Colors of Everyday Life and the Freedom of an Illustration Journey

Could you introduce yourself?

I’m Taurin, originally from Aomori. I started drawing in May 2023. I work as a mechanical designer at a manufacturing company, and I genuinely enjoy my job. What I really love is creating. Whether for work or as a hobby, I’m happiest when I’m making or expressing something. I draw, but I also like experimenting with music. Once, I made a track in GarageBand just for fun. Back in university, I picked up the guitar, which got me into singing. I enjoy how freely chords can be combined and how that freedom allows me to express myself. At one point, I even streamed one of my songs live, and someone tipped me 10,000 yen. It surprised me so much that I stopped, but it’s something I’d like to try again someday.

What inspired you to start illustrating?

I’ve always liked doodling in notebooks, especially drawing things that felt like “something-like.” I thought it would be fun to sign my drawings in the corner so they looked more like real illustrations. Around that time, my sister gave me her old iPad. I decided to give it a try, added a signature, and posted it to my Instagram Stories. To my surprise, people liked it, and that encouraged me to keep going. Later someone suggested, “Why not put it on a T-shirt?” I tried it, and since it didn’t look like anyone else’s work, it felt exciting and even more fun. Since then, I’ve been making things like T-shirts and LINE stickers whenever I feel like it. It’s not about making money—it’s about drawing what I enjoy and sharing that joy with others. What I like about illustration is how versatile it is. It can be used for T-shirts, phone cases, even on darts flights. Once, I traced a family photo, turned it into a wine label, and gave it to my parents for their wedding anniversary. They loved it, and that experience made me want to keep creating in ways that bring joy to both me and the people around me.

What kind of illustration style do you create?

I divide my style into three main categories. The first is the Animal Series. Sometimes I match the colors of real animals, but other times I use my own sense and make them colorful, with palettes completely different from reality. The second is Tracing, where I redraw characters from anime I like and finish them with my own approach to coloring. The third is my original Who Series, named with the idea of creating characters that could represent anyone. The first subject I decided to draw was animals. They come in so many different types, patterns, and shapes. Even within dogs, each breed is completely different. That variety fascinated me, so I thought, “I’ll start with animals.” I’ve always loved nature. As a child, I often went bug catching and fishing, and because livestock farming was nearby, I even got to touch cows at friends’ places. My home was surrounded by rice fields, and the sound of frogs was part of daily life. When I moved to Tokyo, I felt the opposite—so much asphalt that it felt “cold,” as if there was no soil. In Aomori, when the snow piles up, it actually feels warm to me. Life in the countryside moves slowly, while Tokyo changes quickly. Both rhythms are different, but I find that contrast interesting.

When do you feel joy doing art?

Recently, someone asked me to draw their dog that had passed away. They sent me a photo, and I created the piece based on that. Since I wasn’t sure about pricing, I told them, “Pay me only if I can finish it.” After a few exchanges and adjustments, the work was complete. When they asked, “How much is it?” I said, “1,000 yen is fine.” They replied, “Isn’t that far too cheap?” So I explained, “My price is 1,000 yen, and the rest is up to you.” They happily added a bit more, and that made me really glad. I also once gave a giraffe drawing to the owner of a bar I often visited. He liked my work so much that he posted it on Instagram, which made me truly happy. Sometimes when I share the story behind a piece, people offer to pay, but for me, it’s enough just to have them see and enjoy the work. When money gets involved, it can bring in ulterior motives. That’s why when I take requests, I try not to think about money at first. I simply say, “1,000 yen is fine, and the rest is up to you.” That approach feels right for me.

Conversely, are there moments when you feel like stopping drawing?

There was one time a friend asked me, “What are you even aiming for?” It was a bit of a shock. But I realized I wasn’t aiming for anything in particular. I just enjoy drawing what I like. Later, when I showed that same friend another piece, they said, “That’s great,” and that made me happy. Other than that, I haven’t had discouraging experiences. For me, drawing is a way to express exactly how I feel. When I’m sad, I draw something sad. When I’m happy, I draw something bright. It helps me release stress, and sometimes after finishing a piece I realize, “So this is how I’m feeling right now.” When I’m down, I naturally end up using darker colors. The Who Series is about creating characters that could represent anyone. A simple gesture, like a fist pump, can mean joy or anger depending on how you see it. Human expressions are incredibly diverse. Someone might smile with sad eyes, or laugh while looking like they are about to cry. Capturing that complexity is fascinating to me, and that is what keeps me working on this series. At the core, I like people. I don’t hate anyone. If I feel I just cannot connect with someone, I lose interest, but I don’t dislike them. Meeting people with perspectives different from my own is always interesting. The Who Series is like a diary of my emotions. When I’m low, I can only draw heavy pieces. When I’m excited, I naturally create brighter ones. When I had an argument, I drew my feelings but also included the desire to make up. When I was sick with the flu, I drew myself in that state. At the heart of it all is a constant desire to express something, no matter what.

What do you think about while drawing?

I don’t decide in advance how I’m going to draw. I just let my hand move on its own. The same goes for color. If I feel a shade should be a certain depth, I follow that instinct. Thinking too much slows me down, so I trust my intuition. Still, I always make sure the way I use color feels right to me. In the Animal Series, I pay particular attention to color and sometimes take extra time until it feels right. With Tracing, I simply choose colors on the spot. Even if they don’t match the original, if it feels right, I go with it. Sometimes I paint a gorilla in purple. Of course gorillas aren’t purple, but once it is drawn, that becomes the right answer for me. There are no fixed rules, which makes it completely free, even if it is a kind of self-satisfaction. I have loved making things since childhood. I was fascinated by toys like LEGO and PythagoraSwitch that let you build forms. Those kinds of activities don’t have a single correct answer. If someone asked, “What’s that supposed to be?” I would say, “It’s just this.” That experience probably made me enjoy expressing myself. I also love imagining things. In elementary school, when I answered reading comprehension questions like “How do you think the character felt?” I often ended up imagining entire after-stories. In middle school, I tried writing a novel, making relationship charts and planning the whole plot, but I gave up because I couldn’t type fast enough. Even so, the act of imagining itself was so much fun, and I still enjoy expanding stories in my mind.

Where do you get your inspiration from?

I think I have been influenced by Keith Haring. For me, the Who Series is similar in spirit to his work. When I went to see a Haring exhibition, I was deeply moved by the way he expressed himself. Coming from the streets, he created works with strong messages, and that really resonated with me. I have also been influenced by Yoshitomo Nara, an artist from Aomori. When I was in elementary school, I saw his painting of the “Otafuku Girl” and was drawn in immediately. It was not conventionally cute or beautiful, yet it carried a sense of meaning that I could feel. That kind of work attracted me, and it inspired me to want to create expressions like that myself.

What does drawing mean to you?

In a single word, drawing means freedom to me. After becoming a working adult, I often felt there was not much freedom. There are rules, and you have to act within them. But with illustration and art, there are no rules, and you can truly do whatever you like. That is what makes it exciting. Before starting work, I actually preferred living within a framework. Following rules felt natural, even comfortable. Growing up in the countryside of Aomori, the community was small, and standing out in any way was quickly noticed. Even something as simple as unusual clothes would spread as gossip. It was easier to blend in. Moving to Tokyo completely changed my perspective. Because there are so many people, you can express yourself freely. No one is paying close attention, so you can simply be as you are. That realization made me feel free in a new way.

Of all the drawings you’ve done, which one is your favorite?

My favorite piece is the first one I ever drew, a lion. I’ve always seen lions as having a gentle image, and I wanted to express that by combining colors like red, yellow, and blue, with emerald green eyes. Lions are usually brown, but by using different colors, I felt I was able to create something that reflected my own style. When I was in junior high school, I saw Shiki Theatre Company’s production of The Lion King for the first time and was overwhelmed by its power. There was a lyric that described “eyes shining emerald,” and it left a deep impression on me. That memory stayed with me, and it is why I decided that my very first drawing would be a lion.

How do you stay so consistent with your posts?

My first post was in May 2023, and I’ve been posting every day since. On weekday mornings I draw on the train to work, and sometimes the person sitting next to me will say things like, “Nice colors.” Those small interactions are part of the fun. I’ve never felt like quitting. I’m always thinking about what to draw next, and sometimes friends give me requests. When I get stuck on coloring, I post from the pieces I’ve saved up. What matters most to me is keeping it free from obligation and simply enjoying it. I try to spend no more than twenty minutes on a piece. Instead of precision or detail, I focus on momentum. If I spend too much time, it starts to feel like pressure, so I stop once I feel satisfied. Often when I look back, I realize it has its own charm. Even when I think a piece didn’t turn out well, someone might say, “I really like this one.” That reminds me that everyone’s sense of taste is different. For the Animal Series, I use silhouettes for reference but never trace. All of the colors come from my own sense. Using the iPad’s brushes also gives me more ways to express myself and makes it easier to keep going.

Which do you prefer, Tokyo or your hometown?

I like both. I came to Tokyo for work, and the pace of change here is really fast. In the countryside, change happens slowly. I wanted to come to Tokyo because I find the rapid changes exciting and wanted to experience them. However, once I arrived in Tokyo, I began to appreciate the qualities of my hometown and the countryside again. So, I guess I like both.

What’s your biggest goal right now?

My biggest goal—really the biggest one—is to hold a solo exhibition. I want to take my work and bring it into a physical form. Right now, everything I create is digital, but I’d love to print the pieces, frame them, and put them on display. I want to give it a try, even if only people I know come, or even if there isn’t much demand. I don’t have a fixed timeline in mind—I’ll do it when the timing feels right. If even one person looks at it and thinks, “Oh, this is nice,” I’d be happy.