InterviewFeatured Artist

acrylic painting
Yuji Yamazaki
Profile
For farewells and the start of a loved one, he gave an illustration of "Pokémon," which was a common topic. The entry point for creating the work was said to be filled with gratitude. He was then offered a job in a newsletter, learned to draw, and through sketching and various techniques, arrived at acrylic painting. From the beginning to the choice of techniques and the respect for the motif's theme, Yuji Yamazaki's thoughtfulness permeates the senses endlessly. In this article, I want to share the charm of Yuji Yamazaki's personality, as I received in the interview.
Please tell us how you first encountered art.

I've loved drawing since I was little, but I wasn't actually learning to draw. Since I had about five days a week of lessons like swimming, abacus, cram school, and calligraphy, I focused on studying, so I hadn't been drawing continuously since childhood.

 The reason I started writing seriously was about ten years ago.

When the staff member at the facility I attended was leaving, since we both loved Pokémon, I drew a farewell message and a card with a Pokémon illustration at the Christmas party and gave it as a present. After that, a newly appointed staff member looked at the card and suggested, "Why not publish an illustration in a newsletter?"

 

After about a year of drawing for a PR magazine, I gradually improved, and I started thinking, "With this, I should try drawing seriously." Except for junior high art classes, I was completely self-taught, starting with pencil sketches and then exploring oil painting and other activities around my second year.

Why did you choose that technique?

Currently, the main technique I use is 'acrylic painting.'

 

The main reason for choosing acrylic paint was that it was easy to work in living spaces such as homes or group homes. Having started drawing seriously as an adult, oil paintings tend to have strong odors and didn't want to burden my parents or those around me. You can't expect a dedicated workspace just for you.

 Even if you accidentally mess your room, acrylic paint can be washed and cleaned immediately.

 

I was prepared for my hands and surroundings to get a little dirty, but by choosing tools based on the premise of "not disturbing others with smells and being able to clean up quickly," acrylic painting was the easiest for me to do.

How are ideas born?

I often create series works featuring motifs such as tigers and birds, as well as animals.

In my case, ideas come from thoroughly thinking through many ideas, focusing on them, and after making time to keep pondering, I deliberately "rest" my head. While the child is getting plenty of rest, ideas naturally come to mind.

 

 In fact, there was a time when I struggled with the lack of a fixed approach to "painting this style and this kind of work" like most artists do. However, as I kept drawing, I realized I truly loved animals and living creatures, and from there, I developed an unwavering axis centered on the theme of connection with nature and the Earth.

How do you get through ideas when you hit a dead end during production?

After making time to think deeply, if I feel like I'm stuck any longer, I boldly make it just a 'break time.'

From my own experience, as long as I rest well, I know that ideas will come to me on their own, so I don't force myself to come up with ideas. Books like 'The Law of Inspiration' that I read before describe a similar process, and I realized my approach wasn't wrong.

 

Just because I hit a dead end doesn't mean I do anything special; it just takes a little longer than usual for inspiration to strike, but the basic production process is always the same.

Do you have a routine while working?

There are no fixed routines or rules like "always play music" or "draw at a set time."

I try to focus on drawing whenever it's convenient or when I feel like doing it, while monitoring my physical and mental balance, schedule, and condition.

 

In my usual creative work, I don't start writing until I have a clear idea of 'what kind of work I want to create this time,' as well as the arrangement on paper and the color scheme in my mind.

In most cases, you prepare acrylic paints for the first time while you have a clear image in your head and head to your desk.

How long does it take to create a single piece, and how many pieces do you paint each month?

The time spent conceiving the finished product in my head is overwhelmingly longer, and the actual time spent drawing at my desk isn't that long.

 

Depending on the work, if you don't plan to draw realistically or if you don't have complex placements or filling, you can finish a 6-size or 8-size piece in about 2 to 3 hours in one go. I think the key to deciding colors in a short time is my experience thoroughly doing "black-and-white sketches using only pencils" when I first started teaching myself.

By repeatedly practicing expressing only the shading of black and white, I became good at distinguishing fine colors, and when writing realistically, I naturally realized that "to bring out this color, I just need to add that color to that color." By the way, I also pay a little attention to the original signatures included in the artwork.

 

The mountain in 'Yamazaki' and the 'U' in Yuji (YUJI) are likened to snow-capped mountain ridgelines, with the dots of 'JI' rounded to resemble a sun mark. When you view the artwork, be sure to look for its signature as well.

Are there any points that catch your attention when viewing works by other artists? And where is it?

It's been a habit since I was little, but I'm strongly drawn to works that seem to be filled with the author's soul and feelings. Of course, there are works filled with energy, but some landscapes beautifully depict light.

I feel like I've been searching for captivating works that make the work itself speak to me the moment I see it, saying, 'This is the kind of work I am.' That's why I prefer works with strong stimulation and energy rather than beautiful, quiet, and calm pieces.

 

Previously, I saw a small piece painted during the war at a specialty art supply store I frequented. Although it had a slightly graffiti-like touch, the moment I saw it, I could clearly feel its overwhelming power and extraordinary value.

Please tell us about your future outlook and goals.

One major theme I am considering going forward is the world of "animism" (reverence for nature and animals).

 

I have a special reverence for nature and animals.

Long ago, just before a major earthquake in America, I was deeply shocked to learn an episode where sewer rats all at once escaped from underground. They catch information from nature much faster than humans, and I feel as if they are receiving something special from beings close to spirits or gods.

I want to continue expressing my respect and reverence for these mysterious animals in my works and continue to convey them.

Yamazaki's journey as an artist began with a pure interest in painting as a child and a warm consideration for those around him.

His self-taught keen observation and sense of color, along with his unwavering awareness of the theme of 'animism,' give his works a unique vitality and overwhelming energy. Yamazaki continues to deliver powerful messages from canvas, filled with deep reverence for animals as beings close to spirits and gods.

 

Expectations are even higher for the further expansion of creative activities and for encounters with new works.

Interview: 2026/06/26