A3 Zentangles

Zentangle Method Drawing

Over the weekend I focused on drawings using the Zentangle method of concentration and mindfulness of pen on paper.
This drawing above took four hours, taking me far away from my usual styles of fast expressive mark makings. This required a lot concentration and conscious decision making as to placement and type of shape or pattern.  The design relaxed my thoughts and allowed me to be patient with my making, even now it may not necessarily be complete.  The final outsome is aesthetically pleasing which improved mood through confidence for making.  This felt almost like a gift to my own wellbeing, something to be proud of, knowing the time and efforts. The process however it was I want to concentrate on. There was not much room for thought to wonder, with the marks being simple and drawn in stages there was a repetitiveness to the drawing process however he decision making ran alongside that keeping the hands and the mind occupied, both at once.

Next I moved away from the decision of shape and concentrated only on composition. This was a little boring. Especially going from lots of mind exercises with the previous drawing.  no real conveyance of individuality unlike the previous drawing.

This was a faster pace of working, although still slow in terms of having to create a repetitive shape. This is a grid with movement, I would turn the page as I drew a row or few rows of squares. Moving the paper around left interesting alterations in size, intensity of ink and overall shape. The placements were altered too, leaving some rows more compact than others. Although with some control the marks here are not as deliberate nor the quality as consistent as the first drawing. This is more expressive and random in comparison.

Next I went back to the more controlled way of working with linear pathways and concentrating on fill. Lines seem to require a deeper concentration than fill, the line has more room for error, a patched up line on it’s own is more more noticable than a filled shape that may just need extending to hide some over fill. The verticle direction left some constraint on placement but none in shape/design.

The filled shapes was most pleasing for me (aware this is a very subjective investigation at thus point). The plait like motif was simple and I enjoyed the build up of one shape to make something recognisable, alhough not my intention.
The aesthetics are again important here, a sense of achievement which is part of the mood process. Beginning middle and end being just as influential on the outcome mood and mood improvements.

For this drawing I chose a yellow pen, yellow being the mainstream ‘happy’ colour as proved in previous research including my own within workshop feedback exercises. This I took the plait idea consciously or subconsciously I do not know/remember from the time but it was something I gravitated towards. Obviously positive.

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