{"id":28609,"date":"2026-07-18T11:52:14","date_gmt":"2026-07-18T04:52:14","guid":{"rendered":"https:\/\/www.koktailmagazine.com\/?p=28609"},"modified":"2026-07-18T12:42:53","modified_gmt":"2026-07-18T05:42:53","slug":"drawing-conclusions-inside-the-thai-paper-subculture","status":"publish","type":"post","link":"https:\/\/www.koktailmagazine.com\/th\/2026\/07\/18\/drawing-conclusions-inside-the-thai-paper-subculture\/","title":{"rendered":"Drawing Conclusions: Inside the Thai paper subculture"},"content":{"rendered":"

VERY THAI: In this periodic column, author Philip Cornwel-Smith explores popular culture and the topics covered in his best-sellers Very Thai <\/em>and Very Bangkok<\/em>. As a writer of printed books, he celebrates the subculture of Thais who champion paper and drawing as a sensory remedy for an ever more digital lifestyle.<\/strong><\/p>\n\n\n

\n
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The exhibition \u2018Drawing\u2019 by Parinot Kunakornwong at 100 Tonson Foundation. Courtesy of Philip Cornwel-Smith.<\/figcaption><\/figure>\n<\/div>\n\n\n

Paper has got a bad rap. Computers heralded the paperless office, but produced ever more printouts, until apps, social media and digital advances made paper ever more redundant from our lives. <\/p>\n\n\n\n

Yet paper retains a resonance, not just for writers like me, but to an echelon of people who want culture to remain tactile, collectible and personal. It goes beyond the paper and the tools to mark it, from pen or pencil to charcoal or brush. Papyrophiles \u2013 paper lovers \u2013 prize authentic self-expression. Paper is not about artificial intelligence, but humane intelligence. <\/p>\n\n\n\n

A collation of recent events pinpoints an analogue backlash to digitisation, which cherishes the persistence of paper in Thailand, from loose stationery to bound zines to unbound art.<\/p>\n\n\n\n

Stationery that Moves Us<\/strong><\/h2>\n\n\n\n

Stationery shops, like hardware stores, attract not just practical shoppers, but obsessives. This is well known about Japan, which makes the world\u2019s best papers. But Thailand has a hidden paper subculture. A Korean expat Hyunkyung Lee even published the book \u2018Thai Stationery.\u2019 <\/p>\n\n\n\n

Many of those Thai brands featured in Stationerycore, an exhibition and fair on all things paper, held at TCDC on July 4-5. Leading through the corridor entrance, a giant roll of sticky paper read: <\/p>\n\n\n\n

\n

\u201cFollow the tape. Find your people.\u201d <\/p>\n<\/blockquote>\n\n\n

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Paper lovers crowd the Stationerycore Fair in TCDC. Courtesy of Philip Cornwel-Smith.<\/figcaption><\/figure>\n<\/div>\n\n\n

Following the Paper Trail <\/strong><\/h2>\n\n\n\n

Inside jammed hundreds of my fellow paper appreciators, packed tighter than a perfect-bound diary. Collectors stocked up on retro Khonchanart notebooks and minimalist Moop planners, Moleskine-like Zequenz journals and block-printed Chakram jotters. The brand Phayanchana treats \u201ctypography as cultural identity,\u201d and its notebook covers come with each Thai letterform turned into a pop illustration, combining font, art and heritage with such finesse that they might never be written in. <\/p>\n\n\n\n

Aficionados inspected bindings, finishes, gsm (grams per square metre) and nap \u2013 the way the paper\u2019s grain is aligned vertically to enable book pages to flop open with the ideal eyelid contour. Beginners bound papers in the workshops, while parents got kids cute colouring books and booklets for stickers. <\/p>\n\n\n

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A workshop at the Stationerycore Fair in TCDC. Courtesy of Philip Cornwel-Smith.
<\/figcaption><\/figure>\n<\/div>\n\n\n

Fountains of Knowledge<\/strong><\/h2>\n\n\n\n

Hobbyists use paper in myriad ways. The fair showcased rubber stamps and novelty pens, calligraphy nibs and artisanal watercolour paintboxes with organic pigments by Craft Colour or Between Moon and Sun. <\/p>\n\n\n\n

Fans of fountain pens gather at Pips Caf\u00e9 in Silom Complex, which lets enthusiasts try out pens and papers. <\/p>\n\n\n\n

\n

\u201cWe\u2019re trying to build a community,\u201d <\/p>\n<\/blockquote>\n\n\n\n

says Rye, whose father M founded Pips after overcoming the trauma of learning cursive at school. <\/p>\n\n\n\n

\n

\u201cPips has a wide demographic. The older age range sit for six hours talking and trying everything. But our youngest customer, only 9, comes in knowing exactly what he will buy and just wants to test it out.\u201d<\/p>\n<\/blockquote>\n\n\n

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Watercolour accessories at the Stationerycore Fair in TCDC. Courtesy of Philip Cornwel-Smith.<\/figcaption><\/figure>\n<\/div>\n\n\n

From iPads to my Pads<\/strong><\/h2>\n\n\n\n
\n

\u201cStationary is a big thing now. People are more interested in physical media,\u201d <\/p>\n<\/blockquote>\n\n\n\n

says Rye, an articulate 18. <\/p>\n\n\n\n

\n

\u201cThe issue with digital stuff is we don\u2019t own any of it. We only have licenses \u2013 and even then, it can just disappear. It\u2019s the same with freedom of speech. Literacy rates are dropping. Children are inundated with digital media that strips away their creativity and individuality. Reverting to \u2018analog everything\u2019 brings back the humanity. So I collect a lot of physical stuff. No one can take that away from us.\u201d<\/p>\n<\/blockquote>\n\n\n\n

Gathering the Zine Scene<\/strong><\/h2>\n\n\n\n

That urge to authenticity also drives the fanbase of zines. Bohemians and misfits have always been drawn to self-printed self-expression, from the pamphleteers of the American Revolution to the 1960s Underground to punk presses. Thai zines arose during the 1990s DIY grunge era through the Indie youth movement. Indy Fairs in Phra Arthit Road featured home-recorded music cassettes, outsider art, agitprop theatre and handmade zines that sparked magazines like Bioscope and Footprint. Handmade books became integral to the FAT Festivals of the 2000s and subcultures like Death Metal. <\/p>\n\n\n

\n
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Pubpeab Zine Fair at GalileOasis. Courtesy of Philip Cornwel-Smith.
<\/figcaption><\/figure>\n<\/div>\n\n\n

In the 2010s, zines folded into the annual Bangkok Art Book Fair. Curated by Bangkok CityCity Gallery, it\u2019s now held at BACC every two years. That\u2019s not often enough for designer Wuthipol \u2018Tum\u2019 Ujathammarat, who makes pocket albums of his vivid pop culture photography. <\/p>\n\n\n\n

\n

\u201cWe need more physical space as a community to get together, not just selling the work, but also updating our lives,\u201d <\/p>\n<\/blockquote>\n\n\n\n

he says about establishing a six-monthly Pubpeab Zine Fair, and annual self-publishing fair printPRINT. <\/p>\n\n\n

\n
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Wuthipol \u2018Tum\u2019 Ujathammarat, founder of\u00a0Pubpeab Zine Fair, with his photo books of street culture, including one printed on cloth. Courtesy of Philip Cornwel-Smith.<\/figcaption><\/figure>\n<\/div>\n\n\n

Art Books vs DIY Zines<\/strong><\/h2>\n\n\n\n

Focusing on zines, without the glossy art book publishers, Pubpeab is co-hosted by the hipster complex Galileoasis, in International Zine Month (July) and January. Pubpeab means \u2018fully folded,\u2019 and its 3rd edition was fully packed on the same weekend as Stationerycore. Its Zine Factory theme involved talks and workshops, where you could combine special papers in varied bindings, from rivet to spiral bound, or slit, folded and interlocked. One economical technique enables you to make a 64-side mini-zine from a single sheet, with templates that guide the cuts and folds.<\/p>\n\n\n

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A workshop at Pubpeab Zine Fair. Courtesy of Philip Cornwel-Smith.<\/figcaption><\/figure>\n<\/div>\n\n\n

Art Book Fairs are a global phenomenon and Thais adopt common styles like street photography or lurid, grainy risographic printing. But Tum notices some local traits, from the collectivity of shared stalls to diary-like topics. Intricate Thai design tradition and the art book influence leads many young zinesters to refined finishes rather than zines\u2019 original aesthetic of photocopied pamphlets, which was the format of the school zine I founded with friends in the 1980s. Great examples can be found at Spacebar Zine shop in Galileoasis and the Independent Print Club at One Bangkok.<\/p>\n\n\n

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Space Bar Zine shop at GalileOasis. Courtesy of Philip Cornwel-Smith.<\/figcaption><\/figure>\n<\/div>\n\n\n

Timeless, tactile technology<\/strong><\/h2>\n\n\n\n
\n

\u201cThe younger generation are coming back to what they can hold in their hands,\u201d <\/p>\n<\/blockquote>\n\n\n\n

Tum says. <\/p>\n\n\n\n

\n

\u201cWhen you scroll something online, you won\u2019t even remember what you saw. But a book or zine that you can actually open is there forever. It\u2019s timeless.\u201d<\/p>\n<\/blockquote>\n\n\n\n

\n

\u201cOn social media, people are responsive, arguing, fighting each other,\u201d <\/p>\n<\/blockquote>\n\n\n\n

notes Tum. <\/p>\n\n\n\n

\n

\u201cBut in printed form, it\u2019s so much softer, without anyone telling you what to think. You take your time to understand the content.\u201d <\/p>\n<\/blockquote>\n\n\n\n

Print also brings privacy. Zines are an almost secret bond between you and the creator, Tum adds: <\/p>\n\n\n\n

\n

\u201cYou get to see who makes it. And then the creator meets their readers.\u201d <\/p>\n<\/blockquote>\n\n\n\n

When culture stays offline, no algorithm or spyware can find it, no corporate parasite leaching its content without payment or permission. <\/p>\n\n\n

\n
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Aficionados browsing the creations at Pubpeab Zine Fair. Courtesy of Philip Cornwel-Smith.<\/figcaption><\/figure>\n<\/div>\n\n\n

Representing the Basement<\/strong><\/h2>\n\n\n\n

One collective, The Basement, who met at the 2021 Art Book Fair, produce Fill In The Blank<\/em> with a murky newsprint vibe. <\/p>\n\n\n\n

\n

\u201cWe\u2019re trying to reimagine what is missing in Bangkok,\u201d <\/p>\n<\/blockquote>\n\n\n\n

says Beauty, whose look is more Goth. <\/p>\n\n\n\n

\n

\u201cWe interview under-represented groups, like rappers, labourers or first-job people,\u201d <\/p>\n<\/blockquote>\n\n\n\n

adds her colleague, Mind.<\/p>\n\n\n\n

The half-dozen articles span Thai feminism, business at a small production house to local spirits. <\/p>\n\n\n\n

\n

\u201cThe grand narrative tries to erase the history of local female ghosts, like Nang Thani, who have lingered in the city sois and they didn\u2019t have the power to tell their story,\u201d <\/p>\n<\/blockquote>\n\n\n\n

Beauty asserts. <\/p>\n\n\n\n

\n

\u201cSo we imagine what they want to tell to us.\u201d<\/p>\n<\/blockquote>\n\n\n

\n
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The Basement collective at Pubpeab Zine Fair. Courtesy of Philip Cornwel-Smith.<\/figcaption><\/figure>\n<\/div>\n\n\n

Sketches of a lo-fi flaneur<\/strong><\/h2>\n\n\n\n

Depicting the unnoticed is also the sensibility of artist Parinot \u2019Not\u2019 Kunakornwong, whose solo exhibition, \u2018Drawing,\u2019 runs at the prominent 100 Tonson Foundation until 4 October. \u201cDrawing is rarely given centre-stage,\u201d says the gallery, where curator Dusadee Huntrakul gives Not\u2019s monochrome lines a monumental impact. <\/p>\n\n\n\n

Disembodied figures and body parts loom from the dark in huge charcoal versions on canvas of psychologically raw sketches that Not drew around the isolating Covid era. The leap in scale turns those awkward, anti-heroic pencil sketches into heroic statements of intimacy, identity and defiance. <\/p>\n\n\n\n

An inveterate night owl, Not wanders from his family\u2019s old textile factory around Bangkok sois, capturing impromptu vignettes via a low-res camera onto his Instagram reel, or the sketchbook he carries around. Sketchbooks, an artist\u2019s tool for centuries, are giving way to digital devices with a multi-functionality that Parinot avoids. <\/p>\n\n\n

\n
\"\"
Music at the launch of \u2018Drawing\u2019 by Parinot Kunakornwong (5th from right at in back row) at 100 Tonson Foundation. Courtesy of Philip Cornwel-Smith.<\/figcaption><\/figure>\n<\/div>\n\n\n

Finding Freedom in Limitations<\/strong><\/h2>\n\n\n\n
\n

\u201cI really connect with materials. I still like the feeling of marking paper, of writing things down,\u201d <\/p>\n<\/blockquote>\n\n\n\n

says Not. He resists both the academic conceptual art of his postgrad study at Goldsmiths in London, and the hierarchical decorative art of Thai institutes. <\/p>\n\n\n\n

\n

\u201cMy work has a lot to do with creating from urgency, like when you see folk art, makeshift things on the street from found materials, or art by prisoners with limited tools.\u201d<\/p>\n<\/blockquote>\n\n\n\n

Not reckons that limitations open new windows, citing how a Russian astronaut calmed himself by drawing an orbital sunrise with pad and pencils. <\/p>\n\n\n\n

\n

\u201cLines can translate into many ambiguous things.\u201d <\/p>\n<\/blockquote>\n\n\n\n

The fingers in the show could be read as faces, other body parts or symbols, which might relate to politics, protest or autobiography. <\/p>\n\n\n\n

\n

\u201cSometimes it comes from nothing at all, just to draw it out as a way to release, without the restraint to make it look perfect.\u201d<\/p>\n<\/blockquote>\n\n\n

\n
\"\"
A common sentiment at the Stationerycore Fair in TCDC. Courtesy of Philip Cornwel-Smith.<\/figcaption><\/figure>\n<\/div>\n\n\n

This echoes zine-making. <\/p>\n\n\n\n

\n

\u201cI come from that underground subculture, not fitting into the main narrative. I was in the indie music \u2019noise\u2019 scene. I like this attitude, without feeling a need for approval or commerce. Honesty is also super-important, a genuine communication with like-minded people.\u201d <\/p>\n<\/blockquote>\n\n\n\n

Follow the tape. Find your people.<\/p>\n\n\n

\n
\"\"
Finding your tribe at the Stationerycore Fair in TCDC. Courtesy of Philip Cornwel-Smith.<\/figcaption><\/figure>\n<\/div>\n\n\n

This twice-monthly column, Very Thai, is syndicated by River Books, publisher of Philip Cornwel-Smith\u2019s bestselling books Very Thai: Everyday Popular Culture<\/em> and Very Bangkok: In the City of the Senses<\/em>.<\/p>\n\n\n\n

The views expressed by the author of this column are his own and do not necessarily reflect the views of Koktail<\/em> magazine.<\/p>","protected":false},"excerpt":{"rendered":"

VERY THAI: In this periodic column, author Philip Cornwel-Smith explores popular culture and the topics covered in his best-sellers Very Thai and Very Bangkok. As a writer of printed books, he celebrates the subculture of Thais who champion paper and drawing as a sensory remedy for an ever more digital lifestyle. Paper has got a bad rap. Computers […]<\/p>\n","protected":false},"author":33,"featured_media":28667,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[39],"tags":[235,234,229,233],"class_list":["post-28609","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-arts","tag-art","tag-creativity","tag-culture","tag-thailand"],"acf":[],"yoast_head":"\nDrawing Conclusions: Inside the Thai paper subculture<\/title>\n<meta name=\"description\" content=\"VERY THAI: In this periodic column, author Philip Cornwel-Smith explores popular culture and the topics covered in his best-sellers Very\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.koktailmagazine.com\/th\/2026\/07\/18\/drawing-conclusions-inside-the-thai-paper-subculture\/\" \/>\n<meta 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