Anyhoo, she promotes the use of Wonky Grids, Random Dot Grids & other ways to 'deform' standard Tangle Patterns.
Here are a few of my experiments with the techniques from my workbook pages from the last few days, to illustrate the point:
I started with Cadent, as I always do when trying anything new, or teaching the art. It is an easy to learn basic pattern with oodles of variation potential. Firstly, ignore the top left hand corner, these have nothing to do with it! The Random Dot version appealed to my love of serendipity, as you just don't know what is going to happen to your pattern until you put pen to paper. I further randomised the framework by closing my eyes to place the initial dots. This disables the tendency of your brain to bring some kind of order to the proceedings!That would NEVER do.
When I moved onto the S-Curve framework, as you will see from my note to self beside it, I made a 'mistake', I use inverted commas, as strictly speaking there are no mistakes in Zentangle, which is why you start in pen, not pencil, apart that is from your initial grid-work, which is only a guide & can be erased with impunity! On the other hand, some grid-work is meant to be kept...... you absorb this kind of information as time goes on. Back to my error. What I did was to draw the initial S-Curve Grid in pen, meaning that when I added my Cadent shapes within this, they created a second curve in places.
I thought 'Oh rats, made a boo-boo' closely followed, in true Zentangle style by 'How can I 'fix' the error. I decided to pattern within the unwanted lines, which had the effect of further randomising the overall effect whilst incorporating the blot on the landscape.
|A closer look at my pattern fix.|
The next simple Tangle I tried it with was Hypnotic.
The Wonky Grid was my favourite in this instance. I haven't finished shading this little sketch yet, as I had to get on with my day!
The upshot of all this is that it has opened my eyes to a whole new way of presenting patterns, especially old favourites like the two used above. I can also see the potential for incorporating the techniques into background spaces or awkward shapes in my Monogram work.