STUDIO STORIES: 7 years of SIGNIF Inc. – Tokyo

Editor’s Note: 

Motionographer®’s STUDIO STORIES series explores the journeys of creative studio founders, offering candid insights into building and sustaining a business in the ever-evolving world of Motion Design. Whether 3 or 20 years in, each story highlights the unique challenges, triumphs –also fails–, inspirations and creative processes that define their work.

From starting solo to leading a team, and navigating rapid technological shifts like AI and VR, these founders share how innovation shapes their craft. Their experiences inspire designers at all stages, reminding us that the tools, ideas, and collaborations we cultivate are what truly leave a lasting impact.

About SIGNIF Studio’s Philosophy


Hello, My Name is SIGNIF

What does “creating a new legacy” mean to SIGNIF? How does it drive your work? When was SIGNIF founded, and what motivated you to start the studio?

For us, “creating a new legacy” means crafting work that sparks a sense of inspiration for the viewer—a starting point that drives them forward. Like many Motion Designers, our decision to pursue this field was deeply influenced by seeing incredible works and creators who left behind a legacy for future generations.

However, as we progress in our work, it’s easy to lose sight of those initial inspirations and get caught up in the daily grind of production. At SIGNIF, we aim to create a new legacy that inspires the next generation—just as we were inspired to start creating—without getting bogged down by negativity or routine.

Koji Aramaki, One of SIGNIF’s Co-founders

SIGNIF was founded in 2018. At first, the idea of “creating a new legacy” was still a vague concept. Before starting the studio, I was freelancing and often felt frustrated by the transient nature of project-based work: teams would form, disband, and move on to the next thing. I wanted something more sustainable—a space where knowledge, experience, and skills could grow and be shared over time. Looking back, that process of passing down ideas closely aligns with the concept of building a legacy.

How do you balance honoring tradition while pushing boundaries in creative design?

Our approach starts with hiring designers who have interests outside of Motion Design. When they join SIGNIF, their knowledge of the Motion Design world may vary, so we prioritize introducing them to its history and context.

Frame by Frame Until the End

Stick or Die

Many methods and techniques have already been explored in Motion Design, so understanding the foundation helps us identify where the boundaries currently are. From there, we integrate each team member’s unique perspective, blending it with Motion Design to create work that moves beyond conventional expressions—work that transcends genres and expectations.

Toys “R” Us

Men at Work

Your work emphasizes being “alternative” and resisting fleeting trends. Can you elaborate on this philosophy?

With the rise of the internet and social media, short-term attention metrics like views or likes have become benchmarks for success. However, such content often relies on superficial tweaks to the familiar and quickly becomes disposable. These works lack uniqueness and can be interchangeable regardless of the creator.

At SIGNIF, we don’t chase fleeting trends. Instead, we aim for alternative expressions that challenge conventional values and reshape how viewers perceive things. By creating work that questions and redefines these norms, we believe we’re building the foundation for future values that are yet to emerge.

Stick or Die Part II: the Sticky Revenge

What you do? Why? How?


What is your approach to tackling projects that demand crossing traditional boundaries?

To us, crossing traditional boundaries is essentially about creating new ones.

One of the unique strengths of motion graphics lies in its ability to treat every element of an image equally and reconstruct them within a specific framework or set of rules. In live-action, animation, or drama, these rules are usually tied to mimicking reality—expressions that defy natural laws are often seen as “noise” unless they’re grounded in a realistic framework. But Motion Design flips that dynamic.

Cyberpunk – Edgerunners

For example, glitches—once considered errors—were reimagined by creators like David O’Reilly as powerful tools for expression. Similarly, Nikita Diakur uses exaggerated physical simulations to challenge and expand notions of realism. Motion Design levels the playing field for all visual elements, allowing us to transcend the limits of reality, provided the framework is thoughtfully constructed.

Ironically, it’s not about broadening the rules; it’s about narrowing them. By creating precise constraints, we establish fresh frameworks for each project, unlocking opportunities for entirely new forms of expression.

Cyberpunk – Edgerunners

How does SIGNIF integrate storytelling into its visual and motion designs?

Bridging Motion Design and storytelling is a challenge. Humans naturally empathize with other humans, which makes it difficult for motion design to rival live-action storytelling.

However, there’s a unique kind of storytelling that motion design can achieve. Rather than following a linear narrative, it captures the mood and essence of a story in its entirety. This is possible because Motion Design gives us complete control over every visual detail.

At SIGNIF, our directors oversee the entire creative process—from conceptualization to motif development and visual compositing. This ensures every element aligns with the intended concept, enabling us to tell stories through the visuals themselves, rather than relying on a conventional narrative structure.

My Hero Academia

How do you approach the challenge of creating work that not only captivates but leaves a lasting impression?

We start by steering clear of conventional ideas. In today’s landscape of mass-produced visuals, sticking to familiar concepts risks blending into the noise. That’s why we seek originality from the very beginning, often drawing inspiration from fields outside of Motion Design.

We also focus on building a strong conceptual framework for our visuals. Weak frameworks create conflicting rules, which dilute the message. By refining the constraints and rules within a project, we amplify its distinctiveness and create work that stands apart—memorable, not just fleeting.

Play with a Huge Spectrum & New Toys


SIGNIF’s portfolio spans animation, live events, and branding. How do you adapt your approach across such diverse media?

We see a direct connection between deconstructing images, treating their components equally, and adapting to different media. Each medium requires its own unique expression, but the process of crafting a conceptual framework and assembling components is universal.

On a practical level, assignments are tailored to each team member’s expertise, but we also encourage stepping outside comfort zones. Designers take on projects in unfamiliar areas with guidance from those more experienced, which helps expand their skill-sets and foster a cross-disciplinary approach.

How has working with cutting-edge techniques like CGI and VFX changed the way you approach projects?

The biggest change for me is the expanded range of options available when defining a visual concept. In the past, we sometimes had to compromise due to technical limitations, but now, with advanced tools, we can prioritize the concept first and tailor the technology to fit.

That said, we treat CGI and VFX as tools, not goals. We don’t adopt technologies just because they’re new or trendy; we incorporate them thoughtfully, only when they truly enhance the project’s vision.

 

Can you share how SIGNIF has leveraged AI-driven tools or methods in recent projects?

We’ve begun using AI in small ways—mainly for creating rough concepts or generating textures during the planning phase. It hasn’t yet become a core part of our process, but it has proven helpful in specific instances.

Interestingly, outside of production, AI has been invaluable for administrative tasks, like translating this interview between Japanese and English.

Studio Culture & Collaboration


What is SIGNIF’s strategy for fostering creativity among team members?

We prioritize hiring designers with interests beyond Motion Design, which creates a team full of diverse perspectives and skills. While After Effects and Cinema4D are our main tools, some team members also excel in areas like illustration, Houdini effects, or Unreal Engine workflows.

The Rest of SIGNIF’s Co-founders: Kampay!

We encourage cultural exploration through a subsidy program for books, exhibitions, and events. Team members often share their discoveries, turning individual inspiration into a collective resource that enriches the entire studio.

How does your studio culture encourage innovation, especially during creative blocks?

Our focus on “creating a new legacy” and questioning conventional frameworks naturally fosters a culture of innovation. By challenging what’s considered “common sense,” we encourage exploration and adaptability—qualities that help break through creative blocks.

Oishi Masayoshi – Atono Matsuri

Collaboration plays a key role in creative production. How does SIGNIF align with client visions while maintaining your unique style?

We rely on clear and open communication to ensure alignment. Early in the process, we present detailed materials and style frames to establish the concept, minimizing misunderstandings.

When we feel strongly about a creative direction, we take the time to explain its significance to the client. This collaborative process often leads to solutions that respect both our vision and the client’s goals.

SENSORS – Opening for TV program on Nippon Television Network System

Your Best –and Your Worst–


Your portfolio includes campaigns for brands like ASICS and UNIQLO. What were the biggest challenges and successes in those projects?

For the ASICS project, the components were extremely simple: a background, player images, and typography. The biggest challenge was conveying the tension of a sports match with so few elements. Ultimately, we achieved this by combining strong, rapid kinetic typography with dynamic sound effects and players’ breathing sounds, effectively capturing the intensity of a match.

For the UNIQLO project, the challenge lay in recreating the unique warmth of hand-folded origami through CG. In the UNIQLO CANADA video, we aimed to express the atmosphere of Japanese omotenashi (hospitality). To achieve this, we developed a custom rig and introduced subtle irregularities in the folds to evoke the warmth of hand-crafted paper.

UNIQLO Toronto – Grand Opening Movie

What’s a project that SIGNIF considers a turning point in its legacy-building journey?

The opening animation for the Japanese anime series DARLING in the FRANXX marked a major turning point for us.

While Motion Design had been used in other Japanese anime openings, they were typically treated as separate from the traditional hand-drawn animation style. Anime openings also followed a unique format that I felt limited creative possibilities. Inspired by film credit sequences and design event openings, I aimed to introduce a unified, conceptual visual expression.

In the DARLING in the FRANXX opening, we successfully combined traditional Japanese hand-drawn animation with Motion Design and typography, breaking traditional boundaries. This project opened the door for Motion Designers to take on more prominent roles in anime production.

DARLING in the FRANXX – Opening for Japanese Anime TV Series

How do you measure the cultural and creative impact of your work on audiences?

When I first started in Motion Design, I measured success by looking at ratings on Vimeo. Later, as social media evolved, I began gauging impact based on reactions on those platforms. However, I’ve recently stopped paying much attention to evaluations on social media.

To be honest, in recent years, I didn’t have a clear answer on how to measure the impact of my work. However, this year, several academic forums in Japan have positioned my creations within the contexts of both Motion Design and Japanese anime culture. This has led me to believe that it might be possible to evaluate impact on a longer-term scale than before.

A DAY Theater – Takanawa Gateway Fest

SIGNIF at 2297


How do you see the future of motion design evolving, and what role does SIGNIF want to play in shaping it?

The boundaries between Motion Design and adjacent fields like gaming and animation are gradually fading—a trend I believe will continue. Moreover, emerging technologies such as AR and VR are expanding the range of media where Motion Design can be applied.

As these opportunities grow, SIGNIF aims to offer alternative values and broaden the possibilities of Motion Design as a medium, helping to define its future direction.

METALVERSE#1 – UNBOXING

What new technologies or techniques is SIGNIF excited to explore in the coming years?

While SIGNIF has not yet fully embraced AI, I am eager to explore its potential to further enhance creativity. Additionally, inspired by our work in Japanese animation, I want to delve deeper into character animation—an area we haven’t extensively explored—and discover innovative ways to integrate it with Motion Design.

As creators, how do you stay ahead of rapid industry changes without losing sight of your core identity?

It is crucial to distinguish between technological advancements and foundational thinking frameworks.

Technology is ever-evolving, and staying ahead requires an insatiable curiosity. The Motion Design industry excels in this regard, offering plentiful opportunities to access cutting-edge knowledge from anywhere in the world. Resources like online tutorials and conferences provide invaluable learning tools, and actively engaging with them is essential for growth.

At the same time, foundational elements—concepts and storytelling—should not be approached with a mindset focused solely on trends. These should be continuously revisited, drawing on past experiences and initial impulses, and rediscovered from within. Inspiration from outside the Motion Design field and personal experiences play an integral role in this process.

Both individuals and organizations must create opportunities to grow these thinking frameworks while remaining true to their original aspirations in visual expression.

HAL Vocational School FY2024

Something No One Ever Tells You


What advice would you give to designers aiming to create work that stands out in a crowded market?

Understanding the distance between what is currently valued in Motion Design and your own work is key.

If you merely replicate what is popular, your work will blend into the crowd. Conversely, if your work is too personal, it might fail to resonate with a larger audience.

Maintaining a thoughtful distance from mainstream trends while incorporating originality will allow you to create something truly unique that captures attention.

TRIGUN STAMPEDE – Opening for Japanese Anime TV Series

How can young Motion Designers find their voice while remaining adaptable to changing industry demands?

The insights I’ve shared weren’t something I had from the start—they emerged from interactions with the people I met while working on various projects.

Rather than fixating on your current position, it’s important to continually ask yourself how you can create better work. Engage in dialogue with other designers and steadily refine your core approach.

In Terms of Motion Design, Japan is…?


Japan is incredibly rich in that many Motion Designers are emerging, and a large volume of work is being produced. Within Japan, there are countless projects of all sizes, providing even young designers opportunities to think independently from the concept stage and explore creative projects.

Bright Minds, Neon Dreams

Moreover, uniquely Japanese expressions are flourishing, such as the evolution of kinetic typography using the Japanese language and the fusion of manga aesthetics with Motion Design.

However, there’s also a tendency for the Japanese Motion Design community to become insular, referencing only each other’s work. Even when well-known international studios or projects are mentioned, they’re sometimes unfamiliar, leading to a significant gap in exposure. This self-contained focus limits the creation of work that transcends community boundaries, even when opportunities arise.

When invited to contribute to this article, my hope was to help break through this sense of stagnation and encourage Japanese Motion Designers to look beyond Japan’s borders. If this aspiration resonates, even a little, I would be deeply honored.


@signif.inc
https://signif.jp/

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About the author

Fermín Cimadevilla

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