Alhambra Star Mandala, Arabic Geometry Pattern - Drawing and Coloring | Zen Linea | Skillshare

Alhambra Star Mandala, Arabic Geometry Pattern - Drawing and Coloring

Zen Linea, Certified Zentangle® Teacher & Jeweler

Alhambra Star Mandala, Arabic Geometry Pattern - Drawing and Coloring

Zen Linea, Certified Zentangle® Teacher & Jeweler

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13 Lessons (2h)
    • 1. Introduction

    • 2. Preparing the String

    • 3. Draw the Alhambra Star

    • 4. Adding Ornaments

    • 5. Drawing Mooka Fragments

    • 6. Adding Roundings

    • 7. Fragment Filling

    • 8. Drawing the Border

    • 9. Coloring Shading Highlihgting 1

    • 10. Coloring Shading Highlihgting 2

    • 11. Coloring Shading Highlihgting 3

    • 12. Coloring Shading Highlihgting 4

    • 13. Other Examples

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About This Class


Learn to draw the Alhambra Star ornament and use watercolor pencils to add colors and shades. Watch videos, follow the step-outs from the detailed PDF printout and draw at your own pace.

In this class you can learn to:

  • How to draw the Alhambra Star as a focal part of the mandala
  • Combine it with several different tangles to draw a balancing composition
  • Color and shade with watercolor pencils and highlight your drawing with white pencils and pens
  • Practice mindfulness and relaxation while creating wonderful art by drawing patterns

Whether you are a beginner or a skilled artist, you are the right fit for this class - it is designed for anyone who is able to write four basic letters used to draw any pattern: I, C, S and O. However, it is best suited for intermediate level artists, although beginners can finish the project with the guidance from video instructions and the accompanying handouts with illustrated step by step guidelines (you'll have to log in to Skillshare through your PC to be able to download attachments from the Projects & Resources section)..

Remember that you can stop the video at any time to finish what you do at your own pace and you can also watch it at 0.5 x Play Speed if you prefer slower rate (the option is in the bottom left corner at each video).

Make sure to download the attachments, join the project and come back with the project photos, questions or comments. I'd love to hear from you!

These drawings were inspired by the Zentangle® Method - an easy-to-learn, relaxing, and fun way to create beautiful images by drawing structured patterns. It was created by Rick Roberts and Maria Thomas. "Zentangle" is a registered trademark of Zentangle, Inc. Learn more at

Follow me on Instagram to see hundreds of drawings and process videos, visit my learning platform to see live classes and eBooks. 

Meet Your Teacher

Teacher Profile Image

Zen Linea

Certified Zentangle® Teacher & Jeweler


Hi, everybody!

I'm Anica Gabrovec, a Certified Zentangle® Teacher and jewelry maker from Croatia. On social media I mostly use my alias Zen Linea, which became the formal name of my small creative business.

After working in finance for 20 years, in 2019 I decided to make a big shift and dedicate my time to creative pursuits, which is what really sparks my joy. I've been making jewelry on and off for 15 years and last four years I've been totally into drawing, powered and inspired by the amazing Zentangle® method. 

I can honestly say that creative work has changed my life and my mission is to spread that creative virus to as many people as I can. My biggest reward is when I manage to change other people's preconceived&nbs... See full profile

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1. Introduction: Hi and welcome to my new video class. I'm Alyssa Gabara. It's a certified send angle teacher from Croatia. I'm so very grateful to you for wanting to tangle long and learn from me. This is a very special class because it was inspired by a very special place. In February, I visited Andalusia and Alhambra, a fortress in Granada that features the most amazing architecture. It has a multi cultural history connected with Muslim and Christian royalty. Many intricate details are inspired by complex geometrical patterns. One of them is the star shaped ornamented that I will draw in the video. 2. Preparing the String: I'll start this designed by preparing my around Papert style, and I'm going to do that by dividing it first into eight and then into 16 segments. So I'm basically just trying to connect these blue lines on the opposite sides off the Mandala Builder. And it's easier for me to rotate the round child and rotate the Cole Mandela building, too. And if you do that, just make sure that these lines that you already do ah, line with those on the mandala builder. Of course, if you are really wanting to be precise, you could also use a ruler to connect those her alliance on the opposite sides. But in my opinion, this is precise enough. We are not striving here for perfection. As we know there is no perfection. But still this is Ah, this is a geometrical design, so I'm trying. Teoh drove those lines maybe a bit more precise than if I would if I was just throwing Cem regular more or again and cloaking design. And sometimes I even trust my instincts more than I trust, and these guidelines as I'm trying Teoh divide these eighths off this by into to 16th parts and here it is. And now, since we're not using the stencil, we will be using this small Bijou Tstyle for preparing the string for the Alhambra design. And when I did this mandala building tool, I had the Alhambra string in mind. So I marked these small lines that I'm using Right now I'm trying to nest thes bijou here in the middle and amusing thes lines Dagon alliances a guideline and just working Thies too small lines. And another thing I will do is just by placing the Peace Hotel here in the corner, I will also mark a line that is the extension of these diagonal line so that I will be able to place this biz your tile on the Sandahl a more accurate. And this is the small visual style with marks. And now we are ready to throw the string. So what I'm aiming for now is to align these corner marks with some of the marks on my Rosendahl a tile. So try to be precise, but don't really sweat about being 100% precise. And as you will see, the goal is to a line these middles and these But it's not going to be entirely possible because when we're drawing by hand and we are here, even if we are using these marks for the string, send them. So you have to just act on your judgements. So we're going to first place the shape on the Cinderella so that our corner Max align and then a little true, the line that outlines these visual tile. It's a line drone with a light stroke. And then I'm going to mark these small marks, and I'm doing this by trying to establish roughly the same distance from the middle of the tile to both sides. And I'm not worrying if the lines don't right here on the sides. Because, as I said, those air really millimeters we're talking about and we do worry about the overall balance off the drawing, but not about every millimeter from the side. And now the first square is already here. We're going to place the Bijou tile over the Zandl a gain, and we are going to mark another square by leaving these already drone square lines sticking out on on four sides, trying to have similar shapes sticking on each off those sites, and it looks really nice. And the next thing to Dio he's again and I'm going to use these marks again. So the same marks that they use before to just drew the signing lines again because we are going to need it too. Structured, this all 100 string. And I'm not some kind off san tangle police. But I will tell you what we're doing here today is not really is entangled because Zandt angle is more about the intuitive strokes and relaxation. And this is a high focused class. So I chose to make a video out of it. So you have time to joy it at your own pace. And another thing I'm going to add here in the middle is a nice round Zengin. So if you don't want to, um, use a compass and I surely don't. But I still want a nice around tile, and it kind of makes me a bit nervous when I have to do it with freehand drawing. I'm going to use these same marks as you see to just draw this sign it thoughts along the string lines to mark the same distance from the center off the Cinderella and then just by a lightly connecting them. I will be able to tro a nice around Zen Jim without using a compass, because even though we're using many aligns guidelines here for the drawing, as I said, it's complex geometrical design based on Islamic geometry. I still don't want to use a stencil over a compass, so I'm just a likely drawing the string, and then I'm going to use it to TRO around Zengin. 3. Draw the Alhambra Star: I took my Micron PM pen and first I will draw this Zengin, and it seems easier for me to try to draw it like this, kind of in segments and trying to repeat the same stroke by rotating that sign as they normally do when I droves entangle inspired guard or evens entangled drawings. Andi, you can just revisited those lines to try to make them more even looking. Although let me tell you that when we add all the colors and shades and surrounding shapes , you will not be able to notice any imperfections. And since we're using our hands and not the stencils, there will be imperfections. But we're just accepting them on making them bart off our design. And now the exciting part comes. We're going to dro starts drawing the shape off the Alhambra ornaments. And first I'm going to Jodi's line by extending it from the mark that we left here to this string line. And you can see that since our visual tile has rounded edges. Also, the string has the rounded edges, but I'm still going to drill all the way to the string line, so just extended this straight line to the streamline. So starting from the mark to the streamline and repeat it, just rotate the time and repeated eight times. Don't forget to breathe. This was the inner part off this kind of star Alhambra star. And now we're going Teoh, add the outer part. We're drawing a pair of little line. That's well, extend just a bit further than the one that we drew a minute ago. So we start at the string line and then join the parallel line and extending it a fever for a bit further in town from where the 1st 1 ends. And I'm not going to try to be precise and extend it too much. I'd rather just connected later and throw small extension if necessary. But just one line, and it's time we're going to be able to finish this beautiful all Humber fragments, and now we're just going to repeat the same on the other side so you can see what I'm doing . I'm connecting the top off this inner line and going all the way to the mark, and sometimes these lines will not perfectly match, so you're going to maybe have to go 1/2 a millimeter or millimeter. What seems to be a stray from your string lines, but don't wory. And when we're finished with all the line work on this our home brah shape, we will revisit maybe a few lines on. Try to get a nicer, more balanced look. And now the other one. So now you have to notice how much this a small part of the line sticks outside of the triangle. So it's maybe two millimeters, and I'm going to Joe again, this parallel line and hey, this tiny line that sticks about the same So it's let's say it's two millimeters. I'm not going to measure it. I'm just going to trust the process. Andrew, what seems to be a mirroring image off what I see on the other side, and now I notice that here I forgot to draw this first line. So I'm going to draw the first line and then also drove the parallel line and, of course, be rotated style all the time and just repeat the same stroke and one line at a time. This really complex design, it will be finished in the next thing called to do is I will draw a line that will go across the next string line and end up here pence the place where the string line touches the central's engine. So it will be easier to see what I dio than to understand the words, because the pictures speaks 1000 words. So it just one line in the game, even when I'm drawing sometimes like this line doesn't seems to be at the very center between the two. Off these, I would say that this would be better, so as they drove along, I just trust my instinct and trust the process and draw the line, which is the way that it seems to me is the best, even if it's not precisely where my string line is. And this is where I made a slight mistake. Ondas. We know that there are no mistakes. I'm just going to extend it further the way and later I'm going to take care that we don't know this it. And now, just as we did before, we're going to head to the peril online and it's going to and here where the streamline is , I'm going to trying to keep the same with off these parallel between these parallel lines like here and here, but without worrying about being perfect once we get it, because we want to embrace the imperfections of thes drawings made by hand because it's what gives the charm to the hands drawings. And now we just have to connect these lines and we will be finished. It's like something magical happens when you finally succeeded drawing it, because when you start, it looks frightening and complex. But then, as you go along and just focus it, one line at the time you see that I think is impossible. And it's not so difficult after all. And when you see that the line doesn't extend, maybe enough, you just try to connect them the best way possible and still trying to maintain the same sighs or wit between the to peril in lines. And, of course, you can try this before you use Rosendahl. You can try this also on some kind of a script, paper or notebook, but I would highly recommend you to do it on that style, Um, or you cut some kind of a paper into a tile because it's so much easier when you can manipulate and rotate the working surface, and here it is. It looks beautiful, but I still want to maybe polish these lines and what I will do is I will seek a bit taker pen, and this one is graphic one. It's maybe one millimeter wide, so it's a bit thicker than the ones that we normal using the entangle. But it's just because now we have these shape that it's that it's finished. They want to go over these lines once again with a secret plan and try to maybe polish some off the imperfections that I see and revisit those lines. And you could certainly do that with the PN or go on or whatever is it that you're using. But it is in line with my personal style to Hughes the's bold lines. So I'm not afraid of using them. Actually, I love using them on. This is why Suk, a graphic one Ben. And as you see, even where I had some lines, that's where maybe trying to run, uh into a different direction from the one that I want them to go. I'm still able to kind of made those sign e. I don't like using them. Name is saying about you. Let's just call it what it is. Those Steinem mistakes. I will try to hide them and make this drawing look as nice as possible. Maybe you So now how this in perfect line just kind of disappeared under the bulk line of traffic. One you can maybe use a weight or 05 So whatever you have hands would be fine. Aren't as I said also, Um 01 pen or whichever you used. I kind of got lost. Now is I'm talking and trying to concentrate on drawing and everything at the same time. But I don't have to think too hard about what I'm doing. I just have to revisit the lines that are already on the paper. So no harm done, even a fight get lost. I still know what to do. And now, after we to this, we can also my meat get rid off these string lines if we want a nice looking, polished throwing. And I think I will do that. Think that I will use my racer Andi. I use Faber Castells unaided eraser, which is pliable and very good. It doesn't ruined the surface of the paper and no. After it's done, you see how it looks kind of perfect. Although we know very well that it's not perfect but sealed with these beautiful, bold lines, Everything looks right, and I can't wait to start adding color shades, highlights and also the surrounding tangles around this beauty. And now is they said, I will use my native eraser, but I first want to be sure that I waited long enough for my into dry and mike rinse usually try really quickly, but I used this graphic one, which is a thicker nib, and I wanted to wait just a minute or two to be sure that they are no lines that they're not thoroughly dry before Use theory, sir, to get rid off the lines. And even if there still some leftovers off the graphite pencil, they will not be visible after everything is added. The colors, the shades, but just nicer not to have them here, and you can notice the time not erasing the outside lines. I will use them as a string to place the tangles that Havel use around the central focal part 4. Adding Ornaments: But what I decided to do next is I will try to draw this nice order line, actually a border for the style, because I want this to look like a nice architectural ornament, because we know that it's inspired just by that. But it is amazing Alhambra Fortress that I visited in March in Spain on that inspired me to buy a book on, and I learn a bit more about the Islamic geometry and these beautiful fragments that they used when they were building the fortress. And then again, this is not a perfect border, but I don't care. I might once a game see this graphic one pen just because I think that it will be nicer as a bold airline. Andi. Actually, the contrasts I would make makes or make is entangled drawings really interesting. So where it's the contrast between the highlights and shades, or the contras between the colors that you use or colors of Ben's that you use, or also the size is off the pence. These colors really contributes to the final design, and now that I made this thick line, I'll just add one more in line and I don't have a plan about what to do. So as I'm drawing, I'm trying to make the decisions about the tangles that I will use. And I drew this for there now, and I think that I will use is entangles do the tangle on the outside, which is a wonderful border. Tangled. It is a bit takes a bit more time. It's not complicated, but it takes a bit more time to draw it, so I might also, um, he was a high speeds on that part just because it will take long. It's so repetitive, but it ends up looking amazing. And here are these two borderlines when it stick wanted stain, and I think that they look amazing next to each other and the next single zoo is I'll add. These four is engines. I'm not going to repeat it 16 times or even eight times. I'm just going to add four of those. So in fourth sides, Andi, I don't even have to tell you. Certainly you can use any kinds of tangles and ornaments that you love using. He doesn't have to be the same design. Feel free to experiment with what you like. This is also a thing that I love using, especially when I glue these, uh, circular shapes next to each other or next to something, some other shape. And then we have these sharp nooks between the two shapes. This is where I love using this, rounding the unique just to certainties edges and also to create some more contrast between the sections where I used blacking, Um, those without the black ink. And I noticed now that I forgot to take to put my glasses on. So maybe my lines will be nicer after I do that. 5. Drawing Mooka Fragments: and by drawing thes engines. I also divided these outside space into four sections. So now I'm dealing with four sections off the outside part instead of just one section. And I'm going to use the outside section to play maybe with, um, shave. The dream resembles ding bets. So I'm going to and some Marcus and they will try to draw them well, not not necessarily symmetrical, but kind off. Not symmetrical in a sense that I wants to make sure that they are drone perfectly but still wants to achieve this nice balance between them. And I'm not starting at the very edge because I'm going to use these loose endings, no customs to draw the border for these sections. And really, if you attended my classes or took some classes, video recordings or anything, you then know how much I love or lines I really dio. So I'm basically just connecting these loose ends and drawing or lines to I feel these sections. And that's this little beautiful what is just me. I'm not sure, but I'm going to do it again first, maybe here. So I started by drawing this mocha like this and they meet at the middle, this one and the one that I will just throw next. They meet at the meeting and they overlap, which presents a really nice opportunity for shading. And you can notice that even if I used my glasses, my lines air still not perfect. And what's really funny is I'm not sure you can maybe tell me all right to me. A. You feel that's it's the same with you. But there these when my moves are nice and coordinated and smooth, and there are days when I can try as much as I want to. But they're just not. It probably has to deal with my Matori capabilities there days when my lines are nice and on straight and they're and then their days when they just don't want to behave. But I don't let that stop me from drawing. I just drove in spite of it, and even within perfect lines, you can still Joe a beautiful image. Then we have one more. I'm enjoying these Malukus. I tried to read the middle off the section so that the two coming from opposite directions meet at that point and then, with this small one coming from the other side, just trying to nest it next to the big one. And as I connect these shapes and lines, we get this nice being bad style ornaments. 6. Adding Roundings: call to the same as I did before. I'll use this rounding technique to get rid off these very sharp nukes inside the section, and I can do it just one corner at a time, just trying to around his shape inside, I can just try to squeeze a kind of, um, ground shape inside and then color the outside parts. Any case you will get the same result. Maybe it's easier to just try to squeezing this shape into it with one stroke, and you can see that this shape shapes are not equally sized, as there is no sense ill. Each of them has its own character, and I will do the same here where the other shapes meet in a way that forms thes sharp nukes. That's something that you can do if you like. It's also something that can be done and the very end of the last step of the way, because we're going to use, um, highlights and we are you. We will use why it pencil or white tropical pencil for the highlights. And as you use the highlights, you will probably sometimes also go over the lines and then inevitably thes black lines will be muted, and we want them to be nice and black because of the contrasts. So maybe it's even better to do this at the very end just to create these contrasting small sections. And then you can also revisit some of the black lines that got muted in the process of highlighting. If it bothers you, of course. But you can see now if you compare this one with this one that doesn't have these surroundings, I really like this one. And these surroundings make it look like there connected with some kind of ah glue or something like that, or some kind of thick liquid that squeezed between them. And I really like the effect. And now I'm just going to be silent for a while until I finish it. - Okay , we're almost done. As you see, it did take some time to finish this. They really like. It's like, kind of adding some kind of points of interest, ending more contrast, and as a result, this looks much more balanced on nicer than he did before 7. Fragment Filling: and now we have these ah sections inside that we are going to feel with some tangles, and I think that I'm going to just use maybe some basic flux shapes. And first, as you can see, I'm dividing the space into similar sections on. Then I'm gain kind of using the same round two unique and by rounding it's I just end up hearing this nice four flux like shapes, which is a really simple solution. But we are dealing here with very complex designs and images, so some simple shapes that will make the detailed part off the drunk I will come, in my opinion. And it's a nice contrast between the geometrical Habre string or Alhambra detail design on these organic shapes around, I still notice that's what they is, not one of those days when lines are smooth and straight. My lose our kind of shaky. Maybe because two coffees that I drink, but anyway, it won't prevent me from filming this video. We're finishing this drawing, and now there's a question off what to do with these triangular shapes that I have around the central syndrome, and feeling them with looking is always a good answer. I'm going to create some more contrasts here in the mid part by doing this also, I decided to do it because there are so many details in this drawing as it is that I just want to also use some space without any details at its to it. And the last part before moving to the border is these kind of hexagonal shapes here, and I'm going to add the's fragments. It's basically Zan tango tangle well, and whenever you have something like this, so a fragment that has to be field wait some details. You might go and check disentangle premature book or the critical are and Fragments book by Xan Tango and try to find some kind of a nice pregnant that you can use in your design. So I added, I'm not sure what's faster, whether it is too first control days one by one, like take it one by one and finish it. Or maybe also because I'm filming this video. It's not so maybe pleasant for you to watch, to rotate the title too much, and this is why. Now I wanted to try this other approach where I'm trying to rotated, although it goes against what I'm used to, dio. But I'm trying to prove to myself also that I don't have to necessarily roti that style. I can still finish it on. It will be more pleasant for you to watch. So this is it. 8. Drawing the Border: and now the last thing to do is to add these border single. And, as I said, I will enter the do that tangle. Some of you have taken my classes where all really used this angle. It's usually used as a border tangle and the original it's by Sen tangle. And the way they show it is like this. So you're alternating between drawing the lines that extend from one side and then from the other side off this space between the border. But I'm actually going to use it with around rounded edges. So I will use thes uh, connected you like there's and I'm trying to decide what I will do. Are you or a reverse you? Maybe I can just zooming so you can see better what I'm doing. I'm drawing thes you shapes that are glued to each other, and I'm making sure to leave enough space inside the U so I can oops, squeeze in a line that will come from another side of the border. And of course I'm going to I feel these small leftover spaces between the border under you with black ink, and then just to show you, I really used this short line in each of these use, and I'm not going to dro use on the other side, although I used that many times. But since it's really a border of this is and, uh, I don't feel that it's necessary because I also use some shades and highlights, and I feel that this will be enough. And then because there so many repetitive strokes, I will just do one segment and then moved to another. So I don't get too bored and you see that I hear kind of. I wasn't precise enough with feeling with blacking, and as a result, I gained a bit more off this inked part, which is not bad at all. And now I'm going to just be silent and enjoy this process. - What you and we are almost done. So now you can decide. Does this work and effort pay off? I think it does, but you can also do something easier. You can just use some colors and highlights and shades her maybe used orbs are something else the's do. That is a wonderful pattern for the border, often ornamental drawing. This is why I chose it. There's just one last thing I'll do with my pen which is heading and or line inside this end. Jim. It will contributes to shading and highlighting options. Sit well below for some more contrast and then Hezb e did before. If you just want made, these lines would be nicer. You can always control over them and revisit them. And by doing this, the line work is finished. 9. Coloring Shading Highlihgting 1: I decided to go with these kind of neutral colors if we compare it to the colors that I sometimes use, but we'll see. Maybe I will also add another color. And of course, you can use any color you like. I'm starting by feeling thes areas around Lucas with a natural color. This some kind of ah walnut brown color. Maybe you have noticed that in the meantime, I have hatched thes spaces with thin lines. I don't think that you need to see this breaths on the video, and it takes like, a few minutes or even more. But it does give it a nice a nice texture to the surface and bring some contrast between its and the surrounding area. So this is why I used it. So in thes sections, I'm using this watercolor pencil just to bring more or less the same amount of color to the surface. So I'm not using here this father color pencil for shading. I'm using it four coloring purposes. I'm not trying. Teoh. Use more pigments on certain sections. I'm just using the same amount all over the place off course. You can also decide to use a more vivid color. But here is I will use this kind of orange on blue. I believe that it would look nice. The big groomed is more muted and new. I'm using very clean water brush to blend the color and this will blend the color and also activated the color pigments. So we threw even make the color a bit more vivid. Although this color is not a very good one. But you can see how it kind of brings alive to the pigments. I'm also he was another media over it. And sometimes especially if I use another color like burnt sienna, which is a bit more vivid. Sometimes I also use brush marker or brush pen something like, um, maybe you have a dumbo. I have koi brush by Sakura on when I use it over these colored surface. Then it additionally mutes the color and it kind off gains more depth to it. I am the most finished this time. This brush releases a bit more water. Then I prefer So you might also have a kind of, um, tissue paper or something like that. The paper towel to wipe its. And while I'm waiting for this meat parts to drive. They have to take care that I don't smudge it. I'm also using some of the same color here around the board. There on we have already this black ink and you're this circle. And now, by using these brown watercolor pencil, we will get some kind of ah, great jury cheating. And then if I use some white charcoal or pencil at the very edges, Well, but again, huh? Nice girl interest. And of course, I'm taking the with their pressure gain, just trying to blend and spread this color. And as I'm doing it, another idea crosses my mind. And this is how it would look nice if this a small section here between the two black lines would be filled with white so that this co interest between the shaded border and the inner part is even bigger. I took this sanguine amateur. It's something between orange and brown, and I'm going to use it for coloring off these Zen gems on both sides. And you can see that my line on the edge of these engine is a bit ticker on one side. So I'm going to use the side as the one that it's that is in shade while this where I'm just putting bigger, um, amount off pigment will be the one where the light source is so usually for me. Stop like that's up left. And I'm going to use this approach shading, um, with light source in mind for all these round objects. So all Spiric objects, like then gyms or even muka pods will be colored by using the same approach. And since this Grosh pain, um, water brush is releasing a bit more water than I would like to, it's blending this been Sil all over the shape, although my intention is not Sue blended all over the shape, it's basically too blended or have the color pigments, intellect section and in this big shape also, um, around the shape. But I'm going to use highlights after it's dried, and maybe some had some more colors, so I'm not too worried about blending it all over the shape. I'm going to use this blue, which is ah, highly contrasting blue. It's cobalt blue to shade, the Alhambra ready, and as you can see, I'm shading its in a way that I use the color everywhere where there is on overall ep Oh, to objects. So wherever I have this ribbon off the alhambra detail going over the other one, I will use some shade to in has thes depth. Just rotate the time and try to be systematic about it. But even if you miss a part, I'm sure that after you feel this basis, which shades, it will notice if something is off balance and I'm not going to spread color all over the shape because on the's parts that haven't bean shaded with blue. Now I will use some white highlights. And now I'm using the Aurthur brush again to blend this. And now maybe you can notice how this blue has this greenish pigment in it. As I'm trying to blend the color, it seems like it's greenish. Were it sending? Now you can see that I left the part here without any shade. So I just added, And maybe you can notice how I'm using the's light on and circular emotions when I'm blending the color because I'm trying to get this Grady int. So from the point where the overlap is where the color is most pigmented as I'm trying to blend it. I want Teoh get this impression that it's getting less and less saturated. I'm using the favor, Castell. I'll brave to do that or their color Pence's. Those are artists, quality pencils, and I can highly recommend them. And I know that thes art supplies heavily high prices, but it really makes a difference which kind of art supplies you use. These can be purchased one by one so you don't have to buy Whole said. You can just by one or a few before you decide to invest in a bigger batch. 10. Coloring Shading Highlihgting 2: Now these is n gyms are already dry, and I will have some more pigments to them, and I'm not even necessarily going to blended with the blending brush again. I'll just see what it looks up looks like on def. It's seems to me that I need some more blending. I will do it, but sometimes I just do it for the sequel. Higher Demonization. Then I will also take this burnt sienna just to at some more shade in this opera leapt part , and you can also maybe notice what happened here where I was using this lighter. Well, it's brown orange, been so that I want to be told her. The black lines, so their muted they are not visible, is they were before, and I might also go over them, and I took now very not a very very, but it's an orange glaze. Um, we're into color with a bit more. Have you be the color just to try Teoh, get some more contrast between the shades and colors used? I'm not going to make this drawing to saturated with baby colors, but I still want to have some, let's say, points of interest and these small circles in the middle off well, are seem to me at this moment too small to play with shading. But I might maybe at some shades at the later stage, and now I'll just go over these black lines because that it bothers me to see them in this muted version. So if this happens to you, you can always revisit those lines to make them more David to make the contrast higher. Now it suits the charcoal white to it. These highlights to the orb's and it might have bean smarter to do this at the very end, and normally this is what I do. But now I was in a hurry to see what they would look like with these highlights. I'm trying to find the white blending stump. I'm going to blow this dust wide. That's the way, and I will try to blended well so that it's that's marched. I will probably use some more white pencil, but it would be a regular pencil. Afterwards, you can see how all of a sudden it becomes more alive. I wasn't really sure what to do with these Marcus, which color to use, but I decided to go with some more blue. So is they said. My approach is the same as with these other round shapes. I'm using this allied source approach. So the top left is where I will used color pigment. And then I will blend it. Wait till words the bottom right section to create this Grady int. And then I would use again wide highlights and again notice how I'm using this small around strokes because it allows me to have more control over the blending process. I'm not going to color the stamps off. No, with blue, I'm going to use white just to highlight them so that there is more contrast between them and the surrounding areas. We turn wall and brown, and maybe you can also notice how the color appears darker when before it's try. But after it dries, it's not as dark anymore. You can also see the difference between this one and this one. I'm using the charcoal again, and I'm going to try to be quite precise with it so that I don't go over the black lines because I don't feel like throwing go over them again. I will try to blend it without blending trace over the play. Klein and I met also just blow. And, sir, bless off this fine. Why to dust. And when I'm using right for highlighting, I just have to tell you that using regular color pencil or a watercolor pencil is much easier and disrespect because there is no father poor dust, and also it's much more. It's much easier to be precise with where you use it. Then it is with this charcoal pencil. But then again, the benefit of the charcoal pencil is its vividness. So I guess you can't have both. And if you I plan on using boat and I will use boat because I really use irregular pencil, uh, to add additional highlights, especially to these small areas like mocha stems, because I can be precise enough with these charcoal right. Make sure to use the charcoal white first, because you will not be able to use the charcoal bite over regular color pence's pencil because the regular color pencils our oil or begs based. So, um, this service will be greasy and even let be able to use charcoal worried, and you can see now I do this permanent color Pablo by Karen Dash, which I recently purchased to test it, because I saw that some of my fellow tangle er's parents praising it and I'll tell you that it's quite good. It's off and vivid. Very good for blending. The most might also go over these corners, although I might also use the white gel pen before these corners. At the very end, I've been a little so you some highlights wherever there is an overlap. So it's the opposite off what we did with the shades. The shades were used here, um, on the shape that goes under. And now we're using the highlights on these parts that are going over. So here, where we have some kind of a bridge over this bottom part is very well using the highlights . And I might maybe you some here. The other thing with his wife pencils, Is that the charcoal wide? He's much more blend herbal. Easier to blend off course. You can use the blending stump for this one, and I will use it, but it's not as easy to blend it as it's with the charcoal. Right? Maybe you can see that I'm also holding this blending stump at a very low angle. And now I have also noticed that in some places like here, this black line is really muted, and I don't like seeing it off course. There is a possibility, like here that when you want to fix something, you might even make a beer mistake if you are not precise enough with your strokes with your lines. But I will not stand or let the fear of imperfection stand between and I drawing me in my drawing process. So whatever it is, I'll just continue with the drawing. I'm using highlights again on this, um, bottom right part, but I'm rotating that side, so it's not always at the bottom, and you can see also that I'm always rotating that style so that I because I'm right handed , I'm using the's pencils to in a you know, an attempt to leave the most intensive pigments on the left side. And then, as I drag it to the right side, I'm releasing the pressure now. As I said, I will use this. Why'd pencil also to highlights of these customs on again? I'm trying to be kind of precise with it so that I don't smudge the black lines because I know that I will not be able to look at them and then I will have to fix them and it all takes time, so taking it a bit slower might take some time. But it's just a short term because in the long term you will not have to fix the black lines, so it pays off to be a big, more bit slower with it. 11. Coloring Shading Highlihgting 3: As I said, I will use White also to add some highlights here at the very edge off my paper side. And I will also use the blinding stump right now in an attempt to try to prevent smudging it when I hope they that style them. Greeks who used right people tell tissue paper to get rid of this wide powder I'm not using the is entangles charcoal Right now I'm using the cool in order harden soup. It's even more choke like so it's even choke here. I can't. It releases even more powder. Then his entangled. I'll use this kind of, uh, bit darker brownish orange for this. Well, pour the well fragments. I'm just going Teoh drew these lines on the outside part, and then I'm going to blend them. And then I might put some just a bit of white around this central circle. It might not be a conventional way too shade well, but I'm still going to do it. So I'm trying to rotate that silent much because it will not be easy for you to view the recording. So I'm going to do these left sides first and then I'm just once rotated side and and so the opposite side. And there are some colors, especially lighter colors. Um, that really recovered the blue lines with these pigments. And this is one of these. You can see how these lines are Black clients are muted under these color, and it's not something I really love. But what can you do? I will maybe, uh, youth, some gray marker to just muted a bit. And here on these, I guess it's flux. I'm just going to shade this bottom part in the very corner and then blend these shades and later I might use some white too. Highlight these round tops. So it's all about the contrast. I have these blacking surrounding the tops, the round tops of focus. So using right on these tops maybe a good solution, how just a bit more blue and I will not blend it to it. Water it just for the sake off pigments. It was when we were blending it with what they're We have also diluted, and I like how saturated these blue is before I blend it. So I'm just going to use it like this and leave it without the blending, not only here, but also on this. Don't play that part off. I'm trying to being mindful about using a bit more on the top. Barton if I'm going towards the bottom right part, I'm trying to release the pressure so that there is this transition between in the part with more pigments and the less pigmented part. Now it's so this coloring brush, Ben, it's the warm Cree. It's pretty lights and I will just go over some parts where I would like her to have a bit more contrast. And that and the first part is here. This is totally optional, but I want to show you how you use it because I believe that it can really contributes to the appearance. The difference is really subtle, but still, when you look at the whole drawing, it has a lot more that when you added and another place when I will use it and this will restore some off the Contras that I lost by using this brown orange. But I might even think about using the black lines once again over these parts because I it feels that I don't have enough contrast so you can see that there is quite a lot that you can to and add to your drawing, especially when you are coloring, shading, highlighting. It's hard to tell when it's enough, but the more time you spend when you're drawing and the more love you give to it, the nicer it will look. He's just like that, like with everything else in life. It's really rare that anything blossoms unless you dedicate some time and loving energy to it. But of course, if you are a person who is not detail oriented, then you might gain more pleasure from simple projects, then from thes demanding projects. Or you might just decide at the point that enough is enough and go to the other project, which is all fine now. I'm using this regular white pencil to enhance this highlights. So over the places where I used charcoal white and we still have to have a few highlights and shades and first here around my Zengin, I'm going to add some highlight at the top left part off the aware line, and I'm also going to ed a small shade here at the bottom right part. It might be a smooth thing to do but it still has a big contribution to the overall appearance because suddenly it looks like it's lifted. It has kind of a three d effect. 12. Coloring Shading Highlihgting 4: So now you can watch me do it again. I just It just makes makes me said to see these black lines being not black enough. And this It's certainly not something that you have to do, but maybe you can just by watching me do it, see how much different it makes. If you dedicates some attention to the details, it can make a huge difference. And also this is a part of the process, which is really is in. You don't have to think about what you have to do because you are just retracing the lines . You just have to find, let's say, some kind of a system so you don't forget it, and I'm trying to do that. They're always trying to be systematic butts. Um, I don't always succeeded it because as I go around like right now, just rotating the style and repeating the strokes, sometimes something grabs my attention and I go into the other direction. This just happens, but it's totally fine because then I return back Teoh, where I boss on finish, it's and there's maybe just one thing that I would like to do, but I will seek a big dinner pen. So this is the away just so that the line is not too thick and graphic. One is a bit thicker than this one I'm still thinking about during these small lines, but I might leave them as they are. I just use the color pencils to add some bright white to the very edge to gain some more contrast. It's and then I think that I will grab the why the gel pin and at the shiniest highlights. And, of course, as almost always only using this jelly roll 10 and thes around shapes are not so big, so I'm using just this tiny dot. But in these central Zengin, I might also use a line just because it's a bigger shape. Here it is. And as they said, I'm also going to use this white jelly roll for these corners off my central shape. And if it happens to you that you go over black line like here, you can always take the black pen again and revisited. Now we can, just as I invading for this, to try and just show you and maybe check what kind of difference it makes if I used this same warm. I agree brush pen and you can see how it gains so much contrast. And that's why I love it. Even if it looks like a very subtle effect, it's still profound. And I also had some a shade, too. The smoke overlap if I remember to do it. So you might have noticed how my process right here wasn't very structured. And when I teach, I'd try to be more structured in a way that first I use colors, then shades and highlights and the black the white jelly roll at the very end. But this is what my creative process looks like the most time. It's just, you know, um, very organic. Andi. He's just motivated by the spur of the moment. It's not so structured. So this is actually following my decision making and my thought process. - I think the whole thing has much more contrast, not right now, and it has gained this depth a ride around the locus. And I might also add some shades around Moco, where laps here. And I can tell you that I could play like this with my drawing for hours. Hey, it just depends on how much time I have. And since I'm making this video, I don't want to spend several hours these details, so I think I'm going to leave it as it is. I want to just one more thing, and it's also a challenge for me. So this is a jelly roll 80 AIDS, and then to the thing I mentioned, I just try to be precise and have this. Why climb here between the two lines and I'm at least trying not to step over. The inner black line on the outer one is picker, so even the go aids might be too wide for this task. But the old five just seems to thin, - and you might have noticed that this is and allies, not Zen tango Renaissance style. It's maybe a bit darker, and the paper has smoother surface on different structure. I like the feel off Zen tangle Renaissance styles, but it's also so difficult to shade and highlight over them because they're so delicate. And here it is another contra set it and you see biting this line. The surrounding black looks even nicer. And while I'm here with this white in white Oh, it's I'm also add some highlights to these mocha stems, but I'm sure that you have had enough off me and the details that I met ing so I might not film the whole thing. But you got the idea about what happens with my creative in my decision making and thought process. When I start drawing, it's so difficult to quit. And when I wake up tomorrow morning and see these rowing, I will certainly have new ideas about what should have been done or what can still be done to make it look nicer. But I don't think I ever learned anything else after this. So thank you. Thank you for hanging out with me and for drawing with me. And I hope that you will be inspired to use this beautiful string. This beautiful home, brah, design in your own drawings. 13. Other Examples: Thank you so much for tangling with me. I hope that you like to the lesson and feel inspired to explore this wonderful pattern and your personal touch to it. These are some of the examples I do, but I feel that there will be many more.