One Zentangle a Day

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 colors: red, blue, and yellow. Mixing two of the primary colors creates a secondary color. Secondary colors are orange, green, and purple. Last, there are six tertiary colors made by mixing a secondary color with a primary color. They are yellow-orange, red-orange, red-purple, blue-purple, blue-green, and yellow-green. In the beginning, if you stick to mixing warm colors with warm colors and cool colors with cool colors, you will have the easiest success and avoid frustration. It does not matter whether the medium you use is watercolor, gouache, colored pencil, ink, or water-soluble crayons, the colors will react the same.
    As we saw in the example of purples mixed from cool and warm colors, secondary colors mixed from a warm color and a cool color appear duller. These mixes are great for use in the shadow areas.
    A color wheel is a tool that helps us choose the colors for our palette that work well together. Our palette is the selection of colors we will use to paint or draw with. Palette choice is important because color helps the artist express emotion, interest, and depth.
    Cadmium red medium, left, which has a lot of yellow in it, is much warmer than quinacridone red, right, which is a cool red because it has a lot of blue in it.
    The first purple is mixed from cadmium red plus ultramarine blue. The second is mixed from cadmium red plus cerulean blue. The third is mixed from quinacridone red and ultramarine blue. The last is quinacridone red and cerulean blue.

DAY 22 WATERCOLOR
    MATERIALS
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Micron 01 pen
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2B pencil
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sketchbook
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white tile
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watercolors
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small round paintbrush
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small bucket of water

Daily Tangles
    Try these two patterns. Up until today, all the tangles have been official Zentangles. This week, each day we will learn one official Zentangle and one tangle or Tangleation created by one of the artists from the book. Today’s official Zentangle is Tagh. At times when I draw this pattern into an area it reminds me of seedpods, other times pinfeathers, and yet others architectural molding. It is a pattern of many faces. Tat is a pattern I named and have drawn on everything since I was a kid. It is a one-stroke pattern that changes directions. As you practice Tat, go slowly the first few times through the pattern to help keep the proportions correct. Tat reminds me of the patterns my grandmother used when she taught me tatting.

    Practice these patterns in your sketchbook until they feel familiar. Create your daily Zentangle tile using