From Global Experience to 3D and Advertising Design: Pursuing Work That Leaves a Mark

Could you start by introducing yourself? What do you do, and what has your journey looked like so far?

I’m a freelance graphic and motion designer. I became independent in 2017, so it’s been about eight years now. Most of my work focuses on graphic design as well as motion projects such as video and animation ads. My clients are mainly global companies, and I often take on localization or create advertising assets tailored specifically for the Japanese market.

And before freelancing?

I studied abroad in the U.S. Before that I had been working in the Philippines. I spent about two and a half years in each place. Going back further, my first job after graduating was in Japan, where I worked in the retail industry for about a year and a half before moving into a planning role related to credit card services. It was a fairly unusual position. In university, I had originally wanted to attend art school, but I couldn’t convince my parents. Instead, I ended up majoring in law, which they considered more “practical.” After graduation they told me, “If you pay for it yourself, you can study whatever you want,” but in the end I finished at a regular university. Still, I never let go of the dream of becoming a designer. When I was in the U.S., I couldn’t legally work off campus because of my visa, and on-campus jobs didn’t pay much. So I decided to look for online work. I put up a profile that said, “I’m still a beginner, but I do creative work,” and to my surprise, jobs started coming in. One of them was a 3D design project for a Canadian BMX brand. That connection led to others, and little by little my freelance work began to grow.

I see. So you’ve always wanted to become a designer?

Yes. My mother went to an art school and painted as a hobby, and her influence was huge. I grew up surrounded by art and design, and always wanted to make it my career. But because she had experienced how tough the creative path could be, I think she hoped I’d pursue something more stable. So even though I ended up at a regular university, that desire to become a designer never really went away.

From the very beginning, did you want to become a designer?

Yes. As a kid, I admired manga artists and illustrators. I was always interested in both design and art, and for me the line between the two was often blurred. So the desire to be involved in a creative field was always there. But I realized that being an “artist” didn’t quite fit me. People who pursue that path usually have years of training, talent, and experience that I just didn’t have as a foundation. On top of that, I knew I needed to make a living. Thinking realistically, becoming a “designer” felt like the path that suited me best.

How did you first get into 3D?

Looking back, it all started with movies. Pixar and Disney’s 3D films had a big influence on me, but the one that really struck me as a kid was Tim Burton’s The Nightmare Before Christmas. Technically it’s stop-motion, not 3D, but seeing characters and worlds built in such a tangible, three-dimensional way fascinated me. I thought, “One day, I want to create something like that.” At the time, though, 3D software was expensive and felt out of reach. Then I came across an open-source program called Blender. Since it was free, I figured I had nothing to lose by trying it. The timing was perfect, and once I started, I realized how much I enjoyed it. It fit so naturally with what I loved. I kept at it, and eventually it grew from a hobby into a core part of my work today.

Do you remember your very first job?

I think it was a small logo project I got through the freelance platform Upwork. If I remember correctly, the concept was something like “a message in a bottle drifting out to sea,” and I designed the logo for it.

You work across 3D and motion design, but when it comes to making things, what’s the moment that feels the most fun? That makes you think, “This is why I do it”?

I think it comes down to a bit of that desire for recognition. I really enjoy the moment when someone sees what I’ve created and shares their thoughts on it. Honestly, making something that nobody ever sees doesn’t suit me at all. That’s why I find the most joy in creating with the thought of “how will people experience this?” It makes the whole process more meaningful to me.

What kind of words make you the happiest to hear?

It’s hard to narrow down because it depends on the person, but what makes me happiest is simply when someone realizes, “Oh, there’s someone like this out there.” For example, I started 3D purely as a hobby, but after sharing my work on social media, someone saw it and ended up introducing me to a job. Moments when the work becomes a spark for new connections between people, are really rewarding.

On the flip side, what’s been the hardest experience? Was there ever a time you felt like quitting?

The toughest moment was when 3D, which I had started purely as a hobby, suddenly turned into work. What I had been enjoying with friends for fun became something with client feedback, revisions, and requests. Of course, that feedback is valuable, but at the same time it took away that pure “I’m doing this because I want to” feeling, and my motivation dropped. When it was just a hobby, I spent more than a year creating almost every single day, and I was thrilled when that passion eventually led to paid work. But as soon as it became a job, my enthusiasm faded. There was even a period where I thought, “Maybe I should stop altogether,” and stepped away for a while. That emotional swing was probably the biggest struggle for me.

When you decided to make design your career, did you ever feel uncertain?

I think timing played a big role. I started freelancing when I went to the U.S., and the culture there is very much, “If you can do it even a little, then say you can.” That really helped me. If I had stayed in Japan, I probably would have thought, “I’m still not good enough, I can’t do this,” and kept preparing without ever taking the first step. In the U.S., friends encouraged me with, “Just try it,” so I was able to give it a shot. Without that experience, I might have gone the more conventional route in Japan by getting a stable job and living much more practically. It had both good and bad sides, but it pushed me forward. Of course, at the start my skills were still hobby-level. But because I gave it my all, even my first clients valued the work. I think they could also see the effort and the human side of me, and that made a difference.

When it comes to working with clients, what do you value most?

For me, the most important thing is to really talk with them. Often, clients don’t actually have the full answer themselves. That’s why through conversation, I try to uncover together what it is they truly want. Approaching that process sincerely is what I value above everything else.

How has your creative work impacted your life? In what ways has it changed you before and after stepping into a creative career?

I see two sides to it. On one hand, I’m a designer, and on the other, I also create things as a hobby. And I think the nature of those two is very different. Design always starts with a client. It’s about solving problems, and the ultimate goal is to make the client happy. In my day-to-day work, I focus on how design can resolve what they’re struggling with. In that sense, it’s not so different from many other professions. But when it comes to personal making, there isn’t really a clear goal. You don’t know if what you create will actually be used, or if anyone will even take interest. Instead, it often becomes more of a way to connect people. For example, I used to make silver jewelry purely as a hobby. When I shared those pieces, people would say, “Oh, you do this too?” and it sparked conversations. That’s what I love about it. Making stuff as a hobby becomes a tool for communication, a way to create moments of connection. And to me, that feels really special.

Since umu carries “Tokyo” in its name, I’d love to ask you, what does Tokyo mean to you?

I think of it as a place where so many frontlines intersect. It’s where trends are born, where the world’s attention is focused, and where information feels close at hand. As a kid, whenever I went to the countryside I’d think, “There’s nothing here. I want to get back to Tokyo,” because I loved the city so much. But as an adult, it’s almost the opposite. Sometimes the crowds and the overload of information make me want to step away. When I go to the countryside now, I feel calm and grounded, and I can really appreciate the beauty of nature. That’s what I love about Japan. You get to experience both sides. Tokyo has always been special to me, but I’ve also come to value the appeal of the countryside just as much.

Looking ahead, what goals or things you’d like to achieve?

I want to build a team. As a freelancer, so much of the work ends up being done alone, but there’s a limit to what one person can do. Forming a team would allow me to take on larger-scale projects and push things further. But it’s not only about scale. Being around people who share the same ambition and motivation is really inspiring. It helps me keep my own drive high, and it creates an environment where we can keep growing together over the long term. For me, a team isn’t just about collaboration, it’s about sustaining creativity and momentum. That’s why my goal moving forward is to create a team with people who share that same vision.

When you talk about that “ambition,” what does it mean to you more concretely?

If I go back a bit, when I was in university, the final interview I had for a job was with Taisei Corporation, one of Japan’s major general contractors. They build things like airports and dams on a massive scale. Their slogan was “Let’s create work that remains on the map.” What that meant was creating something that would continue to exist in society long after you’re gone. I remember thinking how powerful and inspiring that was. Of course, I’m always happy when my work is out in the world, but the pace of consumption today is so fast that things disappear almost instantly. That’s why I want to create work that lingers, even if only in someone’s memory. To be honest, after eight years of freelancing, I still haven’t fully achieved that. But it’s the goal I’m working toward from here.

What would your ideal project look like?

It’s less about a specific type of project and more about wanting to do work where my name is truly credited. A friend of mine works at a film production company, and when I saw his name appear in the end credits of a movie he had worked on, I thought, “That’s incredibly cool.” It doesn’t have to be something on that massive of a scale, but I’d love to be part of a project where my name is listed as one of the creators. Something that leaves a tangible trace that says, “I was part of this.” Right now, many of my projects fall under NDAs, so my name doesn’t appear. But going forward, I really want to leave behind work that clearly shows I was involved.

Yusuke, you seem to have built your career through self-learning and carving out your own path. How do you approach developing your skills and gaining experience?

I have one clear policy: I never hesitate to invest in myself. For example, I always try to equip myself with the best possible computer and tools. And when it comes to learning, I don’t rely on free resources. I pay for courses taught by people who are active at the top of the industry or who have real professional experience. That’s where I choose to put my money. So while it might look like “self-study,” it’s not completely on my own. It’s more about continually investing in myself and building up practical knowledge and skills through that process.

I see. So instead of going to school, you’ve relied on tools and resources to learn on your own. These days there are so many free ways to study, but it sounds like you’ve been intentional about choosing where to invest. On the other hand, is there anything you don’t spend money on or something you’re strict about saving?

Hmm… I don’t really hold back when it comes to self-investment. But because of that, my friendships sometimes take a hit. For example, when friends invite me out for drinks, I often turn it down because I’d rather spend the time studying or working on projects. I’m not sure if that’s the “right” choice. Honestly, it’s both a failure and a success. Over time, people stop inviting you as much, but that’s the trade-off that comes with choosing to pour so much into learning and creating.

But I think it’s precisely that level of focus that’s allowed you to build the life and career you have now. It’s not something just anyone can do.

I appreciate you saying that. But in the end, I really believe relationships are what matter most. No matter how many skills you have, without human connection it doesn’t mean much. That’s something I’ve come to reflect on. At the end of the day, it’s all about balance. I think that’s the most important thing.

That’s so true. So let me ask, when you’re working toward a big goal, what do you keep in mind to move forward step by step?

For me, it starts with setting milestones. I’ll decide on a larger step, like “By this date, I want to have tried this,” and then break it down further. If there are ten goals in total, I’ll map out those ten first, and then subdivide each one into smaller, actionable steps. Take 3D as an example. If there’s a piece I want to create, I look at the skills required. Modeling, rendering, lighting, and so on. Each of those becomes its own milestone, and I work through them one by one. That’s how I connect big goals back to my daily actions.

Building your career through self-learning must have meant facing a lot of moments where you had to make tough calls. Whether to take a risk or step back, whether to do something even if it felt scary. How do you make those decisions?

It really depends on the case, but most of the time I weigh it against my own risk tolerance. For example, if a deadline is clearly too short to deliver 100% quality, I know it’s better not to take it on. On the other hand, even if it’s a completely new field for me, if the client is open and says, “I’d love for you to give it a try,” then I’ll jump in. So I never say no just because it’s my first time. It’s more about assessing the size of the risk, and making a decision from there. I’m quite a realist. In the end, the goal isn’t my own satisfaction, it’s making the client happy. If there’s someone more suitable for the job than me, I believe it’s better to pass it on to them. That way, the client benefits most.

So in other words, even if it’s not to your own benefit, you prioritize the choice that keeps the client satisfied.

Exactly. If I’m in a position where I’m not sure I can really deliver, nobody ends up happy. For example, if I only have about 50% confidence in being able to pull it off, I’d rather not take it. And if it’s closer to 30%, then it’s definitely better to pass it on to someone else. That kind of judgment is really important to me.

When you’re feeling down or overwhelmed, how do you reset yourself?

I usually go for a walk. Since most of my work is at a desk, I spend long hours sitting, and sometimes just staying there won’t solve anything. If the weather’s nice, I’ll head outside. Moving my body shifts my mood, and stepping away from my workspace helps clear my head. For me, that kind of reset is really important.

I see. Then what do you do to keep your motivation up?

For me, it starts with looking at the work of artists and designers I admire. And also Pinterest. I’m constantly pinning pieces I find inspiring and curating them into boards. It’s like storing up all the things I love. Not so much to look back on only when I’m down, but as a steady source of fuel that keeps me motivated. Of course, there are times when my motivation drops. Especially when what I want to do and what I have to do don’t align. Even with 3D, I started it as a hobby, but the moment it turned into work, I went through a period where my enthusiasm faded. The ideal is when what you want to do and what you need to do come together.

You once mentioned having an admiration for artists. How do you feel about that now?

Honestly, sometimes I think I’m not really cut out to be an “artist.” To me, artists don’t worry too much about strategy or profit, they just do what they want, how they want, and people naturally gather around that. But I tend to think things like, “Would this sell?” or “Where should I present this next?” Because of that, maybe I lack the kind of purity that defines an artist. I even catch myself thinking that an artist who’s always planning and calculating doesn’t look very cool (laughs). So yeah, there are times I feel maybe that path isn’t for me.

Here’s my final question: if you could say something to your past self, right before starting your creative journey, what would it be?

I’d say, “You only live once, so if there’s something you want to do, take the risk and go for it.” Regretting something you tried is completely different from regretting never trying at all. Even if it doesn’t go the way you hoped, the experience itself will matter. No matter what people around you say, just try it for yourself and make your own judgment. Eight years ago, I never could have imagined being where I am now—but I’m glad I took the leap.

Finally, is there anything you’d like to share with the world?

For me, it’s about “accumulating virtue.” It might sound a little idealistic, but I believe in consistently doing what feels right to you, day by day. Those small choices shape your character, your environment, your relationships, and even who you end up working with. I really believe it’s the small, steady acts that matter most.