A Risograph Studio and Experimental Space in Kiyosumi Shirakawa

Can you tell us a bit about yourself?

I am Nagi Aosumi, the founder and manager of the art studio STUDIO tuuli. I was born in 1994 in Hiroshima. I studied architecture and urban design at university and obtained a second-class architect license. After graduating, I began working as a freelance graphic designer.

In March 2025, I established an open art studio equipped with risograph and silkscreen printing. In my free time, I enjoy visiting art museums.

Can you tell us about your business?

I run both a design practice and a studio.

In my design work, I handle graphic, web, and spatial design.

On the studio side, I operate a reservation-based art space located within a five-minute walk of the Museum of Contemporary Art Tokyo, where people can use Risograph and silkscreen printing. The studio also hosts popup exhibitions, and visitors can browse and purchase zines.

What kind of people do you enjoy working with?

I enjoy working with people who think differently from me, exchanging ideas and discovering new perspectives through that process.

I’m drawn to working relationships where we can openly share ideas and enjoy trying things out.

I prefer to work with people who are adaptable, quick to act, and open to change.

What does a typical day look like for you?

I usually wake up at 6:00 a.m. and start the day with housework and childcare.

Around 9:30 a.m., I begin my design work and take a lunch break at 12:00 p.m.

From 1:00 p.m., I shift to working at the studio, and at 5:00 p.m., I pick up my child from daycare.

After returning home, I spend time on housework and childcare again from 6:00 p.m., and we have dinner as a family at 7:00 p.m.

From 10:00 p.m., I finally have time for my own hobbies, and I usually go to bed at midnight.

What is the atmosphere of your office, and why did you choose Kiyosumi Shirakawa?

My studio is a glass-fronted office and art space located along a street with a traditional downtown atmosphere, near the Museum of Contemporary Art Tokyo. I chose this area because I wanted to be within walking distance of the museum, which hosts the Tokyo Art Book Fair.

The interior is mostly DIY. I work surrounded by art I’ve collected, including zines, art books, and posters.

I also keep exhibition catalogs from museums I’ve visited, along with design-related books, which I use as references in my work. In addition, I have a collection of zines by artists from Japan and abroad, which I refer to for printing and bookbinding when creating my own work.

Could you tell us about the history of how you started?

After graduating from university in 2018, I launched my freelance design practice in Sendai in January 2019 under the name Aosumi Nagi. In July 2020, I relocated to Tokyo, and the following year co-founded a design studio with fellow designers I had met in the city.

In 2024, I reimagined my practice as a creative unit with my husband and rebranded under the name STUDIO tuuli. In March 2025, I opened an art studio as a way to expand and diversify our creative ventures.

I studied architecture at university and originally aimed to become an architect. However, I felt a sense of discomfort working within a corporate structure and began searching for a way of working that felt more personal.

When I thought about making a living, I chose to pursue design as a profession where I could apply the skills in planning and expression that I had developed during my studies.

What is the meaning behind the name of your studio?

The name “tuuli” means “wind” in Finnish. It comes from the idea of something invisible that moves between people and places, carrying things along the way. I wanted the studio to be a space where ideas and encounters can circulate naturally.

I chose a Finnish word because I have long been drawn to Nordic values that emphasize comfort and a sense of calm.

When I was thinking about the name, I focused on the image of wind and looked for a word that matched its atmosphere and worldview. After considering words from different languages, I chose “tuuli” for its sound and its connection to Nordic culture.

Are there any memorable experiences, projects, or feedback from clients that stand out to you?

Encountering risograph and zines at the Tokyo Art Book Fair in 2023 was a major turning point that connects directly to what I do now.

Two years later, after opening my studio, I was able to participate in the Tokyo Art Book Fair 2025 as an exhibitor for the first time. That moment left a strong impression on me. The fair is one of the largest art book events in Japan, bringing together creators from around the world. Exhibitors are selected through a review process, and only chosen artists, print studios, and bookstores are able to present their work.

Being able to stand there as a maker, in a place I had previously attended as a visitor, felt significant. It was also a valuable opportunity to see how my work, not only as a zine creator but also as a risograph studio, could stand within a global creative context.

I also remember a comment from a client in my design work, who told me, “I’m glad I chose you among so many designers.” That stayed with me.

I try to be someone people feel comfortable reaching out to at any time, about anything. I may not always be able to solve every problem, but I think it’s important that people feel they can at least start by talking to me.

When someone tells me they’re glad they chose me, it reassures me that the choices I’ve made and the way I’ve worked so far have been meaningful.

Looking back on your journey since starting your business, what would you consider a turning point?

Expanding my business in my seventh year and renting a space to create an office and art studio was a major turning point for me.

Through the studio, more people began to visit, and being exposed to different forms of expression and values on a daily basis significantly changed the quality of my work.

Because the studio operates by reservation only, it is not open every day. That makes encounters with people who happen to pass by on open days and step in out of curiosity especially memorable.

Before starting the studio, my design work was mostly remote and based at home, so my interactions with others were limited. Opening the studio naturally expanded my network and led to new business opportunities.

For example, chance encounters with educators interested in hosting Risograph workshops or producers of craft events have developed into new projects. Having my own studio has also allowed me to create my own work whenever I feel inspired, giving me a stronger sense of “if it doesn’t exist, I can make it myself.”

At the same time, as my network and projects grew, so did the responsibilities beyond design, such as contracts, pricing, and administrative work. Learning not to take on everything alone, and instead rely on people who are more skilled in areas I’m less familiar with, has also been an important turning point that continues to shape how I work today.

What drives you to continue your business?

I think the reason I’ve been able to continue is that I see my work as an extension of my personal interests, rather than something separate.

Because it’s rooted in what I genuinely enjoy, I’ve rarely felt overwhelmed or found the work itself difficult. Of course, there are busy and challenging moments, but I’m able to enjoy those as part of the process. Trial and error, and even the difficulties that come with it, don’t feel like a burden, which allows me to keep going naturally.

Since everything started from my own curiosity and interests, I’m able to continue with a positive mindset. The feeling of “liking” what I do is what still drives me forward.

What do you hope to see in the future of the creative industry?

I hope the creative industry becomes a place where not only results and efficiency are valued, but also the process of trial and error.

That’s why I run a studio where anyone can enjoy risograph printing, regardless of their level of expertise or experience.

I believe that learning by making, and being able to enjoy the process, including failure, lowers the barrier to creating. Building an environment where individual expression can continue naturally will lead to a broader creative landscape.

Through the experience of the studio, I hope the value of making itself will be reconsidered.

Was there a moment or experience that shaped your perspective on valuing trial and error?

As a creator, I’ve learned that visible results don’t always come immediately. However, I feel that the process of trial and error leading up to those results becomes an important skill in itself.

Those experiences and lessons carry into the next challenge, and eventually lead to new outcomes.

What would you like to challenge yourself with next, and what steps do you plan to take first?

I would like to take part in international art book fairs and expand my activities both in Japan and abroad.

At the same time, I want to focus on developing our own publications, and share more of the ideas and perspectives that come out of the studio.

Whether in Japan or overseas, I value choosing events where I feel it is meaningful to present our work. Regardless of location, if it’s a place where our work can resonate, I would like to participate actively.

As a first step, I plan to build a system that allows for continuous production and presentation, and to organize and refine our body of work.

What does “work” and “companionship” mean to you?

I see work as an opportunity to express my thoughts and values to society.

To me, a companion is someone I naturally feel I can move forward with, even when things become a bit challenging.

When those two overlap, I feel that work becomes more positive and meaningful.