Finding Inspiration in Mundane Everyday Objects
In this post, you'll learn how to look past the surface of ordinary household items to find deep artistic inspiration and how to translate those physical textures into mixed-media art. We'll cover specific techniques for observing mundane objects, how to use them as direct media in your journal, and how to break out of the "perfectionist" mindset that keeps you from starting a page.
How Can I Find Art Inspiration in Everyday Objects?
You find inspiration in everyday objects by shifting your focus from what an object is to how it looks, feels, and reacts to light. Instead of seeing a chipped coffee mug, you see a jagged white line against a terracotta background. Instead of seeing a crumpled receipt, you see a complex web of geometric shadows and sharp creases.
Most of us spend our lives looking for "the big idea"—that grand, sweeping concept that feels worthy of a masterpiece. But honestly? That's a trap. If you wait for a lightning bolt of inspiration, you'll spend a lot of time staring at a blank page. The real magic happens in the micro-details. It's in the way the light hits a discarded soda can or the way a piece of old lace looks draped over a wooden chair.
Try this exercise: pick one object on your desk right now. It could be a stapler, a dried-up Sharpie, or a ball of tangled yarn. Don't try to draw the object. Instead, try to draw the shadows it casts. If you can't see the shadows, you aren't looking closely enough. This shift in perspective moves you away from the pressure of "accuracy" and toward the joy of pure observation.
When you stop trying to make a "pretty" picture of a spoon and start trying to capture the way the light curves around the metal, you're doing real art. You're practicing presence. It's a way to quiet the noise in your head and just be in the moment.
The Three Levels of Observation
To get better at this, I like to break observation down into three distinct stages. This helps when you feel stuck or like your work looks "borally" (yes, I made that word up) uninteresting.
- The Literal View: This is what the object is. A rusted key. A wilted leaf. A torn piece of cardboard. This is the starting point, but it's rarely where the art lives.
- The Texture View: This is about the surface. Is it gritty? Is it slick? Is it porous? If you were to run your finger over it, what would it feel like?
- The Abstract View: This is where you strip away the identity of the object. Now, it's just a series of intersecting lines, a blotch of ochre, or a rhythmic pattern of dots.
I often find that the Abstract View is the most liberating. It's where you give yourself permission to make "ugly" things that eventually become beautiful because they have soul. If you're struggling to move from the literal to the abstract, you might want to check out my previous post on why you should embrace imperfect lines.
What Are the Best Ways to Use Found Objects in Art?
The best ways to use found objects in art involve incorporating them as physical textures, collage elements, or structural components within your mixed-media layers. You can use them to add literal dimension to a page or use them as a reference for creating painted textures.
There is a massive difference between drawing a texture and actually using the object itself. I'm a huge fan of "tactile journaling." This means my pages aren't just flat ink and paint; they have bumps, ridges, and physical history. This is where your junk drawer becomes your best friend.
Here is a quick breakdown of how different types of "junk" can be used in a mixed-media practice:
| Object Category | Examples | Artistic Application |
|---|---|---|
| Paper Scraps | Receipts, tea bags, old envelopes | Collage bases, subtle background textures, or color staining. |
| Kitchen Items | Dried pasta, salt, coffee grounds | Creating raised relief patterns or organic, gritty textures. |
| Nature Finds | Pressed leaves, sand, twigs | Adding organic shapes and literal "earthy" elements to a page. |
| Household Waste | Bubble wrap, mesh fruit bags, string | Stenciling textures with paint or creating physical 3D layers. |
One of my favorite things to do is use a piece of bubble wrap or a textured mesh bag (like the ones onions come in) as a stamp. You don't even need to buy expensive stencils. You already have them in your recycling bin. It's a great way to add complexity without feeling like you're "failing" at drawing a perfect shape.
If you're worried about your journal getting too bulky or "weird," don't be. A little bit of physical texture can actually help you work through a creative block. It gives your hands something to do other than just making "perfect" strokes. It forces you to react to the surface you've created.
For more ideas on incorporating these physical elements, you might find my guide on ways to use found objects in your mixed media art helpful. It goes deeper into the "how-to" of gluing and layering these bits without ruining your sketchbook.
How Do I Stop Overthinking My Art?
You stop overthinking your art by setting strict limitations and embracing the "ugly" stage of the process. When you give yourself a tiny, specific task, the infinite possibilities of a blank page become much less intimidating.
The "blank page syndrome" is real. It's that paralyzing feeling that your first mark has to be a good one. It's a lie. Every great piece of art—even the ones that look professional—started as a mess. If you try to make a masterpiece on page one, you're going to burn out by page three. (And trust me, I've been there.)
One way to combat this is to use a "low-stakes" medium first. Don't start with your expensive, heavy-body acrylics or your professional-grade Winsor & Newton watercolors. Start with a cheap ballpoint pen, a piece of scrap paper, or even a piece of charcoal from a burnt stick. When the medium feels "cheap," your brain relaxes. You realize that if you mess up, it doesn't matter. You can just paint over it.
Here are a few ways to lower the stakes in your practice:
- Set a Timer: Give yourself only 5 or 10 minutes to "sketch" an object. The time limit prevents you from over-refining.
- Use "Bad" Materials: Intentionally use a crayon or a cheap marker. It's hard to be a perfectionist when you're using a tool that isn't meant for "fine art."
- The "Ugly" Mandate: Tell yourself, "I am going to make the ugliest version of this object possible." It's a total psychological trick. Once you've made something truly hideous, the pressure to be "good" vanishes.
I often tell my students that the goal isn't to make a pretty picture; the goal is to see the object. If you see it, and you record it—even if it looks like a blob—you've succeeded. The beauty comes later, through the layers. You can always add more layers. You can always fix a page using mixed media to fix your sketchbook pages later on.
Art isn't a destination where you arrive at "perfection." It's a way to process the world around you. When you look at a mundane object and find something worth drawing, you're practicing a form of mindfulness. You're saying that the small, overlooked parts of life are worthy of your attention. And that, honestly, is a pretty beautiful way to live.