Emery paper is smooth fine black sandpaper, used for fine sanding metal. It has a really interesting texture that can take media such as pastel and paint.
In my work on Assignment 5 I discovered some ways of using it for quite dramatic images.
Some of the accidental textures already on old emery paper from earlier sanding and photographing light shining on new emery sheets gave some quite dramatic effects when scanned – particularly the explosion from the mouth with aeroplanes in the background.
Emery Paper
Emulsion on emery paper
Emulsion paint made flat shape images that retained the brush strokes, and can also be scratched into.
Demonic dogs, dancing dinosaurs and drippy danhdelion dew
I had intended to use the normal drypoint technique for my image for the letter D, printing with ink. With the transparent acetate all my dog and triangle dinosaur sketches could be easily traced on the reverse.
But when I started I did not realise that the acetate drypoint plates had a protective film. As I scratched into it it started to make very interesting textures around the line – like stitching and drips. There were also very interesting shadows as the sun shone through the window onto the yellowing plates.
So, as I was also thinking about compositing digitally, I thought I would see first what I could make of the images produced just by scratching, photographing and scanning before staining the plates with ink. In the end I liked these images and did not use ink.
Final image
This image still needs a lot of sorting out in Photoshop to get the blending, shadows and glows do what I want.
To be further developed as I do more on Saudi Arabia and use in other projects.
Textures: Foil Armaggedon
I also experimented with different ways of incising shapes into the aluminium foil with the intention of painting over with acryllic paint. I first explored scanning, then working with the scans in Photoshop. But in the end I may paint over with acryllic to really bring out some of the shapes before going to Photoshop.
Shapes: Alligators and allosaurs
These developed by accident as I was tearing up the foil for Armeggedon below, and I noticed some of the shapes that started to look like male or female alligators, so I played around a bit with this idea and did a number of different scans, crops and inversions.
Using carbon paper is particularly interesting as you cannot tell exactly what you are drawing, and the pen gets stuck in ruts and diverted.
Cutting shapes and peeling, then scanning at different exposures and contrast. The torn edges can be very interesting as well as the sharp cuts.
Try with chocolate: chocolate cats
Different effects are produced on different types of card. It was impossible to really control. But smooth white card glided, absorbent card gave a more water colour effect.
There is something so very sensuous and comforting using my fingers to get very different effects of different dilutions at different temperatures on different types of card/cardboard. Like using paint, but non-toxic.
Chocolate cats
I got hooked on the sensuous feel of drawing curves with my finger. And also the different types of effect produced on different types of card. It is impossible to really control. But smooth white card glides, absorbent card gives a more water colour effect.
Technique conclusions
There are many ways in which the effects of chocolate can be varied.
My technique was to put some boiling water into a small jar lid – deep enough so the water does not cool too quickly and wide enough to dip a full piece of chocolate into. But not so big that the melted chocolate at the end becomes too dilute to use.
Ways of varying the effect:
Chocolate of different temperature. Immediately hot dipped gives a much smoother line. As it cools the line becomes more dappled and blotchy.
Different parts of the chocolate piece: use the corners, side or squish it flat.
Different dilution: as the unused melted chocolate sinks to the bottom of the lid, it can be used like a watercolour wash
Different surfaces: try canvas, card/cardboard of different types, foil etc
Continue to work it: after it is dry it can still be warmed and smeared with the finger. It can also be cut into.
The Elder Futhark, used for writing Proto-Norse, consists of 24 runes that often are arranged in three groups of eight; each group is referred to as an Ætt. The earliest known sequential listing of the full set of 24 runes dates to approximately CE 400 and is found on the Kylver Stone in Gotland, Sweden. Most probably each rune had a name, chosen to represent the sound of the rune itself.
The Anglo-Saxon Fuþorc: The futhorc are an extended alphabet, consisting of 29, and later, even 33 characters. It probably was used from the 5th century onward. The expanded alphabet features the additional letters ᛢ cweorth, ᛣ calc, ᛤ cealc, and ᛥ stan. These additional letters have only been found in manuscripts. Feoh, þorn, and sigel stood for [f], [þ], and [s] in most environments, but voiced to [v], [ð], and [z] between vowels or voiced consonants. Gyfu and wynn stood for the letters yogh and wynn, which became [g] and [w] inMiddle English.
A runic alphabet consisting of a mixture of Elder Futhark with Anglo-Saxon futhorc recorded in a treatise called De Inventione Litterarum, ascribed to Hrabanus Maurus and preserved in 8th- and 9th-century manuscripts mainly from the southern part of the Carolingian Empire (Alemannia, Bavaria).
While also featuring a runic inscription detailing the erection of a bridge for a loved one, the 11th-centuryRamsung carving is a Sigurd stone that depicts the legend of Sigurd.
The Younger Futhark, also called Scandinavian Futhark, is a reduced form of the Elder Futhark, consisting of only 16 characters. The reduction correlates with phonetic changes when Proto-Norse evolved into Old Norse. They are found in Scandinavia and Viking Agesettlements abroad, probably in use from the 9th century onward. They are divided into long-branch (Danish) and short-twig (Swedish and Norwegian) runes. The difference between the two versions is a matter of controversy. A general opinion is that the difference between them was functional (i.e., the long-branch runes were used for documentation on stone, whereas the short-branch runes were in everyday use for private or official messages on wood).
In the Middle Ages, the Younger Futhark in Scandinavia was expanded, so that it once more contained one sign for each phoneme of the Old Norse language. Dotted variants of voiceless signs were introduced to denote the corresponding voiced consonants, or vice versa, voiceless variants of voiced consonants, and several new runes also appeared for vowel sounds. Inscriptions in medieval Scandinavian runes show a large number of variant rune forms, and some letters, such as s, c, and z often were used interchangeably.
Medieval runes were in use until the 15th century. Of the total number of Norwegian runic inscriptions preserved today, most are medieval runes.
The Dalecarlian runes are a mix of runes and Latin letters developed in the isolated province of Dalarna in the early 16th century and remained in some use up to the 20th century.
Anything is Possible One Stroke at a Time
At first glance, a Zentangle creation can seem intricate and complicated. But, when you learn how it is done, you realize how simple it is . . . sort of like learning the secret behind a magic trick. Then, when you create a piece of Zentangle art, you realize how fun and engrossing the process itself is.
We love presenting to a class or seminar full of people who are convinced they can’t draw the Zentangle art we show them. Then, within 15 minutes, they have easily accomplished what they thought was impossible. This is one of our favorite Zentangle moments, because then we ask, “What else do you know that you can’t do?” You can transfer that insight and experience of success and accomplishment to any life experience. Something may look complicated, but you now know that you can do it, one simple stroke at a time.
Deliberate Stroke
In our Zentangle way, you draw each stroke consciously and deliberately. We are always making “strokes” (thoughts, words, deeds) in our life. By practicing the Zentangle Method’s suggestion to make each stroke deliberate, you understand how those apparently small and insignificant “strokes” of our moment to moment lives contribute to an overall life pattern. This is another reason that we say that life is an artform and everyone is an artist. Indeed, everyone draws.
Deliberate Focus
As you make a deliberate pen stroke on your Zentangle tile without concerning yourself of what it will look like when you are done, that very act of putting your pen to paper focuses your attention in a special way. As your eye follows your pen strokes your attention shifts to a state that allows fresh thoughts, new perspectives, and creative insights to flow unhindered by anxiety or effort.
No Eraser
There is no eraser in life and there is no eraser in a Zentangle Kit. However, in creating Zentangle art (and in living life), you will discover that apparent mistakes can be foundations for new patterns and take you in unexpected and exciting new directions.
Unknown Outcomes
Unlike much art, or most activities, you start out intentionally not knowing what your Zentangle creation will look like. The Zentangle Method allows you to discover new possibilities that you might not have anticipated when you began. We can most always tell when we’ve preplanned a specific outcome when using our Zentangle Method. It almost always looks forced and stiff.
No Predetermined Solution
With no predetermined correct answer, the Zentangle method offers both a freedom and a challenge. Unlike crossword, jigsaw, or Sudoku puzzles, there is no one predetermined solution. You cannot fail to create Zentangle art. At first this freedom might be a bit unnerving, as many of us have been trained to look for the one perfect solution. Soon however, this becomes a freeing and uplifting experience as you realize you can create never-ending, ever-changing “solutions” in your Zentangle creations.
Elegance of Limits
In seeming contradiction the limits established by a Zentangle string frees up your creativity. As you use the Zentangle Method, you’ll understand.
Abstract
You always succeed when you create Zentangle art because you always create a pattern. A Zentangle creation is meant to be nonrepresentative with no up or down. Since it is not a picture of something, you have no worries about whether you can draw a hand, or a duck. You always succeed in creating a pattern in a Zentangle way.
Portable
A Zentangle tile is 3 1/2 inches (89 mm) square. A Zentangle tile is designed to be completed in one sitting. Keep some Zentangle tiles in your pocket or purse. You can finish one in as little as 15 minutes. You get an immediate sense of accomplishment by completing your work of art. Of course, you can spend as much time as you like on a tile. Time melts as you focus on and enjoy your penstrokes.
Inspirational
The Zentangle Method’s non-verbal language of patterns and proportions can open doors to insights which seemed locked before. Creating in a Zentangle way opens those doors, not because they were locked, but because those doors swing on non-verbal hinges. When you create in a Zentangle way you can enter a state of relaxed focus in which intuitive insights flow freely. Get inspirations, ideas and answers unhindered by expectations or worries.
High Quality
Out of respect for yourself and your craft, we always encourage people to use the best tools and materials possible. We designed our Zentangle Kit with that in mind.
Ceremony
Like a Japanese Tea Ceremony, when you create Zentangle art you also create a personal environment. You can use our Zentangle approach as a tool to deliberately focus your thoughts.
Gratitude
Gratitude is our foundation. It also informs our product design and our teaching method. Whether its appreciating the texture of these wonderful paper tiles, becoming aware of the patterned beauty around us or thankful for the opportunity to put pen to paper, we always return to gratitude.
Smooth finish on both sides: meant for simple writing or drawing – smearing or marker pen
Textured surface on one side: different types for inkjet, laser and screenprinting. These give a more varied line and/or hold ink better on the textured side.
Layering to intensify colours and/or juxtapositions
My original intention in experimenting with OHP transparencies was to see if they intensified the colours either in themselves and/or when overlaid on top of paper copies of the same images. In general this was the case. But I also found that reversing the transparency image and/or putting it on top of another image could lead to very interesting juxtapositions and/or new ideas for the image that could then be further scanned and reprinted.
Printing on the ‘wrong side’
My first ‘accident’ was that I could not remember which side to print on, and automatically assumed it would be the smooth side. This produced some really interesting blurry puddled images as the ink did not dry immediately, but moved around on the slide.
Accidental smears
The second related accident was that I did not realise the ink was not dry and many of the images were placed on top of each other. This led to smearing on either the slide and/or the image on which it was placed. In some cases this led to very interesting textures and/or juxtapositions.
Distressed images
As I played around with the images, some invariably became scratched. This produced some interesting ‘distressed effects’. It also opens the possibility for scratch drawing.
Working on both sides and overlaying
This is a further possibility that can yield atmospheric effects. Media like oil pastel can be made grainy or smeared. In ‘Letter O’ this was not so successful in smearing. But these techniques can be further developed. Either drawing on both sides, laying one OHP on top of the other and/or digital compositing.
If the slides are slightly separated then it is possible to get a 3D effect and create depth.
