Read Online One Zentangle a Day by Beckah Krahula - Free Book Online
Authors: Beckah Krahula
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pen
•
pencil and/or sepia-colored pencil
•
sketchbook
•
two white tiles
•
small brush
•
water
Daily Tangles
Try these two patterns. Keep the lines spaced evenly when drawing Rick’s Paradox and always turn the tile between strokes, in the same direction, when drawing this pattern. When drawing the pattern B’Tweed, if you start the first stroke from the left bottom corner it will work in harmony when used to fill a grid or repeated to fill an area.
Some patterns create one look when used singly but transform their look when used in a grid or in multiples. Rick’s Paradox and B’Tweed are examples of patterns with many looks. B’Tweed is an organic pattern that can easily bring interest to a small area or harmony to an area with contrasting patterns. When used in a circular area that is divided into pie shapes, the design becomes a star-centered organic shape. When an area is divided into equal widths and filled with B’Tweed, the pattern looks more woven and man-made.
The pattern Rick’s Paradox was created by drawing a column, dividing the column into squares, and then dividing each square into two triangles. The pattern was then drawn into each of those triangles.
Practice these patterns in your sketchbook until they feel familiar. When you are ready, create a tangled tile using Paradox and B’Tweed. Use any other patterns you wish to finish the tile.
The interweaving tendrils of Squid and Mooka playfully lead the eye throughout this tile.
Both of these examples were created using a square divided into triangles and filled with the pattern Rick’s Paradox. The difference is achieved by altering where the pattern starts on the side the triangles are touching when you begin the second triangle. The first alters them; the second mimics the first stroke of the pattern in the first triangle.
ZIAs Created from Sepia Ink
We cannot wrap up a chapter on organic shapes without using sepia ink to create a ZIA. Sepia ink has a beautiful, rich, warm earth-toned brown with a red undertone. The hue naturally works well with organic shapes. Use a Sepia 01 pen to draw the tangles. To create shadows, use a sepia-colored charcoal pencil, colored pencil, or wash created from the ink in the sepia brush pen. If you use a water-soluble pencil, use a small brush and water to graduate the tones in the shadows on your patterns.
Angie drew the tangles using a Sepia 01 pen and then created a wash from the ink in the sepia brush pen for the shading. The wash was applied with a brush. The rich-toned sepia ink, combined with the organic patterns used on this tile, are warm and inviting.
Once you feel comfortable with the pen, create a ZIA on a white tile. Incorporate the organic patterns or a Tangleation of those patterns to complete your art piece.
CHAPTER 4: UNDERSTANDING AND USING COLOR
IN THIS CHAPTER, THE DAILY ZENTANGLE TILE will still be done in the traditional achromatic scale, but the exciting news is that the ZIA section of each exercise will include adding color to your tiles. To work successfully in color, we have to understand it. Each color or hue has a temperature, either warm or cool in nature. The warm colors get their warmth from the amount of yellow in them; the cool colors are cooler because they have blue in them. A warm red mixed with a warm blue will make a very different purple than one created from a cool red mixed with a cool blue or a warm red mixed with a cool blue.
The warm colors remind me more of the colors in nature. They appear larger in size than they are and seem to come forward. The cooler shades remind me of the colors of the tropics. They feel lighter, and items painted with these colors seem farther away.
The top color wheel is created from the warm primary colors of cadmium red medium, ultramarine blue, and cadmium yellow medium. The bottom one is created from cool primary colors of quinacridone red, cerulean blue, and azo yellow.
A color wheel is made from the three primary
•
pencil and/or sepia-colored pencil
•
sketchbook
•
two white tiles
•
small brush
•
water
Daily Tangles
Try these two patterns. Keep the lines spaced evenly when drawing Rick’s Paradox and always turn the tile between strokes, in the same direction, when drawing this pattern. When drawing the pattern B’Tweed, if you start the first stroke from the left bottom corner it will work in harmony when used to fill a grid or repeated to fill an area.
Some patterns create one look when used singly but transform their look when used in a grid or in multiples. Rick’s Paradox and B’Tweed are examples of patterns with many looks. B’Tweed is an organic pattern that can easily bring interest to a small area or harmony to an area with contrasting patterns. When used in a circular area that is divided into pie shapes, the design becomes a star-centered organic shape. When an area is divided into equal widths and filled with B’Tweed, the pattern looks more woven and man-made.
The pattern Rick’s Paradox was created by drawing a column, dividing the column into squares, and then dividing each square into two triangles. The pattern was then drawn into each of those triangles.
Practice these patterns in your sketchbook until they feel familiar. When you are ready, create a tangled tile using Paradox and B’Tweed. Use any other patterns you wish to finish the tile.
The interweaving tendrils of Squid and Mooka playfully lead the eye throughout this tile.
Both of these examples were created using a square divided into triangles and filled with the pattern Rick’s Paradox. The difference is achieved by altering where the pattern starts on the side the triangles are touching when you begin the second triangle. The first alters them; the second mimics the first stroke of the pattern in the first triangle.
ZIAs Created from Sepia Ink
We cannot wrap up a chapter on organic shapes without using sepia ink to create a ZIA. Sepia ink has a beautiful, rich, warm earth-toned brown with a red undertone. The hue naturally works well with organic shapes. Use a Sepia 01 pen to draw the tangles. To create shadows, use a sepia-colored charcoal pencil, colored pencil, or wash created from the ink in the sepia brush pen. If you use a water-soluble pencil, use a small brush and water to graduate the tones in the shadows on your patterns.
Angie drew the tangles using a Sepia 01 pen and then created a wash from the ink in the sepia brush pen for the shading. The wash was applied with a brush. The rich-toned sepia ink, combined with the organic patterns used on this tile, are warm and inviting.
Once you feel comfortable with the pen, create a ZIA on a white tile. Incorporate the organic patterns or a Tangleation of those patterns to complete your art piece.
CHAPTER 4: UNDERSTANDING AND USING COLOR
IN THIS CHAPTER, THE DAILY ZENTANGLE TILE will still be done in the traditional achromatic scale, but the exciting news is that the ZIA section of each exercise will include adding color to your tiles. To work successfully in color, we have to understand it. Each color or hue has a temperature, either warm or cool in nature. The warm colors get their warmth from the amount of yellow in them; the cool colors are cooler because they have blue in them. A warm red mixed with a warm blue will make a very different purple than one created from a cool red mixed with a cool blue or a warm red mixed with a cool blue.
The warm colors remind me more of the colors in nature. They appear larger in size than they are and seem to come forward. The cooler shades remind me of the colors of the tropics. They feel lighter, and items painted with these colors seem farther away.
The top color wheel is created from the warm primary colors of cadmium red medium, ultramarine blue, and cadmium yellow medium. The bottom one is created from cool primary colors of quinacridone red, cerulean blue, and azo yellow.
A color wheel is made from the three primary
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