The Journey of a Freelance Graphic Designer Connecting Music, Design, and Illustration

First, could you introduce yourself?

I’m from Ibaraki, and I’m currently based in Tokyo working as a freelance graphic designer and illustrator.

What first inspired you to start working with graphics and illustration?

I’ve loved drawing since I was a kid. In summer vacation homework, I was the type who might skip the math worksheets but always handed in the posters (laughs). In junior high and high school, which were just regular schools, I was often asked to draw things like illustrations for the yearbook, and I vaguely imagined becoming a manga artist or doing illustration work in the future. When it came to choosing a path, I considered going to university, but I wanted to try something different and test my own abilities. So I decided on a design vocational school in Tokyo and studied in the graphic design department for two years. Before enrolling, I attended a pre-school program and told the teacher, “I want to draw and work on things like advertising.” The teacher said, “That’s graphic design,” and from that moment my direction became clear.

What were those two years as a student like for you?

They were so busy that honestly I barely remember them. Just before I moved to Tokyo, my father passed away from an illness, and at the same time I had just started living on my own. My days were a cycle of assignments and part-time jobs. I later found out that my mother had once enrolled in the same school’s fashion design department, though she wasn’t able to graduate. Knowing that, she told me, “I really want you to finish,” and that encouragement became a big source of strength for me.

How did you decide on your first path after graduation?

I was determined to work in a field that combined music and design. But getting into a music company as a fresh graduate is a very narrow gate. So while I applied to production companies and those handling music for TV programs, I kept sending my portfolio again and again to the design company I wanted most. At one point I received a job offer from an AD-related production company, but right after that my first-choice company contacted me for an interview. After much agonizing, I turned down the offer to take the chance. In the end, I joined my dream company as an intern. But I quickly realized how lacking my fundamentals were, and with the long nights and the pressure, my mental health couldn’t keep up. I ended up leaving early, it was a period when reality really hit me hard.

And after that, did you stay in the music industry?

Yes. I took on a position in publicity at a music company, where I was responsible for things like updating social media, designing event staff passes, making small text corrections, and coordinating with external designers. I was also out almost every day handing out flyers at live houses. After that, I moved to a large music-related company in an administrative role. The people there were kind, and I worked for about a year, but most of the tasks revolved around numbers and expense processing, work that didn’t really suit me. When the pandemic hit and everything shifted to remote work, I decided to return to my hometown for a while, and that gave me the clarity to think, “I really want to go back and properly focus on design.”

So you returned to hands-on design work back in your hometown?

Yes. I worked part-time as a DTP designer at an advertising agency in Ibaraki, creating magazines, print layouts, and pamphlets. Because I had such a long break from design, at first I really struggled. But my direct supervisor was incredibly generous, like a mentor sent from above, teaching me everything from the very beginning and creating an environment where I could ask questions without hesitation. That person is truly an important figure for me. After about two years there, once I had rebuilt my foundations, my desire to take on music and entertainment design in Tokyo grew stronger again. There was a small design studio I had admired since vocational school. They hadn’t posted a job opening, but when I reached out, I was lucky to hear back: “We’re actually hiring.” I applied and was offered the position. It was hard to put extra burden on my team in Ibaraki, but in the end my boss and colleagues encouraged me to go for it, and with their support I moved back to Tokyo that spring.

What kind of work did you do at that studio?

Even though the company was small, the projects were big. Things like festival T-shirts and artist merchandise, with lots of rewarding assignments. My boss was a well-known figure, even featured in magazines, and when he found out how much I loved music, he kept giving me opportunities like CD jackets and merchandise design. Every day was exciting, and I felt over and over again, “Design really is the best.” But the reality was harsh too. I was working remotely from morning until around 4 a.m., with no real weekends off. That pace went on for so long that my body and mind reached their limit. One day, the moment I stepped outside for the first time in a while, tears just wouldn’t stop. I knew then I had to quit. Two days after leaving, I went out for drinks with a friend who runs a nail salon, and she told me, “Why don’t you just go freelance?” Honestly, I thought it was impossible for me, but she pushed me. “Make 300,000 yen this month. You don’t have a company salary now, so prove you can do it.” (laughs) So I started posting on Instagram, announcing that I was taking illustration commissions. Gradually, requests began to come in, and to my surprise I hit that 300,000 yen goal in the very first month. That was the turning point and I thought, “Maybe I really can do this.” That’s when I decided to commit to freelancing. Of course, I didn’t know a thing about taxes or how to file a return, so I had to learn everything on the fly.

Could you tell us about the breakdown of your current work?

Graphic design makes up the largest share. Recently I’ve also been getting more of the entertainment and music-related projects I’ve always wanted. Things like flyers, artist merchandise such as T-shirts, advertising materials, and even packaging. On top of that, I recently bought a camera and started doing model photoshoots, so little by little I’m incorporating work outside of graphics as well.

When do you feel the happiest while creating?

It’s that moment when I show a proposal and the client says, “Wow, this is amazing!” On the surface I try to play it cool, but inside I’m pumping my fist. When someone tells me, “Only you could have done this, MRDY,” it makes me feel that all the effort was worth it.

As a freelancer, what do you find most challenging?

The hardest part is that there’s no “off switch.” If I stop taking on work, the income stops too, but if I keep accepting projects, I’m constantly on the move. Communication with clients can also be tricky, as there are times when what they expect and what I deliver don’t align. In the beginning, every piece of criticism really got me down. But over time I’ve learned to draw clearer boundaries. Now I can say with confidence, “If this doesn’t feel like a fit, it’s totally fine to work with another designer.” Having the courage to communicate that way has made a huge difference for me.

What does the city of Tokyo mean to you?

For me, Tokyo is a place that gives you opportunities. If you take action, things can happen. Through sharing my work online, I was recently offered a project for a music festival event—something I had always dreamed of doing. It made me realize, “Dreams really do come true.”

What does creativity mean to you?

It’s a medium for connecting with people. Photographers, directors, and different fields crossing paths and linking together. Many of my projects come through introductions from friends or acquaintances. For me, creativity is a way to work with people I like, on projects I enjoy, and to make everyday life more exciting.

Has anyone influenced the development of your illustration style?

Yes VERDY, known for Girls Don’t Cry and more. I’ve loved his work since I was a student and used to practice by copying his illustrations. At one festival, I even had the chance to speak with him briefly while he was doing a live painting. I handed him my business card and told him, “Someday I’d love to work with you.” It was just a short exchange, but it encouraged me so much. Even my name “MRDY” ties back to the feelings I had at that time, though he probably doesn’t remember. My dream is to one day share the same stage and collaborate with him.

How do you envision your career going forward?

I often tell people that one of my biggest driving forces is a former boss I really struggled with. He was incredibly talented, but his words were harsh. He once told me, “You’re completely incapable,” and that still sticks with me today. Because of that, I want to build up enough skill so that even if I can’t do the exact same work, at least I can stand on the same playing field. I don’t want to limit myself to illustration alone, I want to be a designer who can work across multiple areas. And I also want to grow enough to give back to the boss at the agency in Ibaraki who taught me with so much patience and kindness. I truly feel I’ve been blessed with people around me. Through work I’ve made connections that turned into friendships, and so many people have said, “I’ll introduce you to someone,” and opened doors for me. I’m really grateful for that.

You’ve taken on a lot of new challenges and risks. When that happens, how do you take the first step?

I just go for it. If I think it might work out, I move forward without hesitation, and if it doesn’t, I let it go. To me, the biggest waste is not trying at all. At the very least, I’ll give it a shot, and if it doesn’t fit, I can always stop there. I don’t really feel much fear around it—if anything, I feel more excitement. Honestly, I sometimes think, “Maybe I’m a little crazy” (laughs), but that forward-leaning mindset is just who I am.

If your present self could give advice to your past self, what would you say?

I’d say, “Do what you love.” Don’t do it halfway, go all in. Even if it means making mistakes or looking foolish. If you truly love something, even if you take detours, you’ll always find your way back to it. I once thought, “I don’t want to do design anymore,” but here I am working as a designer again. That’s why I’d tell myself: pursue what you love, and keep pushing deeper into it.

Thank you. Lastly, if you had to sum up your current state of mind in one phrase, what would it be?

“Life is pretty interesting.” That’s how I feel every day.