how our brains are wired to find order and harmony. By meticulously deconstructing and then re-creating this "perfect" form across various mediums, I aimed to underscore the idea that our aesthetic appreciation is not arbitrary but deeply connected to the fundamental laws governing the universe. This process allowed me to make a broader artistic statement about how our cognitive abilities – from pattern recognition to abstract reasoning – are inextricably linked to our capacity for aesthetic experience, particularly when confronted with the sublime beauty of nature.

The "pleasant confusion" that arises from the visual ambiguity in Waiting for the Wave in Metaverse Digital Artworks is a deliberate and integral component of my artistic vision. The final outcome of this art piece is not a pure simulation; it's a meticulously constructed digital representation derived from 3D scans of hand-sculpted plaster waves, subsequently photographed in conjunction with real water. This unique production method inherently introduces subtle discrepancies when compared to purely digital, algorithmically generated simulations.It is precisely within these slight deviations and nuances that the "pleasant confusion" is designed to occur for the audience. When viewers encounter the work, they are presented with something that looks strikingly real, yet possesses an almost imperceptible, anachronistic quality – a hint of the handcrafted within the seemingly perfect digital realm. This subtle incongruity acts as a trigger for contemplation. Instead of passively consuming the image, the audience is prompted to actively seek out and identify these moments of dissonance. This active engagement, this gentle challenge to their perception of reality, is not meant to alienate but to invite deeper thought. It encourages them to question the boundaries between the handmade and the simulated, the tangible and the virtual, and ultimately, to reflect on the nature of reality itself in an increasingly digital world. This intentional perceptual uncertainty serves to transform passive viewing into an immersive, thought-provoking experience.

I envision Waiting for the Wave in Metaverse Digital Artworks contributing significantly to the ongoing dialogue about human existence and aesthetic experience in our increasingly digitized world by offering a space for reflection rather than a definitive answer. This piece isn't designed to negate digitalization, nor does it advocate for an excessive embrace of it that would lead us to forget reality. Instead, I believe this artwork provides a unique opportunity for viewers to contemplate the genuine, visceral sensations that nature provides and, in that process, deliberately choose what holds true importance for them.In a world where digital experiences are often seamless and immediate, Waiting for the Wave deliberately introduces a subtle tension, a "pleasant confusion," that prompts a moment of pause. It encourages a mindful consideration of the inherent value in the physical world and our direct interaction with it. By presenting a hyper-realistic yet subtly ambiguous depiction of a natural phenomenon, the artwork asks the viewer to engage critically with their own perceptions and priorities. It's about fostering an active process of discernment for the audience, helping them navigate the blurred lines between the real and the virtual. Ultimately, the piece aims to empower individuals to consciously decide where they place their value and attention, ensuring that as we move further into a digitized future, we don't lose sight of the profound and irreplaceable beauty of our physical existence and the authentic aesthetic experiences it offers.

While Waiting for the Wave in Metaverse Digital Artworks is indeed built upon a meticulously conceived concept, I also strongly believe it possesses an inherent and profound beauty. This aesthetic quality is not merely ornamental; it is fundamental to how the artwork facilitates a crucial connection with nature, especially as we navigate our increasingly chaotic reality.The beauty embedded within this piece is designed to evoke a sense of aspiration and longing for the real, exquisite sensations found in nature. By presenting a visually compelling and almost tactile representation of a wave – a force of nature universally recognized for its power and grace – the artwork aims to stir a deep, almost primal appreciation within the viewer. It's about more than just seeing an image; it's about feeling the resonance of that image with our innate human connection to the natural world. This deliberate appeal to the viewer's aesthetic sensibilities serves a powerful purpose: it makes the underlying message about the importance of natural connection not just intellectual, but deeply emotional and visceral. Through this emotional engagement, the artwork effectively imprints upon the audience the significance of real, beautiful sensations derived from nature. In a world inundated with digital stimuli, my work acts as a beautiful, gentle reminder of the grounding, restorative power of the natural world, prompting a desire to seek out and cherish those authentic experiences in our own lives.

The balance between "the technical demands of digital fabrication" and "maintaining the organic essence of ocean waves" was not merely a challenge but a foundational principle of the entire concept. From the outset, both aspects were considered equally crucial and were therefore treated with an equivalent degree of importance, ensuring a harmonious equilibrium throughout the creative process.We didn't view digital fabrication as a means to simply replicate nature, nor did we allow the organic essence to be compromised by technological limitations. Instead, the technical demands of 3D scanning, digital modeling, and advanced rendering were meticulously harnessed to translate and amplify the subtle, fluid, and often unpredictable characteristics of real ocean waves. For instance, the precision of digital tools allowed us to capture the minute details of the hand-sculpted plaster waves, which inherently carried the organic nuances of human touch. Conversely, the organic essence of the waves served as the constant guiding force for every technical decision. Any digital manipulation or fabrication choice was rigorously evaluated against its ability to preserve the wave's natural flow, its inherent dynamics, and its profound aesthetic appeal. This iterative process of moving between tangible craftwork and digital precision allowed us to create a work that is both technologically sophisticated and deeply resonant with the natural world, ultimately allowing us to achieve this delicate yet powerful balance.

One of the most profound and unexpected discoveries that emerged during the creation of Waiting for the Wave in Metaverse Digital Artworks, and one that will significantly influence my future explorations, was the realization of a surprising kinship between concepts previously considered diametrically opposed: natural reality and virtual reality. This insight became particularly clear when we observed that the curves generated by advanced simulations were almost identical to those in my intuitively hand-drawn sketches.This was a pivotal moment. Before this project, I, like many, perceived natural reality and virtual reality as fundamentally distinct, even adversarial, concepts. Natural reality was tangible, organic, and unpredictable, while virtual reality was seen as artificial, precise, and entirely controllable. However, the uncanny congruence between the organic fluidity of a hand-drawn wave and the mathematical precision of a simulated one revealed that there's a deep, underlying harmony. It suggests that the aesthetic principles we instinctively recognize in nature can be accurately mirrored, or even found, within the logic of digital algorithms. This doesn't mean they are interchangeable, but rather that there's a shared language, a common ground that can be explored. This discovery has completely reshaped my perspective, prompting me to investigate how digital art can not only imitate but also reveal the inherent elegance and hidden structures within natural phenomena. My future work will undoubtedly delve deeper into this unexpected synergy, exploring how virtual spaces can serve as powerful mediums to re-contextualize, deepen our understanding of, and even enhance our appreciation for the complex beauty of the natural world.