Entangled Experiment

This was a fun little bit of art to do. I was inspired by a YouTube video by Zen Linea about the Tranzending technique developed by ZentangleHQ.

It involves drawing a background pattern with a white pen – I used a white Posca pen. Next, the black design is drawn over it. At the moment I’m enjoying using Uniball Eye pens – they’re waterproof when fully dry and their nibs last a lot longer on rough paper like the mixed media paper I used for this sample. I used the natural version of the ClaireFontaine Paint-On mixed media paper as the white would show up well.

Finally, I used applied colour using zig clean colour real brush pens where I wanted the darkest part of each section. Then, I used a damp brush to create a colour gradient. I prefer a traditional paintbrush to do this as I can control how damp it is. I find the waterbrushes that have a reservoir filled with water are a lot more difficult to control how damp the brush is.

Adding shadow around the whole design was the next step and I thought I’d messed it up. However, I like the uneven, grungy look that has resulted. I’m going to learn to embrace the unexpected!

Finally, I added some white dots with the Posca pen.

The background pattern subtly shows through the colours, adding a layer of interest and an intriguing one at that. It was fascinating to watch it happen.

I did try this technique on white paper and it doesn’t work anywhere near as well, so it’s something I’ll reserve for toned papers.

An unexpected surprise for me was how much I like the way the Zig brush pens work on the toned paper, and how easy it was for me to create gradations in colour to get the shadow and highlight.

So, an interesting time with art, and explorations I’ll continue with for sure. It is really fascinating!

Serendipity – Part 2

I’ve added and filmed a little more to the ‘Serendipity’ drawing I started in last week’s video.

This time, the drawing is in real time with me talking through my thought processes, along with some random waffling too. No music, just talk, and I think you can hear the nervousness in my voice.

I hope you enjoy watching the video – it is around 30 minutes long.

March’s Color Palette Challenge

At the start of March, we launched the first month-long colour palette challenge for the members of the Angela Porter’s Coloring Book Fans facebook group. I also posted a template that could be used for those who have access to a printer (or any template from any of my books if not).

Here is my coloured version of the template.

I like working with limited palettes. I don’t find limited choices confining or a challenge. Instead I find myself liberated from the choice of colours to use when completing an artwork. I end up with a more coherent/cohesive artwork than if I’m allowed to play in the sweetie-shop of the limitless colours of the digital realms. The limited palette makes me focus on the work in a different way, usually on shadow and highlight, as shades of these colours are always allowed!

In hindsight, these colours wouldn’t be a natural choice for me to use. I chose colours that reminded me of spring-time flowers and leaves and the lovely clear blue skies we ca get. Black and white are there, of course, for various shades, shadows and highlights.

So, tomorrow there’ll not only be a new template, but a new color palette challenge. I already have the template drawn and good to go, I just have to choose the colours to use.

March Color Palette Challenge…

At the start of March, along with the weekly template, I set a color palette challenge for members of the Angela Porter’s Coloring Book fans. I asked for all of you who took part to hold off sharing your wonderful colorations until the last Wednesday of the month, which happens to be tomorrow!

I’ve finished colour the template using the rather spring-like colour palette, and here is a fragment, a snippet of my completed template.

Entangled Art WIP 29/03/21

I’ve finished the line art for this particular design. Now, it’s adding colour to it, which is going to be a long job.

I’m trying out a color palette of greens, peaches and dusky pinks, but I’m not sure about them, or maybe I’m not fussed on the background. I’ll see how I get along. It’s definitely a work in progress.

I’m not sure what happened with the design. I had intended to leave open space in the design to add a lighter, airier feeling to parts of it. That just didn’t happen. I’m not sure about some areas, but I do know that colour can make all the difference to a design.

A4 Marker Paper
Pentel disposable fountain pen, 02 Uniball Unipin pen, and a 0.38 Uniball Signo Dx pen
Backgrounds and colours added digitally using Autodesk Sketchbook Pro

Note – I’m not paid, sponsored or supplied with any products.

Sunday drawing

I started this drawing yesterday evening. It’s not finished yet and, as always, I’m not entirely sure where it’s going. Intuitive art is me it seems!

This is being drawn on A4 marker paper with a Fountain Pentel pen – which is a disposable fountain pen with a plastic nib that allows different thicknesses of lines to be drawn. It’s actually rather nice to draw with.

I’ve added a light creamy-brown background digitally.

Wednesday En-tanglement

Natural Paint-on paper by ClaireFontaine approx 8.25″ x 8.25″ (21cm x 21 cm )
Flower motif – Tim Holtz’s Ephemera
Various other papers as mats.
Black fine Uniball ‘Eye’ pen
Gold Sakura Gelly Roll pen
White Sakura Souffle pen
White and brown pastel pencils

Today’s offering is another entangled/zentangle cartouche around a piece of vintage ephemera.

I’m trying to learn lessons of past attempts at these kinds of frames or cartouches. The layers of borders seem to work well for me. They’re balanced and cohesive. Also, the colours used help to bring them together as well.

Tuesday En-Tanglings

Central focal image – Tim Holtz’s Ephemera.
Various designer series papers as the mats for the focal image.
Overall artwork size approx 7″ x 8″ (18cm x 21cm)
Distress Ink to colour papers and mats. Mossy green Staedtler Triplus fineliner. Black 03 Unipin pen. Mossy green and black Carbothello pastel pencils.

This one I am happy with. For cartouches/frames I prefer to work in borders rather than a rambling series of patterns and motifs. This seems to satisfy my love of symmetry/balance, yet still allows the use of organic patterns. I really did breathe a sigh of relief when I completed this one.

I am considering adding either colour or metallic ink to the seeds in the outermost border, possibly some shadow within each triangular motif as I realised I forgot to do that.

I did start work on another similar project. I’m really not happy with the penwork. So, I’m going to remove the central motif and mount it on a new piece of paper on which I can draw the borders/frame/cartouche. Not everything has been lost in this case.

Monday Meanderings

It’s Monday. A bright sunshiny early spring morning, but with plenty of dove-grey clouds floating in the sky.

I’ve been working on this drawing and ‘cartouche’ idea and I realise that I need to consider the idea of proportion. Either the focal point piece of ephemera needs to be bigger, or the background piece of paper and drawing smaller. Still, you have to try things to learn from them, eh?

This kind of drawing really harks back to past work I’ve done. Thicker lines, clunkier details, very little white space. It feels crowded, overwhelming with detail and pattern. I think that describes how I’ve been feeling too lately, and it’s reflected in my artwork.

What I do with this drawing now is uncertain. It may just sit in the archives, digital and physical, an example of a lesson to be learned.

Hello Spring!

It’s the Vernal Equinox here in the Northern Hemisphere – Autumnal Equinox to those of you south of the equator, so hello autumn to you!

And, typically of me, my arty offering today isn’t really all that springline, apart from the nesting birdies that is!

Some more Zentangle cartouches have been done by me. The central images are all from packs of Tim Holtz’s ephemera – Field Notes or Botanicals. I gave these a bit of a shiny glaze with some gloss medium; it helps to bring out the colours.

I’ve used a variety of media and paper for these. The squares are either 3.75″ x3.75″ or 4″ x 4″ in size. The rectangular cartouche is 3.3″ x 5.2″ in size.

I quite like all of them, though part of me is irked by the lopsided box around the beetle!

These take a surprisingly long amount of time to complete. It’s very pleasurable time, especially as I lose myself in the process.