This is another pattern that develops as you block it together. And it’s also a pattern that has several ways to draw it – this is how it developed from my inspiration photo of the stonework above another niche tomb in Norwich Cathedral. I removed some of the vertical lines to create the heart, and simplified other bits to the small flower circle. Zentangle and stone masonry? Perhaps not so much zen with the noise?
This pattern is an adaptation of the wrought iron gates that are at the entrance to St Saviour’s Chapel in Norwich Cathedral. I have added the heart, but otherwise it’s pretty much the same design. I’ve drawn several iterations of the design together – it’s another of those patterns that develop something more when blocked as a group.
If you’re into zentangling natural forms, you might like to check out this book review and have the chance to win a copy before it’s in the shops.
Ok, so may be they don’t look exactly like sardines, but I thought the carrot or dibber shapes were packed in like sardines! This is another pattern based on the ceiling stonework in another of the niche tombs in Norwich Cathedral. As you can see from the inspiration photo below, the pattern can be mirrored along the top horizontal axis. That said, there are lots of ways to break this one apart to get different variations.
I’ve been asked to review this book by the publishers, Design Originals, and have been provided with a preview copy. Other than that, this review is independent and I haven’t been paid for it.
Florabunda Style is billed as the next generation of zentangle, and the author should know, as she has written more than 200 craft and hobby books including the popular Zentangle series. With the rapid rise in popularity of colouring books for adults, this book seems ideal for those that are looking to create their own illustrations to colour and benefit from the relaxation that that affords.
The FloraBunda aesthetic is based on simple nature inspired doodles. The book is printed on high quality artist paper, and readers are actively encouraged to draw in the book with plenty of white space to practice in around the examples. The paper is of a sufficient quality to decorate with markers, pens, coloured pencils, watercolours and more. As well as providing more than 200 different designs the book also includes a selection of craft projects with step-by-step instructions. The reader is actively encouraged to experiment, have some fun, be eclectic, be whimsical and above all have some fun.
The book opens with a chapter on the various tools that you can use to draw the elements as well as colour them in. The following chapters follow a similar pattern, opening with a preview of all the designs, step-by-step instructions to draw them and examples of finished artwork by other zentangling experts. There’s a basic guide to plant anatomy, and every element of a typical plant is included, including stems, vines, tendrils, flowers and seed heads. There are tips and tricks scattered throughout the text, as well as snippets of encouragement to develop your own style and creativity. The book finishes with both a visual and written index of all the designs and projects. The author has a chatty style of writing, and even if you don’t dare draw in it, the book is well worth the read in it’s own right.
It’s been six months since I last sat and designed some tangle patterns… but that doesn’t mean I haven’t been thinking about them! I went to visit Norwich Cathedral in May, and took plenty of pictures of the interior patterns ready to work them into step-by-step tangle patterns. Here’s the first – lots of teardrops, with mirrored Ss in step 3. There’ll be another next week. I think it will go well with Liberty. The carving was on the ceiling in one of the tomb niches on the side of the nave:
At the beginning of the year I decided to join in one of these ‘pay it forward’ type of messages that flew round Facebook during January. I don’t know if any of the five that are about to receive the actual versions of the following works follow my blog – if they do, their surprise will be lessened, but hopefully the anticipation heightened! I’ve spent roughly 2-3 hours on each of the Strathmore Tiles 4″X4″(Toned Gray), drawing each with Pigma Micron pens, Signo white gel pens and shading with Stabilo Aquarellable white and black pencils. The style was inspired by the book, Zenspirations by Joanne Fink.
Ever had one of those moments where you’re half way through a project and wondering why on earth you started at the scale/level of detail/size of page that you did? This one is a case in point. I have wanted to have a personalised pattern on the background of my blog page for some time now, and decided to draw one in pen and ink. I wanted it to tile perfectly so that it would scroll with the page, and I did it the old fashioned way
Take a sheet of paper, and start your pattern, drawing to the edge of the sheet, but not over it. Then slice it into quarters. Eeek.
Rotate each quarter so that the inside corner now points to the outside, and stick back together on the underside. I used 160gsm card to help with the lining up, but as you can see, my cutting wasn’t all that accurate… it still worked out though.
Fill in the rest of the page, again not allowing any new drawing to go over the edges. This piece is 21cm square in real life, and drawn with a Lamy Safari fountain pen with extra fine nib using Noodler’s Bulletproof Black Ink. It took around 6 hours to do.
I then scanned in the image at high resolution, tidied up the image in Photoshop a little (mainly removing evidence of the cut edges) and it was all done. The final ’tile’ looks like this:
And just to prove it tiles nicely, here’s a sample roughly 5 wide and 2 tall…
And for my next trick, I’ll be adding some colour digitally 🙂
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Notwithstanding a minor burn injury caused by not having my arm far enough away from the iron whilst folding the binding for this quilt, I’ve finished my sampler quilt for the workshop I am running at Quorn Country Crafts in Loughborough on 17th April. As you can see, it’s a nine 10×10″ panel quilt-as-you-go with contrast joining strips featuring continuous line free motion quilt patterns that I have adapted from my tangle patterns.
Here’s the second tangle pattern developed from the geometric surface design on an old 1970’s cup recently obtained at a house clearance.
