What Tsubaki Stationery Store Taught Me About Making Art
I listened to a wonderful book. It was like a refreshing rain pouring straight into my heart.
The book is new and by the Japanese author Ito Ogawa. Its Finnish title is Paperikauppa Tsubaki, and it is also being released in English as Tsubaki Stationery Store (Amazon – affiliate link, Goodreads)
Tsubaki Stationery Store
The book tells the story of Hatoko, who has inherited a small paper shop from her late grandmother. It isn’t a sticker shop, but a very minimalistic one. Additionally, Hatoko offers handwriting services. For Hatoko, “beautiful” isn’t a static concept. Case by case, she carefully considers not only the message itself, but also the shape of the letters, the paper she chooses, the writing instrument, the envelope, and even the postage stamps.
You absolutely must read this book.
Refreshing Rain
I loved the book so much that I wanted to make a drawing about its impact. It started by spraying some ink.
I got the idea of spraying ink when browsing the pages of my sketchbook. See this blog post from 2019: 10 Black and White Art Techniques with Personal Stories
I then made the drawing with pencils and ink pens (Copic brand).
I started with graphite pencils.
And then introduced black ink pens.
When I wanted to have something darker or more clearly outlined, I used the ink pens. The pencils were for softer greys and shadowing.
A piece of paper under the hand protects the drawing.
I wanted the drawing to grow freely and express the impact that the book had on me. The last step was to add a little color to the central flower.
Here’s the finished piece again. I had so much fun drawing the waves. When I draw, I try to follow the principle: “Draw what you love.”
This is about my inner world getting the refreshing rain from Ito Ogawa’s wonderful book.
Simple and Small Can Lead to Better
Tsubaki Stationery Store made me think about how simple things can become when we stop ignoring the basic truth.
You see, this spring I have been thinking a lot about how I could make better paintings. It has felt like a complicated question. Just breaking down what “better” means takes time. The choices feel big, as if I were standing at a highway junction in the middle of this constantly changing, chaotic world.
But Ito Ogawa’s book brought me back to a small street. A series of small decisions that naturally follow each other can overcome grand choices. At its best, that is exactly what drawing is about, too. One thing leads to another, and only small adjustments are needed to take the drawing to the next level.
Tiny Things in Practice
Instead of this week’s small drawing project, I was actually planning to show you a much bigger one – a painting called Ikigai. I have been working on it for a couple of months now. But after listening to the first few chapters of the book, I realized that the painting isn’t finished yet. The book helped me to see small fixes that would make the painting “better.”
Now, Ikigai needs to dry before I photograph it. You will see it in a week or two.
But in the meantime, let’s keep drawing!
Artistic Line Drawing – What Do You Think About This Course Idea?
To me, all visual art begins with drawing. When you want to get to know yourself, draw! When you want to develop as an artist—say, as a painter—draw! To draw is to think. Make your lines come alive, and gradually, a whole new world will emerge, even on a small piece of paper. That’s what artistic line drawing is about.
Black drawing pen and colored pencils.
Past and Present Drawing Courses
In most of my courses, drawing plays some role. Free and artistic line drawing is especially close to my heart. In the past, I have taught two courses on the subject: Inspirational Drawing and Inspirational Drawing 2.0. These are already retired. Of my current courses, Mystical Minis comes closest to these.
Passion For Teaching Artistic Line Drawing
For some time, I have wanted to offer more help with line drawing. Not just how to draw, but also how to alter the process to take it in a more artistic direction. By “artistic,” I mean moving beyond the conventional and creating something that is both personal and at least partly abstract. I want to speak especially to those of you who want to create freely and push your boundaries—both in how you think and how you create.
Watercolors and colored pencils.
At first, I thought the material I had gathered over the past few months would be just for these blog posts. But as I have started to unpack the topics, I find myself wanting to share more than what fits into a single post—to show things in both theory and practice. So, I’ve started developing a new course, under the working title Artistic Drawing.
Artistic Line Drawing – Course Themes
Here are the themes I have selected for the upcoming course:
- Ways to Start a Drawing: I want to help you explore how you begin. You can approach your drawing like an architect, building a clear structure first—or like a gardener, letting everything grow from a single seed.
- Letting Go: If drawing does not make sense and feels directionless, letting go can be difficult. I want to give tips on how to feel free and draw anything without too much inner resistance.
- Interaction: I want to help you notice the possibilities of interaction in the creative process. This is about both how you speak to yourself and how you work with drawing. For example, a line you draw can invite another line to join the conversation.
- The Scale of Shapes: An impressionist draws in a pixel-like manner, placing tiny dots one after another. An expressionist creates larger, vector-like shapes. I want to help you use both approaches and find the combination you enjoy most.
- Presence: At its best, your drawing radiates presence. I want to help you become like a singer who doesn’t just go through the notes, but pours their whole soul out to the audience.
- Clarity: You can begin a drawing with plenty of elements, but towards the end, it is worth striving for clarity. I want to help you discover a minimalism that is not based on scarcity, but on the ability to pick the essential.
- Sense of Style: I want to help you find the things you want to add to your drawings, and the ones you want to get rid of. It is not just about developing a style, but also about developing your sense of style.
Which of these themes interests you the most? What else do you hope to be included in the course?
Three Brave Questions to Ask Yourself about Your Art
This week, I have questions about your art, and I will also share my answers as an example.
As an artist, you’re always asked: 1) where do you get your inspiration, 2) how is your art made, and 3) what does it represent or mean? But when you want to go deeper and find answers for yourself, answer my set of questions instead!
My questions about your art are not positive, but negative. They are braver, but also more grounded, and I think they can be more useful than the ordinary set. When you look at your art through what you don’t instead of do, it can be easier to see what’s truly closest to your heart. If you only dare to admit the truth…
Question #1 – What Subject Do You Always Return to (No Matter How Much You Resist It)
For some, it’s portraits; for others, landscapes. For me, it’s flowers. I actually feel a bit embarrassed about being a flower painter. A woman over fifty, painting flowers … you know the stereotype.
But I feel like my love for flowers and plants runs deeper than many artists. I have rare orchids, a flower garden, and I see flowers as pets with personalities.
But I also have to admit that I planned to create a drawing of a female figure for this blog post. It never got past the early stages; I just wasn’t inspired. Then I tried an abstract idea. I started several, but still nothing. I wasted at least four hours and filled the bin with my scribbles. Finally, I gave in and drew those flowers.
It was so much fun. I felt like I found myself again. “This is so superficial, Päivi!” a voice inside me said, while at the same time: “I love this world above the clouds, where flowers bloom, and everything shines.” So, I’m sorry to post flowers again!
Question #2 – What Do You Break in Your Creative Process?
Rather than convincing yourself how you follow the tradition and how you build the image, think about the cracks in your process. What should you do, but you really don’t? How does that affect your art?
There’s one stage I always try to avoid: sketching. Predictability just kills my motivation. That might be why I don’t draw people so often. When I was creating the course Doll World, I learned how to sketch human anatomy. It’s a very useful skill, but it didn’t stop me from avoiding it. It’s nice to know I can draw a person in any position, but at the end of the day, I’d rather be drawing flowers or ornaments.
For my oil paintings, I do some prep work by researching and writing down ideas. Sometimes I’ll doodle something small in my planner among the written notes.
But I do practice drawing a lot. Even the drawing for this post is kind of a study for my paintings.
However, I never recreate the same image. I want to break that predictability and leave room for those sudden “aha!” moments.
No sketching, no pencil/eraser thing – I’m a little embarrassed by this answer. I have so much respect for the old masters like Rubens and his peers; I think about them every day. I’m also constantly trying to improve my technical skills. But — and Rubens is probably rolling his eyes now — I try to do it without sketching!
Question #3 – What Do You Defy With Your Art?
The world is full of good things that inspire us and that we want to promote. Of course, we would like those things to add meaning to our art as well. But I believe that creativity can’t be forced. You can try to overlay meanings onto your art, but that will only obscure its essence and remove its clarity.
With my art, I’m not defying authority, climate change, social division, inequality, or war. There are many things I oppose as a person, but for some strange reason, they have nothing to do with my art. My art is about defying something as mundane as everyday life.
I respect those who capture the everyday, but that’s just not me. I’m not the kind of artist who sketches the houses in her neighborhood or portrays the ordinary lives of ordinary people. My art doesn’t come from the beauty of the everyday; for me, beauty begins where the everyday ends.
Now I should mention that I’m not a particularly “special” person myself, even though I’m a full-time artist. I work regularly and with discipline. In my free time, I mostly walk the dogs, take care of the plants, do crafts, and clean. I wear wool and cotton.
But when I’m making art, everyday life is far away. I admire the Baroque, rare collectibles, palaces, luxurious fabrics, and historical gowns. I’m a romantic, a nostalgist, and an avant-garde thinker—anything that rises above the mundane pulls me in like a magnet.
I suppose there’s something superficial and embarrassing in that, too. Isn’t luxury the indication of a materialistic mindset?
What’s Behind the Questions about Your Art?
Behind the awkwardly truthful answers, I see a kind of sacredness that inspires me immensely. It’s a connection to nature’s ultimate luxury, to my own intuition, and to a human-made beauty that lifts the spirit.
How would you answer these three questions about your art?
You Can Draw Patterned Papers!
This week, I answer the question: “I want to draw, but don’t know how or what! How to start?” My suggestion is to start with patterns. So, draw repeated shapes and make a collection of patterned papers that you can use for collage art, for example.
The No-Pencil Approach
I usually start my line drawings with a black thin-tipped drawing pen or a blue ball-point pen.
If you say you can’t draw, say goodbye to the pencil era. Don’t be one of those who sketch many parallel lines and erase all the time! A pencil is a crutch that might feel helpful, but trust that you can walk and pick up a pen. The first steps may be scary, but when you risk more, you draw better. Your line is not just a vague and neutral curve, but one that expresses your existence.
Let’s draw four patterned papers!
Paper #1 – Small Flowery Shapes
Pick a tiny piece of paper and a pen, not a pencil. When you can’t erase, you focus more and draw better. Small paper doesn’t need anything grand, so clusters of tiny flowery circles are enough, and if not, you can add some leaves.
I colored my pattern with colored pencils. The fun thing with colored pencils is that you can use an eraser to add more patterning. I have a precision eraser pen that is handy for small dots. If you use a bigger eraser, color the dots smaller after erasing.
I love colored pencils because it’s easy to layer the colors to get a variety of tones.
People may say: “It’s just a pattern, not a picture.” Or: “Tiny scraps mean nothing.” But I think it’s a packet of seeds, ready to grow and expand. The first paper may be a secret thing, something you glue on your notebook or planner, to freshen up all the mundane words like “To do” or “Meeting at 9 AM.”
Paper #2 – Big Nested Shapes
Let’s get bolder and pick a bigger paper! The shapes should now be so big that most of them are only partly visible.
Draw nested shapes. The first lines define the inner shapes, and the second lines are the outer shapes that group them. These are fun to color! I used felt-tipped pens and strong contrasts.
Then I added circles, stripes, and some color variation with colored pencils.
When the motifs are big and the colors bold, the shapes can be quite simple. The Finnish design company Marimekko has produced great patterns over the years. See inspiring examples here at Marimekko’s site!
Paper #3 – Dynamic Strokes
Pick a pen with a brush tip. You can also use ink or watercolors with a paintbrush. Draw clusters of three intersecting strokes. Then draw curvy lines that travel around the strokes. The result is dynamic and looks like flying trees or the sight when looking up at the trees. You can add small, flowery shapes and circles too.
I also played with the background and added a free-form low-contrast grid that is like a city map or a tiled wall. The more you draw patterns, the more you will cluster and layer. This way, you will gradually move towards making expressive art rather than staying in the area of surface design.
Paper #4 Traveling Line
Now let your line travel more freely. Repeat what you have learned in the previous exercises, but do it in a more relaxing way, without too much care about what comes on paper. Think about the line being just a foundation for coloring.
When the first lines are just a foundation, you can add decorations like swirls and small dots, which are often seen in surface patterns. Some motifs might be more decorative than others, and the result becomes more like scenery than a design.
I used a regular ball-point pen for the first lines, then colored the paper with watercolors, and finally added decorative details with colored pencils.
To Draw Freely? – What It Is
Drawing means letting your pen take the lead. It means guiding it forward, meandering, and turning. It means traveling your own paths, daring to go back, and driving over and past them. When drawing freely, you don’t really care about the destination, but you want to enjoy the ride.
Your pencil should be firmly on the road, but not so heavily that it’s hard to move. A person who travels with their pencil and focuses on the line knows how to draw, unlike those whose line merely flits across the paper before fleeing. Drawing isn’t about the line representing something, but about the line having someone who treasures it.
Extra – From Hand-drawn Paper to Digital Kaleidoscope Pattern
If you can use image processing software like Adobe Photoshop, scan or photograph your design and duplicate it several times. Flip some copies vertically and some horizontally to build a continuous kaleidoscope pattern.
Draw and Use Patterned Papers -More Inspiration
Use your papers! See this project: Painterly Collage in Rut Bryk’s style
Create more paper and make collages: See the class Collageland
Draw freely: See the classes Intuitive Coloring, Joyful Coloring, and Mystical Minis