Pavel Pazukhin creates truly one-of-a-kind works by infusing static objects with humorous movements and elements of natural beauty. We interviewed Pavel about his current projects, his values when choosing objects to work with, and his thoughts on MD Notebook.

――Could you tell us about your current work and projects you’re working on?

I’m currently based in Kyoto, creating promotional videos for various companies. I’m also working on animations themed around Japanese product design.
As part of that, I held an exhibition titled MY FAVORITE PRODUCT DESIGN at FabCafe Kyoto. Through this exhibition, I expressed my love for the objects that are part of my everyday routine—such as notebooks, pens, and cups.
For the past two years, I’ve only shown art-focused works, but this time, I wanted to convey two messages: “Everyday objects are more than just tools,” and “Product animation is not only for advertising—it can also be a form of art.” MD Notebook is also featured in one of the pieces in the exhibition.

――Your animations feel as if the objects have come to life—it’s truly captivating. What inspired you to start creating stop-motion animations, and what is most important to you in your creative process?

I started creating stop-motion animations after encountering Japanese products, and it was the moment my journey as a product design animator began. I was fascinated by every aspect—the materials, the design, and the craftsmanship down to the finest details. I wanted to express and share their beauty from my own perspective. I always begin my animation process by creating a story around the product. I treat the product as the “main character,” believing that each has its own rhythm and logic.
My initial storyboards are filled with many ideas and elements, but as I move forward, I gradually strip them down to the essentials. Rather than explaining a story, I aim to leave just emotion and resonance—something that sparks the viewer’s imagination.

―― How did you first encounter MD Notebook?

I discovered MD Notebook in 2018 at a stationery store in Shinjuku. I was so impressed by its simple yet perfect design and the high-quality paper that I bought several.
I was especially impressed by how easily and completely it opens flat. The moment I opened it in the store, an idea came to me immediately—to animate the notebook opening like a sunrise, with grass sprouting and the natural world slowly awakening. I remember going straight back to my studio to capture it before the idea faded.
Here’s the piece: https://www.instagram.com/p/BxHl0HiIk28/
Since then, I’ve made several animations using MD Notebook, including the animation for this exhibition. It’s also become part of my prop collection, and whenever I need a beautiful notebook for a scene, MD Notebook is always my first choice.

――We’re delighted that MD Notebook inspired your animation ideas. Is there a reason you prefer analog tools?

Analog tools offer a deeper, more immersive experience compared to digital ones.
My daily routine begins with a cup of coffee and handwriting my plans for the day using pen and notebook. Feeling the texture of paper as I reflect on the day ahead brings me a sense of calm—and at the same time, a quiet excitement. It’s a special and important moment for me.
I believe the more senses we engage, the more our memories take root and the richer the experience becomes. When I jot things down on a smartphone, oddly enough, I tend to forget them quickly.

――You seem to place great value on both objects and time through your use of analog tools. What do you look for when choosing the tools around you?

I prefer simple tools. Aside from MD Notebook, I really like the simplest pen from MUJI—I’ve been using the same kind for years. I also use a red colored pencil, a pencil sharpener from PAPIER LABO., and their desk calendar. These are all simple items, but they’re more than enough for me.
I apply the same principle when choosing my filming equipment. I don’t use expensive equipment—just tools I actually know. Even if something unexpected happens during a shoot, I can respond calmly as long as I understand my tools.
For me, it’s not about having the most advanced or high-tech items—it’s about knowing and mastering the tools I use. That’s the most important thing for me.

――Lastly, do you have any future goals or projects you’re excited to take on?

My long-term goal is to share my experience with the next generation of stop-motion animators. To that end, I’m thinking about hosting workshops or live performances. I’m a bit shy, so speaking in front of people makes me nervous—but I believe nurturing the next generation of creators is very important.
In the near future, there are two exciting challenges I’m particularly looking forward to.
The first is an animation project about Japanese craftsmanship. I’ve started filming some of the materials, and I’m excited to be able to visit the production sites in person, see the craftsmanship with my own eyes, and capture it on camera.
The second is an exhibition at my favorite bookstore-gallery in Nara. Right now, I’m thinking of doing a cut-paper animation based on a graphic design style.
Going forward, I want to keep creating every day, drawing inspiration from Japan’s forests, mountains, coastlines, and of course, Japanese product design.

Cooperation and Photo Credit: FabCafe Kyoto