|Diva Dance "Waltz" and variations|
The Zentangle people came up with some variations on a theme that caught my attention back in December. Called "Diva Dance", the trio's first rendition, "Waltz", reminded me of mark making exercises I've seen that often end up looking like bark are water flowing. I've failed to get those kinds of images when I've tried it, so set the step-outs aside until I had more time to work with them. I have a tiny notebook where I copy in the step-outs for future reference, which gives me practice and a feel for the design before I use it elsewhere. I finally got around to doing that yesterday before sitting down with the newest of my sketchbooks and trying out different ways of working with the idea on a larger scale. Rick and Marie have started a video series of their working on a Zentangle with this one showing "Waltz" running under the rest of the design. I was amazed at how helpful it was to watch someone actually zentangling as he explains what he is doing.
|Diva Dance variations "RockNRoll" & "Foxtrot"|
Today I proceeded with the other two variations, "RockNRoll" and "Foxtrot". Zentangling is billed as a meditative practice and indeed, I found myself going into a meditative state, or at least a calmer state as I worked my way around each drawing. All of these are based on closely spaced parallel lines with the interest being the darkened "bumps" that forces the next line to curve out a different direction and creates holes and gaps. The more I drew, the more I was reminded of contour maps as well as the closely spaced parallel lines of background quilting and the echo quilting around applique motifs. No wonder I was drawn to these.
Normally one would use something like a Pigma Micron or Pitt pen to Zentangle but I wanted to use the Preppie fountain pen whose nib I usually find makes a thicker line than I want for sketching. But on this beautiful drawing paper in the Fabriano Venezia sketchbook, it works like a dream, and I am starting to understand why so many sketchers use fountain pens. You'll also notice bits of red here and there, added with a Pigma Micron 01 pen. This is a little experiment triggered by seeing a succession of black and white "urban" sketches where the artist added a bit of red - maybe just one door in a group of houses, or the flowers in a window box, or in one case a brushstroke across the top and down one side which had nothing to do with the scene being sketched. That limited pop of unexpected red elevated the sketch from interesting to mysterious somehow. At the very least, it got my attention when I otherwise would have moved on to the next sketch. At any rate, I was looking for a theme for this sketchbook, and since its cover looks somewhat like a red brick wall, it seemed the perfect place to see what would happen if I sketch in black "and then add red..."