Starbahn streamlines the Startrail brand, an in-depth interview about art, design, and user experience
Startbahn Cert. is now called Startrail PORT. The new name emphasizes the integration of our web application and NFC tag product to Startrail, our infrastructure for creative industries.
The Startbahn company logo and Startrail logo have also been updated to align with the new design.
We invited Yuta Oda, the designer and art director who worked on this rebranding, to tell us more about the concept and background of this project. CEO Taihei Shii, PR Officer Risa Mizuno, and Yuta join art writer Tamaki Sugihara for the following sit-down interview.
◾️A clean start for Startrail
Tamaki Sugihara: You launched this new branding to simplify Startbahn’s products and services. Can you start by telling us the backstory of this?
Taihei Shii: We first named Startrail and Startbahn Cert. differently because we believe that blockchain is a technology for the public good. Startrail is an infrastructure using this technology, and we want Startrail to not be associated with Startbahn and be operated de-centrally in the future. That’s why we named it Startrail, and not the company name, Startbahn. The former is only a public system, and the latter is positioned as an in-house business for Startbahn to lead its initial implementation.
Then came the NFT boom in 2021. The NFT concept, which was previously known only as a technical term, became popular at an insane speed; the demand for NFTs was growing and the blockchain industry and the art industry were finally intersecting. At that point we felt the need to simplify and clarify our initiatives. At that point we felt the need to simplify and clarify our initiatives. That was the start for the rebranding.
It was difficult for users to grasp the relationship between Startrail and Startbahn Cert. The former is a blockchain infrastructure, similar to the water supply system running in the background to provide you with water. Startbahn Cert. meanwhile is the web application and NFC tags that utilize Startrail — like the faucet in your kitchen. Although they function as a set, they had separate names. Therefore, we changed the name of the latter to Startrail PORT to make its relationship to Startrail even easier to understand.
Sugihara: How did Yuta get involved?
Taihei: Yuta is an old friend of mine. He designed the Startbahn Cert. logo and has frequently been involved in our company’s discussions. On the other hand, the logo for Startrail was designed by another designer, Seri Tanaka, and we asked Oda to unify the two for the rebranding.
Yuta Ota: I first met Taihei in 2006, when he launched the first concept of Startbahn and applied for a patent. But honestly, we were just drinking buddies back then.
Taihei: Yep. However, Yuta had been working in the field of technology and creativity for a while. There aren’t many people like that; I’d been wanting to work with him, so I asked him to design the logo for Startbahn Cert.
I asked Yuta this time for the rebranding because there isn’t anyone else like him. Startbahn Cert. connects the public infrastructure and Startbahn’s own business, and there were many complex and complicated issues regarding the service positioning, how it should be provided, etc. Yuta had to deal with my long discussions on this topic for more than two years after Startbahn Cert. was launched (laughs). He was also able to continue to collaborate successfully, even as our company’s official language transitioned to English, and overall he’s just incredibly knowledgeable about branding. We were very pleased to have him work with us this time as well.
◾A robust top-down and bottom-up approach
Taihei: What were some of your thoughts while attending our meetings?
Yuta: It would be an understatement to say that Startbahn takes discussions seriously. There are both robust top-down and bottom-up approaches here. That’s why it’s tough.
Taihei: (laughs) It is definitely not just a flat organization.
Sugihara: How so?
Taihei: I would come with some ideas, start working on them…
Yuta: Yeah, we’d start with your idea, discuss it thoroughly, and refine the design. The moment we’d have a “this is it!” moment, other members would weigh in and would weigh in and just completely turn that around (laughs). It was a time-consuming process, but for good reason. I did have the responsibility to listen to what everyone at the table had to say.
It is usually a pretty hard situation for a designer. But I’ve been through it — I’ve worked on a VR platform called “STYLY” by Psychic VR Lab and “NewsPicks” since its launch, so I know the vibe of the communication in digital products and services. Those experiences helped to prepare me for working for Startbahn.
This rebranding started with the UIUX design team’s suggestion to set the rules for the typefaces and colors to be used within the Startbahn Cert. service. To do so, it was recommended that the relationship between Startrail, Startbahn Cert. and Startbahn should be fundamentally changed. Eventually, Startbahn’s design team came up with the idea that it would be better to unify the logotype and typeface as well. It was like taking three steps forward and ten steps back.
In response to these bottom-up opinions from the on-site team, the management team came forward with honest, top-down opinions such as, “This design is necessary, but not to this extent for branding purposes,” and it was a constant debate. That’s what I mean by a robust bottom-up approach. For example, while we were in the process of reviewing the UI and dashboard pages, discussions about the positioning of the service itself would come up. My role was to balance both sides of the conversation while considering what would be the best for the brand.
We also made small changes to the Startrail logo, specifically the typeface itself. We unified the sans-serif typeface used in the previous Startrail logo with the geometric sans-serif used in the Startbahn logo. Then as we set the design rules for one service, the discussion shifted back to the point that the logos of all the other services should also all be perfectly aligned while utilizing the essence of the past logos.
Sugihara: So precision and inclusiveness drove every decision, even for the company logo?
Yuta: Right. And it’s not just that. We didn’t jump to easy conclusions without valid reasons and organized context. At first glance, it looks like the logo did not change dramatically, but it felt like 100 tons of force was needed to move things even 1mm.
It’s very unique for a company to do such precise work. Usually, if a designer decides on a design with the management, the entire company would follow — not at Startbahn. The management takes very seriously the smallest of ideas from the in-house team and thoroughly discusses them at a company-wide branding level. This is something special about Startbahn.
◾️ Listening and debating. Startbahn’s open and critical approach to culture
Sugihara: Taihei, was this culture intentional?
Taihei: Very. While I do take leadership, I also welcome criticism. That’s why I thought it was very interesting how Yuta described it, “There are both top-down and bottom-up approaches.” I want to hear what Risa thinks.
Risa Mizuno: I think it’s more that there is a top-down approach at the beginning, then the rest of the team does not hesitate to share opinions.
Taihei: Agreed. Maybe we’re built differently that way.
Risa: Yeah. As a PR Officer, it was often challenging to explain to the media what Startrail and Startbahn Cert. are, given they have separate brand names. But I do understand the reasoning behind it as well. The balance between the two is a key discussion point for Startbahn, which will undergo company-wide discussions in the future as well.
Sugihara: It’s not just engineers or the management team discussing rebranding, but also the PR team as well right?
Yuta: During the meeting, I asked Risa, “It’s fine to change this, but as a PR person, can you give a good reason why?”
Taihei: We ask each other all these questions. Even if it is just a minor use of words, we discuss it many times.
For example, we used to say “issuing NFTs” to mean “creating NFTs.” During the NFT boom, however, the word “minting” became very popular. I’ve talked to Risa about not using “NFT” before, because no one understood what it was, but then there was a reversal in the words that could be easily conveyed.
Given that, would we then use “issue” or “mint”? In the end, we went with “issue,” but we discussed such matters one by one.
Risa: People familiar with blockchain and NFTs will understand “mint,” but it is not as common in the art industry. We said “blockchain certificate” from the perspective of familiarity, but it almost sounded like there is no difference between the paper certificates. We decided to not to use the expression “blockchain certificate” from now on, with this rebranding.
Yuta: People don’t take each other’s words for granted. We don’t categorize the opinions as “what the designer said,” “what the engineer said,” “what the CEO said,” or “what PR said.” We just simply discuss. I have been involved in various media launches and rebrandings, but there are very few places where we can incorporate such large discussions into a detailed design. This is especially true for startups in the digital domain.
Moreover, as a result, the logo became very plain, a decision that I did not have much experience with. I mean, I don’t even know whose decision it is anymore. The repetition of “we don’t need this” and “this is understandable,” thrown at us from various perspectives. That’s why meetings at Startbahn are so interesting.
◾️ Simple, shared principles that lasts
Taihei: Because everyone is so serious about getting to the bottom of things, they react surprisingly quickly when the direction is aligned. For example, when we had almost finished sorting out the branding guidelines, I suddenly sensed feelings of discomfort and proposed, “Let’s align the brand to Startrail’s,” and everyone agreed.
Risa: I was like, “yes, finally!”
Yuta: I thought that would cause another debate, but it all went down very smoothly.
Taihei: I was very nervous when I made the proposal (laughs), but the people who would normally push back were actually all in favor of it. I guess they had doubts about the complexity of things.
Sugihara: Even though there are different opinions, Startbahn can ultimately find an agreed upon solution. Is this because Startbahn members share something in common? For example, about the company’s brand or a viewpoint about art?
Taihei: We have been redefining Startbahn’s mission, vision, and values. One key phrase that came up was “lasting over time.” We want to create something that will last over time as infrastructure — even if the company Startbahn ceases to exist.
This is also connected to our goal of running Startrail as a DAO (decentralized autonomous organization). I believe that the decentralized nature of the blockchain works well with art. In the art industry, there are influential players such as famous museums and famous artists, but it is only the shared understanding of the individual people that determines the way it is and its value. Such a system of valuing art is very blockchain-like. I think many members at Startbahn are interested in such a structure.
Yuta: In the end, the center of the discussion is art. Startbahn members are not focusing on economic rationality. Everyone is thinking about “how to work with art” or “what it means to work with art.” Because of this axis, discussions are not left hanging.
This kind of organization that is both top-down and bottom-up could also be applied to top fashion brands. For example, I work with Comme des Garçons and I think they’re a great example. Everyone is unbelievably passionate about fashion.
Sugihara: Everyone has their own point of view on fashion.
Yuta: Yes. With half-baked brands, things like efficiency or profitability come in, and mess things up. However, I feel that pure principles like “fashion” are at work in top brands. On the other hand, art, in particular, is something that can be touched without money. Because it is accessible to all, anyone in the company can have an opinion, and on the other hand, the energy to confront it is also great.
Taihei: Every Startbahn member has their own view of art. It’s amazing how they come together. If all members had been in the art world for a long time, there would already be a pattern of thought that is easy to predict, with no new questions raised; that would be a very closed minded approach.
In order to expand the possibilities of art in this new era, I have always felt that it is not good enough to just produce something that will be popular in the industry. There is no doubt that art is at the core of what we do, but we want to leave various possibilities open in our view of art.
◾️ Clear design for a simple user experience
Sugihara: Looking at the new logo while listening to your story, I am again surprised. Such a simple solution was created as a result of all these discussions. You also worked on the previous Startbahn Cert. tag and the new Startrail PORT tag. What were your thoughts when designing these?
Yuta: The relationship between Startrail and Startrail PORT is similar to the relationship between roads and cars. When talking about cars, everyone thinks about style, price, and so on, but without proper roads in the first place, you cannot have a great driving experience. On the other hand, even if you build an amazing road, it would not mean anything unless there are cars that users want to drive. The two are inseparable, and Startbahn creates both. Therefore, I think the most important thing to consider is how the user feels.
The VI (visual identity) designs of companies that create infrastructure and platforms tend to be symbolic of what you see. They try to create something unique. But when we tried to redesign Startrail and Startrail PORT the same way, it didn’t turn out well at all.
Then one day I looked up the root word for “humor” and found it came from the Latin word for “liquid” or “fluid.” That was a huge mental shift for me. I realized that humor is not something symbolic, but something that circulates. So it is not just about “let’s make a cool car,” but also about a good relationship between the car and the road, even if the user is not aware of it. I realized that such an approach was necessary in this case.
Sugihara: So a very fluid user flow, quite comprehensive.
Yuta: Another thing I consider when creating a CI (corporate identity) and VI (visual identity) is the balance between the service and the people in the company. For example, if the employees are fancy or extravagant, I keep the design simple. In that sense, everyone at Startbahn is very human (laughs). If that is the case, I decided it would be good to keep things simple for what I create.
I also used Seri Tanaka’s original design for the Startrail logo. I had that as a basis and restructured the geometric relationship within the circle. I had that as a basis and restructured the geometric relationship within the circle. The very first Startbahn logo designed by Teppei Tabata had a diagonal line. I also added a diagonal line to the “S” in Startbahn based on Michele Angeloro’s design and in the logo structure when capitalizing the letter.
Taihei: Startbahn means “runway” in German. So, we made it slanted to resemble an airplane taking off.
Yuta: While properly incorporating that symbolism and context, we made adjustments to make it more integrated and precise, rather than making it look flashy.
Sugihara: How did you choose “PORT” for “Startrail PORT”?
Risa: There were many ideas, like “HUB,” “EXPLORER,” etc. We voted many times. “EXPLORER” still seems a bit too techy to the art world. We decided on “PORT” because it would be more approachable and have a less technological feel.
Taihei: Startrail PORT itself is a place to register and receive artworks. So the image of a “port” where packages are loaded, unloaded, and transported was a good fit.
Risa: We also decided to print our custom design on a holographic sticker for added protection.
Yuta: The subtle design and neutral color of the material doesn’t steal attention from the viewer, and really looks like a security label.
One of Startrail PORT’s strengths is that it is as much a physical solution as it is a digital one. These days NFTs are usually considered as entirely digital assets, with little to no connection to those who create physical works. That’s why solutions like our NFC tags, which can connect the physical and virtual worlds, are fundamental to Startrail’s philosophy of safeguarding the value of creative works.
◾️ Changing the artworld: Not by the numbers, but by the culture.
Sugihara: Startbahn’s goal is to improve the art world by ensuring the reliability, authenticity, and traceability of artworks, as well as giving back financially to artists. Finally, can you tell us your vision after these moves?
Taihei: For the past 20 years, I have believed that the art industry would experience a significant change in the information age — particularly, drastic changes in distribution, archiving, and the interaction between all the stakeholders of the works.
Until now, only a limited number of works of art have been subject to evaluation, criticism, archiving, or even sale. However, with the development of new technologies, it seems that these boundaries are now being broken down.
The future of Startbahn is an environment where art can be created anywhere in the world and connected to the rest of the world. This does not mean that the existing top tier works and artists will disappear. It does not mean that the current art world will become radically open and transparent. However, the previously invisible players will appear and there will be new dynamism in how value is created. I believe that the infrastructure of Startrail will create this change.
Risa: I, too, hope to see that change. A different dynamism will emerge from areas that were previously invisible. Some members at Startbahn did not have the opportunity to directly enter the creative industry. Actually, I was one of those people.
I wanted to be an artist when I was a student. Eventually, I realized that it would be difficult to make a living with art alone, and I gave up, thinking that I would not have the talent. I think that once the necessary framework is there, more people will be willing to give it a try, even though they are not sure if they have the talent or not.
Sugihara: I do agree that the hurdles to making a living as an artist are too high. There is a standard for success in this world — starting with a small exhibition, then becoming a member of a famous gallery, having a solo exhibition at a museum, going abroad, etc. Startrail can be a way for people who couldn’t take that route or gave up once to make a living with their artwork.
Taihei: That’s right. It would be nice if that could influence the existing top players as well. When YouTubers first emerged, TV personalities were separated from the YouTuber world, but now the boundaries are blurred. I think it is important to expand such opportunities.
In the art world, the first step, such as a solo exhibition at a gallery, is very hard to get. Probably 99% of the talent drops out at that point. It’s not that I think all art should be valued equally, but rather that there should be more access to opportunities. The world would be a better place with more art and artists.
Yuta: I think it is possible to have a future in which technology becomes more and more autonomous within an ecosystem, and the system circulates without any human intervention. In that sense, I think a future in which the identity of art circulates through the blockchain is entirely possible.
I want that cycle to be driven by humanistic motives, not by profitability or efficiency. Economy and culture are like two extremes at the end of the balance. I want the cycle to be driven by culture, as creating culture is fundamental to humanity. And, I want Startbahn to be at the forefront of the change.
Yuta ODA
Designer, creative director
COMPOUND inc. CEO／Machizu Creative inc. CEO
Part-time lecturer at Tama Art University
In addition to a strong foundation in design, Yuta is also a creative designer for media, fashion, VR, and urban and planning.
Recent major works include direction for “MAD City” in Matsudo, Chiba, UI/CI development and branding for “NewsPicks,” rebranding of Disk Union, design work for COMME des GARÇONS “noir kei ninomiya” (2014–2020), VI signage planning for the Shimokitazawa redevelopment area “BONUS TRACK,” incubation for the 2020), VI signage planning for the Shimokitazawa redevelopment area “BONUS TRACK”, planning and VI signage planning for the incubation center “100BANCH”, VI design for the VR platform “STYLY”, creative direction for Itoen’s “OCHASURU? He has been appointed as Creative Director of the Agency for Cultural Affairs’ Media Arts Archive Project since 2020.
Taihei Shii
CEO
Taihei Shii is the founder and the CEO at Startbahn. Prior to Startbahn, he served as an Adjunct Professor in Tokyo University of the Arts. Taihei is a contemporary artist, with works focusing on art of the information age and have been exhibited in various galleries and museums. Taihei formulated the original idea of Startbahn and filed patents for the royalty fee system in Japan and US back in 2006. Startbahn as an organization was then later founded during his graduate school years in 2014. More recently, Tahei became the CEO of Tokyo Art Beat in 2020 when the NPO relaunched as a new company. In addition to these activities, Taihei also serves as a research fellow at Interspace Research Center, Institute of Industrial Science, the University of Tokyo, and a director of Eastern Culture Foundation from 2022. Taihei holds a BA in oil painting from the Tama Art University and MS in interdisciplinary information studies from the University of Tokyo.
Risa Mizuno
Public Relations Officer
Born in 1997, Risa spent her childhood and adolescence in Germany. She graduated from Keio University’s Faculty of Environment and Information Studies. While studying at Keio, Risa planned and marketed exhibitions of photographs from children all over the world, sparking her interest in pursuing a career in art. Risa worked as an intern at Startbahn for one and a half years, and officially entered the company after graduation. In her spare time, Risa enjoys traveling, and especially loves the countryside of Laos.
Tamaki Sugihara
Freelance Art Writer. Born in Tokyo in 1984. Graduated with an MA in Art Theory and Art History from Musashino Art University in 2012. Sugihara works with several art media and institutions, including BIJUTSUTECHO and Arts Council Tokyo.
