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Lifetailor, the brand by Yuko Yamashita.

Based on a desire to improve the conditions of people who were becoming weak, my client “Yuko-san” came up with the concept of using experiences that she had nurtured to date to create her new brand, Lifetailor.

As I continued to hold conversations with her to explore insights for her design, I eventually arrived at a key concept, that the state of tension that we experience daily based on pressure and the ways to handle it well and to cope with stress consisted of the same vision as maintaining one’s balance atop waves, and that the key for doing that was to understand pliancy and external environmental factors. 
Thus, we decided to come up with my design based on the concept of dynamic equilibrium balance and intermediate cumulative results as are discussed in fluid mechanics and molecular biology.

In particular, Shapes, Movement and growth by Hirofumi Wada, professor, Science and Engineering at Ritsumeikan University, and Shapes, Branches by Philip Ball gave me clues for deep development (A part of the sketches from that time).

To be specific, the background for the letter L in the logo is like a backward flip on the bar.

It begins like a practice. Yuko-san is like the accompanying person. 
Everything is recognized. These were the type of images that were hidden as an undercurrent. The sense of discomfort that exists between the first letter and the rest of the text was made intentionally, and the backdrop for the remaining characters contain a more fluid image (e.g. rhythm, waves, liveliness, autonomy, movement).

As people have a habit of attempting to find meaning to everything, including objects that have no meaning, they are always seeking meaning and intentions from us designers.


It is natural for this to happen as meaning is created where it hadn’t existed; however, people who seek answers feel that they have understood and thus achieve satisfaction, regardless of whether it is the correct answer. There is no small number of designers who occasionally go on to create beautiful designs later on.

If we were to say that an equation exists where the justice lies in logically describing design, then perhaps we may suspect a ‘how to’ method hidden in the backdrop for obtaining the sole satisfaction of the client who has requested the work and is standing before us.

The methods are determined from the beginning: a certain challenge exists, and to resolve that, the person placing the order — a person who is not a designer, that is — uses a designer as their tool. This is the association between persons who place the orders, i.e. the clients, and designers that is now generally accepted within the industry.

And kinks ensue because business exists where designers who are only familiar with their own language are accepting such jobs.

When designing a logo is the only solution method, this in itself becomes the sole focus and results in distortions in the association between the design and the payment.
My feeling is that there is a sense of fear of knowing that the finished product will be final and must be used as such while, based on an ungenerous preconception that a designer should be do anything because it’s their job to do that, they have no idea what the finished item will be like.

What is unacceptable is when the blame is placed on the designer after the client sees the finished item and says the issue has not been resolved.

Despite the issue, the method for resolving it, and even the definition of the design have been determined by the client, the value of the designer starts to decline.

There is a blog called UX Collective that offers words by Rubens Cantuni:

The logo is now following the product. The digital product is changing, improving, adding features, it’s getting shaped as the world around it is changing, as users are changing, as the way we use that product is changing. Agile and all that stuff.

The age of digital, the speed of information and change is accelerating, and new services are being offered one after the other. 

All brands are expected to carry on their mission to continue to shine more than ever before, and even a logo will change depending on the time, the user, and the life model. In the digital world, design has become a creature with a short lifespan.

While clients create roadmaps in their business plans at the time of their founding, these should be timelines that take into consideration paradigms at a higher dimension. It is easy to imagine that when fixed point observations and future forecasts are complete, a product will change, as will the world around it, in line with changes among users. Despite deciding that these types of work would fall under fixed assets, clients use designers while paying under short-term consumables. The desire of not wanting to pay in the first place goes wild.

If design were to be viewed as having broader meaning within the scope of business, then business itself could be called design and I feel that it would be a waste to see it separately as if it were a static object. Unfortunately, logo design, understood with a multitude of definitions, is created from a narrow perspective and is used as if it were a fixed asset while it has a unit price and remuneration exists as a short-term consumable, and my feeling is that business is being conducted between people for whom time value and design are different things and designers who speak the old language of design. This issue may become somewhat resolved if the relationship between money and time could be sorted out.

Neither Yuko-san nor I feel that our desire to establish our image means the same thing as creating a logo (using applications and rendering visual communication). It is the designer’s mission to ‘design an algorithm that optimizes the imagination and human force so that people are able to find some kind of definition for Lifetailor within the multidimensional space that they have in their minds’ and to create a cell that enables reviews of the definitions for the logo and to develop an ecosystem from that point.

And as we now draw close to the end of this piece, Yuko-san said on the finished design, contrary to the digital equations that I have been discussing in depth, that she would like to use it permanently.

There is such a thing as there being no words to describe it despite having developed the design from such complicated philosophies, and there are times when meaning is discovered or content is conveyed faster than when put in words when a person sees a majestic work of natural beauty or a man-made object or when they come to realize the strong sentiments within another person.

This has been a project that has made me realize that designs that go beyond theories and equations are also designs.

Translation: Eriko Sugita



そんなコンセプトで立ち上がった クライアント「ゆこさん」のブランド「Lifetailor」。



特に立命館大学理工学部 和田 浩史教授の論文「かたち・動き・成長の生物物理学」とフィリップ・ボール著の「枝分かれ」「かたち」は深く形成するヒントになりました。(これらはその時のスケッチ一部です)









ロゴをデザインすることだけが解決方法だと、それだけにフォーカスしているので、「デザイン」と「支払い」の関係もネジレていきます。デザイナーだから何でも出来るだろう。という勝手な期待の元、ただ何が出来るかわからないのに、出来上がったものを「長期」で使っていかなければならない恐怖心があるんだろうと考えています。 と思っています。


UX CollectiveというブログにRubens Cantuni氏が残した言葉があります。
“The logo is now following the product. The digital product is changing, improving, adding features, it’s getting shaped as the world around it is changing, as users are changing, as the way we use that product is changing. Agile and all that stuff.”