Japanese doodles are some of the most satisfying small drawings you can fit into a lunch break: a round lucky cat, a glowing lantern, a cup of matcha with its little whisk. Each one is built from simple shapes you already know how to make, so the charm comes from the ink line and the two accent colours, not from any drawing skill you have to go learn first.
Below are 28 of them, arranged from the quickest doodles to the ones with a bit more going on, so you can start at the top of the list and work down as your pen hand warms up. Grab a fineliner and a red and indigo marker and pick whichever one makes you want to draw it right now.
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Start with the maneki neko, the waving lucky cat, since its whole body is just two stacked shapes. Draw a rounded oval for the head sitting on a wider dome for the body, no neck line between them, then add two triangle ears and a simple seated paw shape at the base.
Ink the raised paw last so it reads clearly against the round body, and keep the face to two dot eyes, a small nose and a closed smile. If the paw looks stiff, round off the top edge until it looks soft rather than mechanical, that single curve is what sells the wave.
Colour the collar and bell in red marker and leave the body white or add the faintest indigo shadow underneath. If you do not have a red marker, a red gel pen dot works just as well for the bell.
Draw the stripes on the paw in one go rather than going back over them, a fresh line always looks more cheerful than a corrected one.
Palette: Flame Red,Indigo Blue,Ivory White
Following on from the cat, the paper lantern is an even simpler shape to build confidence. Draw one tall oval, flatten the top and bottom slightly, then add a short rectangle cap and a little loop of string.
Ink four or five curved lines running top to bottom to suggest the ribs of the paper folds before you touch any colour, this is what stops the lantern looking like a plain balloon. Fill the body loosely with red marker, leaving thin white gaps along each rib line so the folds still show through the colour.
If the red looks too flat, add a touch of indigo at the very top and bottom where the lantern would sit in shadow. A warm orange marker works as a swap if red is not in your set.
Keep the string and tassel at the bottom in plain black ink, it reads better against the red than another colour would.
Palette: Flame Red,Indigo Blue,Black Ink
The daruma doll borrows the same egg shape as the lantern but sits flatter and wider at the base. Draw a rounded bottom-heavy oval, add a bold moustache and eyebrow shape across the middle, and leave both eye circles empty for now.
This is the one doodle where the story matters: traditionally only one eye gets filled in when you set a goal, so ink in just the left eye solidly and leave the right one as an outline. Colour the face band and the belly motif in red, keeping the rest of the body white.
If your first attempt looks too round, flatten the base line slightly so the doll looks like it would actually rock back upright, that wobble is the whole point of its shape. A thin indigo line along one side of the body gives it enough weight to sit on the page.
Resist the urge to fill in both eyes, the single eye is what makes this doodle recognisable at a glance.
Palette: Flame Red,Black Ink,Indigo Blue
Move from solid objects to something with a bit of movement for the koi. Draw a long curved body like a loose comma shape, add a forked tail at the wide end and two small fins along the side.
Here is where eye level matters: draw the koi as if you are looking straight down into the pond from above, so the body curves flat across the page rather than swimming toward you, and add two or three ripple circles around it to confirm that top-down view. Ink the scale pattern as a few short curved marks along the back rather than covering the whole body, a koi drawn in full scale detail looks stiff.
Colour the body in red with an indigo patch near the head and tail, leaving white gaps between the two colours the way real koi markings break up. If red and indigo feel too bold together, swap the indigo patch for plain black.
Add one small ripple line trailing behind the tail to show which way it is drifting.
Palette: Flame Red,Indigo Blue,Ivory White
Look at a photo of a koi pond from directly above for reference, it makes the top-down curve of the body click much faster than side-view photos.
The torii gate is the first doodle on this list built from straight lines instead of curves, so take it slow with the ruler-free wobble that keeps it looking hand-drawn. Draw two upright posts leaning very slightly inward, then two horizontal beams across the top, the upper one a touch wider than the posts below it.
Measure before you ink: hold your pen up against the drawing and check the gap between the two posts matches roughly the width of one post, that single comparison keeps the whole gate from leaning lopsided. Add a short upright strut between the two top beams and a small hill line underneath the gate to ground it.
Colour the whole gate in solid red, the colour this subject is known for, and leave the hill and sky as plain white paper. A light grey or indigo wash under the hill line adds distance if you want it, but plain white works just as well for a quick version.
If the posts come out crooked, a single thin indigo line along the base ties them together visually even if the angles do not quite match.
Palette: Flame Red,Indigo Blue,Black Ink
After the straight lines of the gate, loosen back up with the matcha cup. Draw a wide shallow bowl shape, rounder than a mug, then add the bamboo whisk resting across the rim at an angle, its handle a single straight line and its whisking end a cluster of short curved bristle marks.
Ink the bowl’s rim as a confident unbroken oval before anything else, a shaky rim is the one mistake that makes a bowl doodle look wrong, so if your first line wobbles, go over it once more rather than leaving it. Fill the inside with a flat wash of indigo-green if you have it, or indigo alone, to suggest the matcha itself, leaving a thin white rim showing round the edge.
If your marker set has no green, mix the look by layering a little yellow under the indigo, or just use plain green if that is what you have. A swirl of two or three curved lines on the surface of the matcha suggests it has just been whisked.
Keep the whisk bristles loose and uneven rather than perfectly parallel, that is closer to how a real bamboo whisk looks anyway.
Palette: Indigo Blue,Leaf Green,Black Ink
The bento box is a good one for anyone who likes a bit of structure, since the whole doodle is really just a grid. Draw a rounded rectangle for the box, divide it into three or four uneven compartments, then fill each one with a tiny different shape: a rice ball, a few lines for noodles, a round dot for a cherry tomato.
Work from the outline inward, finishing the box shape and dividers first so every compartment stays the right size before you start adding food inside it. Colour the rice balls red at the seaweed band and leave the rice white, with one compartment washed lightly in indigo to suggest a pickled side dish.
If the compartments start looking too even and boring, make one noticeably bigger than the rest, a real bento is never perfectly symmetrical. This subject pairs well with the cooking sketches in this food doodles guide if you want more small food subjects to practise next.
Ten minutes gets you the box and three simple fillings, forty minutes lets you add chopsticks resting on top and a folded cloth underneath.
Palette: Flame Red,Indigo Blue,Ivory White
Carry the fish idea from the koi pond into the air with a koinobori flag. Draw a long open-mouthed tube shape, wide at the front and tapering to a forked tail, as if the wind is holding it open, then add a ring at the mouth where it would attach to the pole.
Light comes from one side here, so pick a direction and keep every ripple fold in the fabric shaded a touch darker on that same side, it is what makes a flat doodle read as something billowing rather than lying still. Colour the body in bands of red and indigo, alternating them like real koinobori stripes, and leave the fin lines in plain black ink over the top.
If the open mouth looks odd at first, draw it as a simple rounded triangle rather than trying to show teeth or detail, simplicity reads better at this size. Add two or three short curved lines trailing off the tail to show wind movement.
A single flag is plenty for one sitting, so do not feel you need to draw the whole family of fish some koinobori displays show.
Palette: Flame Red,Indigo Blue,Black Ink
The tanuki is a round, cheerful shape to draw after all the straighter lines of the flag. Draw one big oval for the belly, a smaller round head on top, two little ears, and a wide straw hat tipped slightly to one side.
Build the body from the belly outward: ink the big round middle first since everything else, the short legs, the tail and the hat, has to sit in proportion to it, a tanuki drawn head-first often ends up with a body too small to look right. Give it a sake bottle or small bundle in one paw if you want a bit of story, and keep the straw hat textured with a few short curved lines rather than a full crosshatch.
Colour the hat in a warm tan if you have one, or leave it white with just a line pattern, and add a red accent on a little scarf or belt. Indigo works well as the shadow line under the belly where it meets the ground.
If the proportions still feel off once it is inked, a wider belly almost always fixes it, tanuki are meant to look a little comically round.
Palette: Flame Red,Indigo Blue,Warm Tan
Switch to a plant subject with the sakura branch, which is forgiving because every blossom can be a slightly different size. Draw one zigzagging branch line first, then add five-petal blossom shapes in clusters along it, more at the tips than along the bare wood.
Ink the branch with a dry, slightly broken line rather than one smooth stroke, lifting the pen now and then so the bark looks rough instead of like a solid pipe, that one texture trick carries the whole drawing. Colour most of the blossoms a very pale pink wash if you have it, or leave them white, and use red marker only on two or three buds that have not opened yet.
If the blossoms start to look too uniform, vary the petal sizes and let a few overlap each other along the branch. A thin indigo wash behind the branch suggests evening sky if you want a bit of atmosphere without much extra work.
This pairs naturally with the cherry blossom scenes in this Japan junk journal collection if you want to build a little themed page around it.
Palette: Blossom Pink,Flame Red,Indigo Blue
Stay with plants for the bonsai, which is really a tiny landscape in one pot. Draw a shallow rectangular pot first, then a trunk that curves sideways before splitting into two or three bare branches, and finish with cloud-shaped clusters of foliage sitting at the ends of the branches.
Keep the trunk thicker at the base and noticeably thinner by the time it reaches the branch tips, that single taper is what makes a bonsai read as old and weathered rather than like a young sapling. Ink the foliage clusters as loose scribbled circles rather than individual leaves, a bonsai drawn leaf by leaf takes far too long for one sitting and rarely looks better for it.
Colour the pot in indigo and leave the foliage in a soft green wash, with one thin red line as a decorative band around the pot’s rim. If green is not in your kit, a darker indigo for the foliage still reads fine against the paper.
Forty minutes lets you add a thin moss texture at the base of the trunk and a few pebbles scattered on the soil.
Palette: Indigo Blue,Leaf Green,Flame Red
Return to food with onigiri, which are two simple triangles leaning against each other. Draw each one as a rounded triangle rather than sharp-cornered, then add a dark band of seaweed wrapped around the base of each like a belt.
Ink the seaweed band solid black first since it anchors the whole shape, then add the rice texture as light, scattered dots rather than a full grid, a crosshatched onigiri looks more like a waffle than rice. Give one onigiri a tiny dot of red marker peeking through the rice to suggest a pickled plum filling, and leave the other plain to show a little variety between the pair.
If your triangles come out too symmetrical, tilt one slightly so the pair leans together rather than standing like soldiers. A swap for the seaweed band, if black marker feels too heavy, is a dense scribble of fine pen lines instead.
Keep the two onigiri touching at one edge, it reads as a pair far better than two separate floating shapes.
Palette: Black Ink,Flame Red,Ivory White
The pagoda takes the gate’s straight lines further into a small building. Draw a stack of roof shapes, each one a wide triangle with slightly upturned corners, getting smaller as they rise, with a thin rectangle of wall visible between each tier.
Measure the tiers against each other before inking: each roof should be roughly three quarters the width of the one below it, glance back down the stack as you draw to keep that ratio consistent, since an uneven pagoda is the most common way this subject goes wrong. Finish with a thin spire poking from the very top.
Colour the roofs in solid indigo and the wall bands in warm red, alternating the two down the stack so each tier reads clearly against its neighbours. If five tiers feels like too much for one sitting, three tiers makes a complete little pagoda just as well.
Add a short flight of steps at the base so the building looks grounded rather than floating on the page.
Palette: Indigo Blue,Flame Red,Black Ink
Geta sandals are a quick object study after the height of the pagoda. Draw two flat rectangular platforms sitting side by side, each raised off the ground on two short wooden blocks, then add a V-shaped thong strap across the front of each one.
Ink the wood grain on the platforms as a few short parallel lines rather than filling the whole surface, it is enough to suggest wood without slowing the doodle down. Colour the thong straps in red and leave the wooden platforms in a plain tan or white, with an indigo shadow pooling where the blocks meet the ground.
If the two sandals look too far apart, angle them slightly toward each other as if just stepped out of, which also makes the pair look more like a little scene than two separate objects. A quick ten-minute version skips the wood grain lines entirely and still reads clearly as geta.
Next time, try drawing just one geta sandal much larger and closer up, with the strap as the main focus of the page.
Palette: Flame Red,Warm Tan,Indigo Blue
Mount Fuji is the first landscape on this list, and its eye level is what makes or breaks it: keep the horizon line low, near the bottom third of the page, so the mountain has room to rise tall above it the way it does in classic prints. Draw the mountain’s silhouette first as a wide triangle with gently curving sides, flatten the peak slightly, then add a jagged snow line about a third of the way down from the top.
Ink a few flat cloud bands crossing the lower slopes, overlapping the mountain’s base so it looks like it is rising through them rather than sitting behind a solid cloud bank. Colour the snow cap white or leave it as plain paper, wash the mountain body in soft indigo, and add one thin red line along the horizon for the suggestion of a rising sun.
If the peak looks too sharp or too soft, check it against a photo of Fuji’s real profile, the slope is steeper near the top and gentler toward the base. The watercolour street scenes in this Japanese street scene painting guide show the same low horizon trick if you want to see it worked in paint.
Palette: Indigo Blue,Flame Red,Ivory White
The origami crane is a study in flat planes rather than curves, so draw it with straight connecting lines throughout: a diamond body, two long triangular wings angled upward, a thin folded neck, and a small pointed beak.
Work from the body outward and ink each fold line as a crisp single stroke, since a wobbly fold line is the one thing that breaks the illusion of folded paper, if a line comes out shaky just go over it once cleanly rather than redrawing the whole wing. Colour one wing in red and the other in indigo to suggest patterned origami paper, leaving the body itself white with just the fold lines in black.
If you do not want to split the colours across the wings, a single colour with a few fold-line highlights in white gel pen works just as well. Keep the overall shape low and wide rather than tall, real paper cranes read as more horizontal than vertical.
A single crane makes a complete doodle, but drawing three at slightly different angles across the page gives a nice sense of a string of them taking flight.
You Will Need
- white gel pen
Palette: Flame Red,Indigo Blue,Ivory White
The wind chime brings in a hanging, swaying subject after the stiff folds of the crane. Draw a round or bell-shaped body at the top, a short clapper hanging inside it, and a long thin strip of paper dangling below, curved as if caught mid-breeze rather than hanging straight.
Ink the paper strip with a soft S-curve, not a straight drop, that single curve is what suggests movement and air rather than a static hanging object. Colour the bell body in indigo with a thin red line where it meets the hanging strip, and leave the strip itself white with a short line of text-like scribbles standing in for a painted wish, no actual words needed.
If the chime looks like it is just hanging limp, add two or three short curved lines beside it to suggest a breath of wind moving past. A swap for the bell shape, if round feels tricky, is a simple fluted dome shape instead, which is just as common on real wind chimes.
Hang the finished chime from a thin branch at the top of the page for a bit of extra context.
Palette: Indigo Blue,Flame Red,Ivory White
The ramen cart is a small scene rather than a single object, so build it in layers: the cart body first as a simple box on two wheels, then a short awning overhead, then the bowl and steam last once everything else is in place. This keeps the proportions sensible, since adding the bowl too early often makes the whole cart end up too small around it.
Ink the steam rising from the bowl as a few loose wavy lines rather than a solid cloud, steam drawn too thick looks like smoke instead. Colour the awning in red with a thin indigo stripe, and leave the cart’s wooden body in plain tan or white.
If the wheels look flat, give them a slightly thicker outline than the rest of the cart, wheels read as sturdier with a touch more weight in the line. A quick ten-minute version is just the bowl and steam on its own, skipping the cart entirely, which still reads as a complete little doodle.
Forty minutes lets you add a small lantern hanging from the awning and a stool in front of the cart.
Palette: Flame Red,Indigo Blue,Warm Tan
The shiba inu is a good animal to draw mid-list since its proportions are forgiving: sit it on its haunches, measure the head as roughly the same width as the chest, and the whole dog will look balanced without much fuss. Draw the pointed ears first, then the rounded head, a curled tail, and short front legs tucked together.
Ink the curled tail last and give it a loose spiral rather than a tight one, a shiba’s tail reads as fluffier when the curl has a bit of open space inside it. Colour the body in a warm tan with white at the chest and muzzle, then wrap a red scarf around the neck with a loose indigo stripe through it.
If the face looks too serious, soften the eyebrow marks into two small upward curves, shiba inu are known for a slightly smug, pleased expression. The animal subjects in this dog doodles guide cover more breed poses if you want to practise other dogs next.
Palette: Warm Tan,Flame Red,Indigo Blue
The tea house is a slightly bigger building study, so start with its roofline, a low, wide curve with gently flared edges, before adding the walls and sliding door screens underneath. Getting the roof right first keeps the whole building sitting at a believable scale rather than looking like a shed with a fancy hat.
Ink the screen door lines as a simple grid of thin rectangles, and leave one screen slightly open with a dark gap to suggest someone is home. Colour the roof in indigo, the door frame in warm tan, and add one red paper lantern hanging just outside the entrance to pull the whole page together.
If the building looks too flat and front-on, nudge one wall slightly to the side so a bit of the roof’s depth shows, that small angle adds a surprising amount of dimension for very little extra drawing. A single potted plant beside the door finishes the scene without adding much complexity.
Keep the surrounding ground as plain white paper so the building stays the clear focus of the page.
Palette: Indigo Blue,Warm Tan,Flame Red
The folding fan is a satisfying shape to draw with a ruler-free radiating line trick: mark a center point at the bottom, then fan out six or seven straight lines from it before connecting their tips with a gentle curved edge, which keeps every panel roughly even without actual measuring.
Ink the connecting curve last so the fan’s outer edge stays smooth even if the inner lines are not perfectly spaced. Colour alternating panels in red and indigo, leaving one or two panels white so the pattern does not feel too busy, and add a small sakura blossom motif on one of the white panels if you want a bit of extra detail.
If the fan looks too stiff and flat, curve the whole shape very slightly as if it is caught mid-wave rather than lying perfectly open. A swap for a handheld look is to add a short handle and ribbon at the base instead of leaving it as a flat fan shape.
This pairs nicely as a gift tag motif if you enjoy the small card ideas in this tea party junk journal collection.
Palette: Flame Red,Indigo Blue,Ivory White
The kokeshi doll is almost a straight cylinder, which makes it a quick palette-cleanser after the fan’s radiating lines. Draw a simple tube shape with a rounded top for the head, no arms or legs at all, then add a painted-on face with just two dot eyes and a small mouth.
Ink a floral or striped band around the middle of the body before adding colour, since this band is really the only decoration a kokeshi doll needs. Colour the band in red and the hair in solid black, leaving the rest of the wooden body a plain warm tan, then add a thin indigo line as a second, smaller band near the base.
If the cylinder looks too mechanical, let the sides curve very slightly inward at the middle rather than drawing them perfectly straight, real kokeshi dolls are turned on a lathe and have a gentle waist to them. Draw a second, slightly smaller doll leaning beside the first for a simple pair rather than one doll alone.
Next time, try varying the face expression or the floral band pattern so each doll in a set looks individual.
Palette: Warm Tan,Flame Red,Black Ink
Dango is a quick, cheerful food doodle: draw one straight skewer line, then thread three round balls along it, evenly spaced with small gaps between each one so the stick shows through.
Ink the skewer first all the way across the page before adding the dango balls on top, it is much easier to space three circles evenly along an existing line than to draw the line to fit three already-placed circles. Colour each ball a different shade, a pale pink, a plain white, and a soft green, with one thin band of red glaze dripping down from the top ball for a sweet syrup effect.
If the balls end up uneven in size, that is actually fine, real dango are rarely perfectly uniform either. A swap if you only have two marker colours is to leave the middle ball plain white and colour just the top and bottom ones.
Draw it at a slight diagonal across the page rather than perfectly vertical, it reads as more casual and snack-like that way.
Palette: Blossom Pink,Leaf Green,Flame Red
The temple bell is a good steady shape after the fiddly dango balls, since it is really just a bell curve and a thick base ring. Draw a tall dome shape that flares out slightly at the bottom, add a scalloped rim where it would strike, and finish with a short loop handle at the top where it hangs from a wooden frame.
Ink the surface with two or three raised horizontal bands circling the bell’s body, a real temple bell has these decorative rings cast into the bronze, and they break up what would otherwise be a plain dome. Colour the whole bell in a deep indigo wash with a thin red cord looped through the top handle.
If the bell looks too flat, add a short curved highlight line down one side in white gel pen to suggest the metal catching light. A quick ten-minute version skips the wooden frame entirely and just shows the bell hanging in space, which still reads clearly on its own.
Forty minutes lets you add the full wooden frame and a striking log hanging beside it.
You Will Need
- white gel pen
Palette: Indigo Blue,Flame Red,Black Ink
This is the first doodle on the list with real action in it, so think about the pose before you ink anything: draw the rabbit mid-swing, both front paws raised high gripping a wooden mallet, back legs braced wide for balance, and a round mochi mound in a low bowl just below the mallet’s head.
Sketch the whole pose lightly first, checking that the mallet’s head lines up roughly above the mochi mound, since a swing that misses its target reads as a mistake rather than motion. Ink the rabbit’s ears long and slightly bent for a bit of character, then colour the mallet handle in warm tan, the mochi in plain white with a pale pink dot of filling peeking out, and a thin red ribbon tied around the mallet handle.
If the pose feels stiff, angle the rabbit’s whole body slightly forward into the swing rather than drawing it upright and static. A simpler swap for beginners is to draw the rabbit resting the mallet on its shoulder instead of mid-swing, which removes the tricky alignment problem entirely.
Palette: Warm Tan,Ivory White,Flame Red
The train scene brings in a bit of landscape perspective: keep the horizon low again, as with the mountain doodle earlier, and draw the train crossing the page on a track that gets slightly narrower toward one side to suggest it heading off into the distance.
Build the scene back to front, the furthest rice field rows first as simple short horizontal strokes getting smaller toward the horizon, then the nearer rows larger and bolder, and the train itself drawn last sitting on top of everything. Colour the train in indigo with a red stripe along its side, and wash the rice fields in a soft green with a few rows left as plain white paper gaps between them.
If the train looks like it is floating above the tracks, add a short shadow line directly beneath its wheels to settle it onto the rail line. A quick version draws just two or three carriages, while a longer sitting lets you stretch the train further across the page with more fields receding behind it.
The field-and-horizon layering here is the same trick used in landscape pages like this sketchbook doodles collection, worth a look if you want more small scene ideas.
Palette: Indigo Blue,Flame Red,Leaf Green
The rain umbrella is a chance to vary texture through pressure rather than colour alone. Draw the umbrella’s dome first as a simple scalloped arc, a curved handle below it, then build the rain around it as a series of short diagonal strokes, pressing harder on some and lighter on others so the rain has depth rather than looking like uniform hatching.
Ink the umbrella’s scalloped edge with slightly uneven points, a perfectly even scallop looks stamped rather than drawn. Colour the umbrella in red with an indigo stripe running down each panel, and leave the rain strokes in plain black, varying their length so some drops streak longer than others near the top of the page.
If the rain looks too busy once it is all down, erase or simply skip a few strokes near the umbrella itself, a little empty space around the dome keeps it readable against the background. A swap for the handle, if a simple curve feels tricky, is a straight handle with a small round knob at the end instead.
Add one small puddle shape at the base with a short reflected line inside it to finish the scene.
Palette: Flame Red,Indigo Blue,Black Ink
Close the list with the fox mask, a subject with striking graphic shapes after so many soft, rounded ones earlier on. Draw an elongated oval face with two tall pointed ears, sharp angular eye cutouts, and a long thin snout, then set the whole mask resting on a simple wooden post as if hung there after a festival.
Ink the eye cutouts as hard angular shapes rather than soft curves, the sharpness is what gives this mask its slightly eerie, striking character compared to the gentler animal subjects earlier in the list. Colour the mask in white with bold red stripes sweeping back from the eyes and nose, and wash the wooden post in a plain indigo shadow.
If the mask looks lopsided, fold your drawing paper in half lightly to check that both sides of the face roughly mirror each other before you ink the final lines. A quick version leaves the post out entirely and just floats the mask alone on the page, which still reads perfectly well as a finished doodle.
Palette: Flame Red,Ivory White,Indigo Blue
What to Do Next
Pick whichever doodle caught your eye first, the waving cat and the lantern are the fastest way in if you want something finished within minutes, and keep a small notebook page or a sheet of plain paper ready so you can start inking straight away.
Frequently Asked Questions
What pens work best for japanese doodles?
A black fineliner in a fine point, around 0.3 to 0.5, gives clean outlines without smudging. Add red and indigo alcohol markers or gel pens for accents once the ink has fully dried, so colours stay crisp rather than bleeding into the line work.
Do I need to know Japanese culture to draw these doodles?
No, these are simple graphic subjects anyone can draw from their shapes alone. Looking at a reference photo for each one helps you get the proportions right, but no deeper background knowledge is needed to enjoy drawing them.
How do I keep my doodles looking loose rather than stiff?
Draw each shape in one confident stroke rather than retracing it several times. Light pencil guidelines help with placement, but ink the final lines quickly and let small wobbles stay, since that is what keeps a doodle looking hand-drawn rather than traced.
What size should these doodles be?
Most of these work well small, around two to three inches, which suits a notebook page or journal margin. Larger versions give more room for shading and detail, but every idea on this list is designed to finish at notebook size in one sitting.
Can I colour these with something other than markers?
Yes, coloured pencil or a thin wash of watercolor both work in place of markers, as long as you let the black ink dry fully first. Gel pens are a good substitute for small accents like dots, bands or highlights.