This is now finished! Between drawing, adding colour and embellishments, it’s taken somewhere between six and seven hours, I think.
Materials used: * SeaWhite all media paper, 8″ x 8″ (195mm x 195mm) * Uniball Eye Pen – micro * Uniball Signo DX 0.38 Pen * Derwent Graphitint pencils * Brushes and water * Derwent Drawing Pencils * Cold Grey IV Pitt Artist Pen * White and yellow Sakura Soufflé pens * Clear Sakura Glaze pen
I actually managed to keep some white space in the design! I may have slightly overdone the dottiness. I did mess up by trying to use the Derwent Drawing pencils to add some darker tones to the green ‘leaves’.
Overall, I think this is good enough to move on to the next project, which is likely to be Thursday’s coloring template.
It’s been nice to lose myself in some art for the sake of art. Especially as my emotional weather is still damp, dull and grey and making me doubt myself. It’s been an emotional rainy spell that’s been brewing for a while, and that’s why I’ve returned to the familiarity and comfort of my entangled art.
I always circle back to entangled art, regardless of my experiments with other media and styles and getting frustrated with colour!
My tricksy emotional weather is only exacerbating my frustrations with colour. I know I need to get the coloured plates done for the Whimsical Cats colouring book, but as I am at the moment I will only get myself into a right royal kerfuffle. So, it’s time to just enjoy drawing, maybe using some colour – time for monochrome colour schemes I think.
Yes, another WIP (work in progress). I’m fairly happy with the drawing, and I may re-draw it with less detail for this week’s coloring template. I’ll see how I get along.
This one is vexing me in terms of adding colour. I think that because elements of this are far less abstract my brain kicks into making things like life. I think I need to find a way to kick my brain into using shadow and light to bring dimension rather than focusing on colour.
This frustration may be because I’m feeling more than a little anxious and a bit like a startled rabbit. I have an appointment in a short while, and that means going into the world where there are people.
Design drawn on A4 heavyweight cartridge paper with Unipin pens. Background and colour added digitally.
This week, I decided to create a coloring page / template that is in the ‘Angela’ Entangled style, similar to yesterday’s artwork.
I made the motifs bigger and less patterned for the coloring template, however. To add colour to my version of the template I used a mixture of brown fineliners by Staedtler and Stabilo. Instead of solid colour, I used patterns and textures to add colour and complexity. I did use a pale grey fineliner to add details to the snowdrops and leaves, but the scanner didn’t pick it up. Ho hum.
After I’ve had lunch, I may return to the drawing to add shadows to bring out some dimension and depth. I’m not sure what medium I’ll use, though alcohol makers may be the best option, perhaps. I’ll see how I feel when I get to it.
I’ve been working on this drawing for the past three or four days. I finally finished it this morning. Here’s a list of materials used: A4 Daler-Rowney Bristol Board Copic Multiliners (05, 025, 02) Sakura Pigma Micron (01) Various shades of brown Stabilo fineliners Grey and sepia Uniball Unipin fineliners
I’m finally becoming comfortable with leaving open spaces in my art, though I still do like a clear border/edge. The spaces give a lighter, more airy feel to the design. I’m learning that I don’t have to fill every available space with pattern. I think that is a good thing.
I’m also really enjoying using shades of brown to add patterns to the design, and some grey too.
If you’d like to know where I started this drawing, it was with the small arrangement of boxes just above the blueberry-ish berries just above the left of centre. Everything else grew out from there.
I think this one is finished, though as I look at it now, I want to use a white Gelly Roll pen to add dots in places. Also, the shadows need to be tad intensified around the motifs to give the illusion of depth. I may use alcohol markers – Chameleons or Copics – to do this as the Copic Multiliners are alcohol ink safe.
Waking at stupid o’clock meant drawing until I could go back to sleep. I got all the inking done for this particular drawing. Now, the colouring needs to be completed.
Materials: 21cm x 21 cm (8.25″ x 8.25″) piece of Claire Fontaine Paint-on mixed media paper – natural colour Aged Mahogany Distress Ink and a piece of cut and dry foam to distress/grungify the paper 03 and brush Uniball Unipin fineliner pens 01 Sakura Pigma Micron pen Staedtler Triplus fineliners Chameleon fineliners Water brush White Sakura Gelly Roll pen
Started yesterday evening, worked on during my hours of mid-night waking, and on waking this morning, this measures 21 cm x 21 cm (approx 8.25″ x 8.25″) The paper is natural coloured Claire Fontaine Paint-On mixed media paper coloured with Aged Mahogany Distress Ink. The design is being drawn with a mix of 03 Unipin and 01 Sakura Micron pens.
I’m using a mixture of Stadedtler Triplus and Chameleon Fineliner pens to add colour to the design, along with a barely damp waterbrush to spread the colour out. Interestingly, some of the colour lines added remain visible, to a greater or lesser extent, depending on how much I work the colour with the waterbrush. Also, I’m finding that I really enjoy adding colour and texture like this.
The finishing bright white highlights are added using a Sakura Gelly Roll pen.
I find the fineliners used in this way give me much greater control over how much the colour spreads in the small areas in my drawing. They also don’t spread as much as, say, Tombow Dual Brush pens or Inktense pencils. That helps to control the spread of colour too.
I rather like the vintage-y look that the palette of browns and olive greens confers on the design, helped along by the background colour and texture of the paper.
Oh, I do intend to leave a ‘hole’ in this first layer of designs. I’m not sure I’ll do inside the space; a quote, more layers of design. For now I’m not sure. But once this first layer is done, I can scan it in and use it in different ways digitally.
There are lots of my favourite motifs appearing in this one, rather organic ones for the most part. What will appear from the tip of my pen in the rest of the design? I don’t know yet! It could be more of the same, or not. All I know is that the intricacy, detail and revisiting old favourite motifs is making my arty crafty heart smile.
“The state of having inconsistent thoughts, beliefs, or attitudes, especially as relating to behavioural decisions and attitude change.”
Finally, the penny dropped as to why I’m feeling so out of sorts. Oddly, it was while I was listening to a documentary about the cult NXIVM as I was drawing during the stupid o’clock hours of drawing. Don’t worry, I’m not a member of a cult! However cognitive dissonance was mentioned and that was the ‘ta-da!’ moment for me.
Cognitive dissonance causes emotional distress related to holding contradictory beliefs or values. I’ve experienced this before during breakthrough moments in therapy where I’ve had to accept that I was a victim of trauma, that I really do have CPTSD and I’m not (as my mother would tell me) making it up, for example.
I’m poised on a knife edge, wanting to make a decision to leave something, but feeling guilty about thinking that way. I need to find a way to find some clarity to help me make that decision, and it has to do with my core values and beliefs.
Recognising this doesn’t make me feel any better, but it helps me understand what is going on, and that understanding will help me work my way through it! Making a decision won’t make it any easier for me to act upon it as there’ll be a lot of guilt and the old reactive feeling of believing I’m letting other people down.
However, I can’t put other people ahead of my own mental and emotional well-being. It’s never been easy for me to say ‘no’ to people, to leave organisations or people who are contributing to emotional and mental distress in myself. But I have done so occasionally, more so in the last year or two. And I will do so this time if it’s what I need to do to find that sense of balance, harmony, peace in myself once again.
I was without broadband from early Thursday morning until late yesterday afternoon. Hence the reason why this is late and I’ve not posted for a couple of days.
I did have internet access via my mobile phone and I used a mobile-hotspot so I could get online on my ‘puter. But, even on 4G, it was a tad slow on uploading and I have no idea if it would have coped with Zoom.
This week it’s another typically ‘Angela’ entangled style of drawing. I used a Sakura Pigma Sensei 04 pen and A4 Bristol paper to draw this. After scanning, I added the background and some shadow and highlight.
A different work in progress today. I started this one late last night and continued for a while after breakfast this morning. I used a Pilot G-Tec C4 pen, which has a very fine tip, on white acid-free cartridge paper (the camera flash has turned it a creamy colour, I have no idea why!).
It is always a pleasurable experience to draw with such a fine pen and to created such detailed and intricate designs. No real thought or planning, just trusting my intuitive creative instincts.
Purely abstract drawing, using my favourite shapes, motifs and texture patterns, along with a few new motifs that have developed as I’ve drawn this. It looks like a weird assemblage of bits and pieces, mechanical and sculptural, botanical and textural.
Assemblage is a fairly good way to describe my signature style of drawing. There are layers of all kinds of bits and pieces – flowers, mechanical tubes and pieces, textural areas, pipes, sculptural bits and bobs, seeds or berries and curls.
What is hidden beneath the various layers? Where did all the bits and pieces come from? What was disassembled or broken to liberate the pieces? Who or what did the disassembling, and why? What new things could they be assembled into? What dream fragments, story parts of my unconscious mind do they represent?
I can spot various influences in the bits and bobs present in the drawing – Mayan sculpture, dials and mechanical levers, pipes and conduits, discs and berry lights, flowers and seeds, textures and patterns, arches and columns, rocks and strata.
What do you see in this drawing? Leave me a comment, I would be intrigued to know!
Today, I continued with the entangled art I started yesterday. The drawing is still not complete, but I wanted to add a background colour/texture and add some shadow and light to see how it’s working out.
The shadow and light bring the drawing to life. I’m not entirely sure about the colour I’ve chosen for the background – maybe a bit to saturated and dark. I can always alter that though. I also think there’s not enough contrast betwixt shadow and light. Again, that’s something I can work on.
I’ve drawn inspiration from various things – fossils, seed pods, botanicals, crochet-covered pebbles, architecture, nature, shells, Mayan glyphs to name a few.
Leaving some more open spaces is proving difficult for me once again. It’s something I need to consider as I continue to work on this drawing.
The design is being drawn with Unipin and Sakura Micron pens on marker paper. Background texture/colour, light and shadow are added digitally.