Stained Glass Effect Tangling - Mindful Mandala Drawing Class | Zen Linea | Skillshare

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Stained Glass Effect Tangling - Mindful Mandala Drawing Class

teacher avatar Zen Linea, Certified Zentangle¬ģ Teacher & Jeweler

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 38m)
    • 1. Intro

    • 2. Preparing Background

    • 3. Linework

    • 4. Linework - Part 2

    • 5. Rounding - Part 1

    • 6. Rounding - Part 2

    • 7. Coloring - Part 1

    • 8. Coloring - Part 2

    • 9. Coloring - Part 3

    • 10. Adding Final Details

    • 11. Other Examples

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About This Class


Tangle a mandala and use special techniques of drawing and coloring to achieve the stained glass effect.

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.

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).

These drawings were inspired by the¬†Zentangle¬ģ 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, video classes and eBooks. You can also visit my All Things Zentangle Blog to read about the supplies, techniques, tips etc. On my social media you will also see other drawings I did using this technique so you can pick up some new ideas.

Meet Your Teacher

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Zen Linea

Certified Zentangle¬ģ 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. Intro: Hello everybody. I'm Melissa gabbro. It's a certified Zen tangled teacher from Croatia. In this class I'll show you how to create the stained glass effect inspired by the Zantac or method. We will use different supplies, including two-coloring media to achieve bright and vibrant results. This license is the best fit for intermediate and advanced artists. But beginners can join to and follow the video instructions as well as those in the PDF document. Let's go together. 2. Preparing Background: I'm going to start the class with Zen tangles, square tile. And they would really recommend you to use the white paper because it's the best for this coloring that we will observe later. And I have here the Mandela builder, which you can find in the PDF documents and use, but of course you don't have to use it. I will show you what we will do. It's quite simple. So first I'm going to draw one line that will divide the space into two sections. And then I will just rotate this and I have these being clients. And by connecting these pink lines, I will establish where the middle of my time is off my paper is. And also by rotating this and once again connecting these two pink lines, I will divide the space of my paper at sign into six sections. So we will deal with the Mandela that will have, let's say six points. And if you don't want to print down the Mandela builder, you can maybe use the tip of your pencil to mark these two small marks here at the side of the tile. And I can also give you the measurement because I have a ruler here, although it's not really important to be precise. So this is 18 millimeters millimeters, and I will also show the measurement in inches in the text on the screen. So just made these to make these four marks and then connect the marks to get this shape. And now another thing that we don't use, enzymes angle is the compass. But in these internal inspired projects, I give my self permission to use it when I feel that it can benefits. And the drawing. And I'm going to extend the compass so that I draw a line which is a bit further away from the edges of the tile. And you can see that my center is not perfectly positioned because I have a bit more space on this side and on this side, but is it doesn't really matter. I'm not going to worry about it. And I'll also draw another or align quite near this first one. This is maybe two to three millimeters. It doesn't really matter, it's not important to be precise. So you can. I do it just eyeball, I bolded distance. Don't worry about being precise. And we just made this one, the outer line a bit bolder so you can see it. And then I will just add one more mark around the middle. Maybe we will meet the foreign nation. I'm not wonder a 100% sure about the shapes that we are going to use. I really like to just react as I go and then decide exactly what to do. So now we have the string that consists of those three lines and then three lines made with a compass. It's quite easy. And the thing that I'm going to do now is I will take my black pen. I'm using the Pigma pen O5. You can use either this ban or maybe Micron PN or micron 05. I would really recommend you to use a boulder pen or append the true produces bolder lines because for this technique, I don't think that an O1 is the best choice, but of course it's your choice so you can use anything you like. And the one I really like using also is this uni-ball eye size micro with metal nib and liquid ink. And it's also a water resistant, which is also important today. So whatever you use, we're just going to start adding the shapes and I will do it free hand. But if you feel better by using your pencil first, it's again, not something that we do in Zen tangled, but it's better to do it like that than to give up. So I will start in the middle and I will extend this curvy line along this line, and then It's going to end right next to the aura. I'm going to try to repeat this. Now you can use this, these shapes. You can see what's left here. You can use it just to eyeball and X2 the same again and again or try to do similar, similar shape. Tried to draw a similar shape again and again. Rotate your style each time. It's the easiest because you are repeating the same stroke. And maybe not, maybe, but surely your lines will not look exactly the same as mine. We are all unique and our drawings will be unique. Secure time to finish it. I might be a bit quicker than you or maybe slower than you do if you need more time, just Give yourself that time and finish at your own pace. And now that this, these first lines are here, and this is very similar to how we would show the single fangled by xanthan angle exactly single fangled valence angle. I will add a line to close this shape. And you can see that the line glands right close to this line that I marked. So it's sometimes nice to have these lines just for orientation, even if those are the lines that you will use to retrace them, it's nice to have them here so you can maybe have a better sense of perspective. And now you can see that where these lines meet is right where the circle is. I will continue drawing this kind of a metal shape by establishing kind of where the mid part of this line is and then drawing reverse V. And you can see that I went all the way up to the circle, which is closest to the edge of the tile, which you can do too. But it's shed. Those are just details. Even if you started from the oral line inside, it doesn't matter. There are no mistakes just to port seems right, given the situation on your on your paper, It's only paper. There isn't much that can go wrong. So be brave about it. There's certainly no need to mark this place each time I'm just doing it. To show you easier maybe what exactly? I'm doing. A nanowire will retrace these lines. Both of them. So the outside line and the orange line. And they will rotate my time and keep my hand all the time in the same position. Sometimes it's not easy to draw these long lines, but please keep in mind to not hold your breath. Just read normally. And also don't hurry with drawing the line. When I was a beginner, I used to hold my breath. And I used to also try to draw the line quicker so it seemed to me that it would be easier about, no, you really have to focus on each of these lines. So give it full attention without thinking about the next one. Especially now, you already have this string and you are just retracing the lines. Just focus on those lines and T the time to breathe and draw those lines and enjoy the moment. And now we have this metal pattern that we are going to fill with other shapes. I'm going to start by drawing an aura inside these, let's call them petals of this flower and like sheep. But I'm going to skip the next one and then go to the other one. So I will leave three of them without a center or skipping the one next one again. And then heading a NOR. So I did the same for three of these. And I still have three other left. 3. Linework: And I'm going to continue working on these three and draw a line that kind of goes through the middle of this shape. And repeat it once more. So I'm dividing the space into two sections. They are not completely the same. This is an irregular shapes, so don't worry about doing it perfectly. And now I'm going to draw what looks like Zen tangles, single finery. So with this kind of elongated S shapes, I'm connecting the outer part with the inner. So it's kind of a take-off and landing technique by exams angle. And now it might seem tricky to do it in these where the curve is, but just do what you can. And then we're going to do it again in each of these. And then I'm trying to start from the same place along the middle. And the last one for me. For you, it doesn't have to be the last one. Take your time and finish it at your own pace. As we are going to add the surroundings later to all of these shapes. You really don't have to worry about the precision because the bolder lines will hide. Any, oops is so this is one of them and all three of them. And the other three, I will start by doing something different. I'm drawing these orange lines and I'm keeping more or less the same distance between them. But again, I'm not worried about precision. No need to worry about precision. And just repeated in each of these petals or leaves. I'm not sure how to call them. And we have the central part filled already. And now we have these kind of rectangular spaces here. And I'm going to draw Zen tangles, tangle again. And to do that first, I'll just divide each of them into two parts. And I'm dividing them in half. Not minding if this to meet with the line or not. Just divide a more or less into halves. And then I'm going to draw the tangled paradox. And I guess it's, you know, co-authored the paradox looks like I will start drawing it from the bottom. And then I will just connect it with this line to form a triangle. Then I'm doing the same and the same pen the same. And I'm going to draw a mirror image of that. More or less. You will be able to find the step outs to the tangles that I used in the PDF file. These are all Zen tangles, tangles and they hope that most of you are familiar with those. So I'm repeating it in all of these triangular sections. And they look, well, not the same, all the same but similar to each other, which was my intention. Even though these shapes are not exactly the same, some are slightly bigger or slightly smaller. Just work with whatever you have on your Canvas. And here it is. I'm already Zan with my Paradox. And they have these small sections between the border and the mid focal part. And first I'm going to draw one more line inside and trying to be consistent with the placing. But you can see that the lines sometimes really just decides to take a different route. And what can you do? Just go with a toe, roll with it. Then I'm just going to divide these triangular spaces that are left over after doing all of these into with vertical lines into similar width strips. And this line work is quite easy, let's say. And it doesn't take too long. But the next step is grounding. And this rounding will say to longer, maybe half an hour or so. And it is really my recommendation for you to do it. And just to persuade you to do it. I'm going to politer show you the difference between the drawing with surroundings or before surroundings and after surroundings. But before we start the rounding, There is one more thing I would like to do, or one more space that I would like to break into sections. And this is this outer aura. And for this outer or I'm drawing these lines and I'm leading the shapes. All having different size on purpose. So It's, this is the stained glass technique, but it also reminds of mosaics. So if you would make a mosaic, he would fuse together different kinds of particles of glass or whatever you would sake. So some of these are bigger, some of these are smaller. And now the majority of this line work is finished. I hope that you are finished to, but if you need more time to finish your line work and to seek whatever time you need to give yourself time to finish it. And I will see you in the next session. 4. Linework - Part 2: Well, I decided to add something to these outer parts to, so I'm just drawing an oral line outside of this central circle. And then placing the aura around. Well the same size, same length from the core, same width from the central circle. And then I'm going to draw a triangle at each side of the circle. And then I don't, I don't have to maybe mention again, but I will just in case you forgot, they are not going to be perfect and they're not going to all of the same these triangles that you drew. But that's just fine. It's what gives the charm to the work that you did with your own hands. And now we have these kind of smallish windows on the sides. And in these, let's call them windows. I will nest in the tangle by Zen tangled Tripoli. So just connect the corners with these three curvy lines or the shapes or whatever you would like to call them. And you will still have this space in the middle. And we are going to just throw an orb in each of those. So these are my four triples. And now to draw an orb, you can either really draw a whole orb, like I did just here. And I will this small spaces here a really, really small, so I'm just going to fill them with blanking black ink or you can maybe just intro these curvy lines to connect the sides. And you will see an orb. Maybe some parts of the org, if you draw it in this way, will be hidden behind the sides of the triangle, but it doesn't really matter. So everything is done. Regarding the line work. And make sure that your ink is Dr. Who are using the microns. It's really, it's really dries quickly. And if you have any of these pencil lines, I would normally draw a lighter lines, but so that you can see them. I have I used a bit more pressure so I can see the lines now and I'm just going to delete any of the lines that they see because if we use a really light color like a light yellow, they might be visible. And I don't want them to be visible. So I will use the eraser, which also normally use entangle we wouldn't use. And now we have this lovely drawing from Anzaldua. And I will show you because I have these magical video editing skills, what it looks like before and after the rounding. So my recommendation is to really take your time and dedicated, dedicated to the rounding because it's exactly the rounding and the contrast between the black and the colors that make this look like. It's made of stained glass. 5. Rounding - Part 1: And now it's time to start with the rounding. For those of you who are familiar with xanthan gum, you probably know about rounding. It's one of Zen tangles. Tangle enhancement techniques. Basically what you do is just around all of these sharp Noakes and edges. And you can see what I'm doing now. There's, that's one way to approach it. But you could also just go head and to what you would do in floors tangle, just retrace the whole shape. And you would basically get the same effect. So whatever feels easier or better for you. And I told you that this does require some time. But they see this as this typical example of mindful Zen tangles process where there's not much to think about. So you can really just focus on breathing and filling these spaces with black ink and revisiting all the sections of your drawing. So for me, it's really something I enjoy doing. And they hope that you will enjoy it too. So most of the time I will just be silent family to enjoy this soft music and enjoy your strokes. And I will just tuning from time to time if they feel that they need to explain something or just to show you that I'm still alive. So please just write. Hi. All right. I'm finished with this border. And I'm going to now around these triangular shapes of Tripoli where they need to be rounded. Maybe just to give you an idea, how did I end up doing this? So I have been using the rounding technique in my Zen tangle inspired art or Zantac angle drawings for a long time. And as the time goes by doing more and more. And then at 1, I really had this epiphany. And so it as a perfect foundation for doing this kind of stained glass technique. Because if you observe stained glasses, I'm going just to tell you that I will move to this aura inside the border, I'm also going to add rounding. So if you, when you think about the stained glass, you probably think about the church, the windows of the churches, or about the stained glass lamps, like Tiffany lamps. And if you observe them, you will see how. What makes them so interesting is the contrast between the bright colors when the light shines through the glass and the black. Frames. And those black frames are made of strips of lead. And it's really solid black. So the solid black lines and the surroundings really contributes to this effect. And they create this illusion and contrast between the black and the color. So we are going to use bright colors. And by doing that, this will really look or appear as though the light is shining or coming from behind. Now I'm moving towards the inner part and I will just show you what I will do in these three petals that are just divided with, with these oral lines into sections. I will also break down these long strips into sections by using the surroundings. Of course, you can first Zhou the line just as we did with the or, or the border. Just do it like this. So whatever you prefer. And they're not going to be all equally size. So don't worry about size. Some differences inside sizing, we'll make it more interesting. So maybe the easier way to do this is to just drew this kind of oval shapes and then fill in any of these crevices between them with black ink. Okay. Hi. I have finished one of these. So now just to make things a little bit more interesting, I'm never going to skip to the next one, but I'm going to now add surroundings to this one that has the finery inside. And I'm going to head around things to all of these places with sharp endings. And also inside of these sections have the finery. It happens that some lines go outside the section you can test. Maybe made them a bit bolder and cover whatever. The OOP Sibos. Okay, One is finished. And you can see now the difference between the two of these and to these without any rounding, it's really, you can't even compare it, so it makes me happy and I'm just going to continue doing the same. And I'm halfway concerned with this midsection. 6. Rounding - Part 2: Hi. Okay. Okay. All right. And I'm done with the center. And it already looks gorgeous. There's not much to x2. Only. Add the surroundings to the paradox pan and then to the section next to paradox. And I'm going to do this now. It's interesting how paradoxes transformed. Can we throw rounding sometimes you can't even recognize it. So one paradoxes finished and diamond now also finished the section right next to it. And then moving to the next section. When we won. One line at a time, one stroke at a time, one grounding. And that sign. Normally, if I create a project like this, I would listen to some kind of a podcast or some music or maybe an audiobook. It's really like the perfect relaxation time. Hi. Hello. Hi. Okay. All right. Hi. And I have one more section to go before being finished with their surroundings. And maybe I can just give a few tips or recommendations. So when you draw patterns, you can transform almost any pattern into something that can resemble or fit into this stained-glass style. Just by breaking down the sections into smaller ones and using bolder lines and rounding. And if you're not certain about us section or its angle, if you are not sure if you have broken down a shape into enough small components, you can always, you can always just stop at 1. And then after you edit the colors, you can go back. When you are, let's say, finished with the drawing, you can observe it and see if maybe some shapes are too big. If some shapes can benefit from getting smaller, being broken down into smaller sections. And you can always do that because it's blocking. You will be able to write above the coloring layer and do it also after you're finished, I will show you at the end of this class one such example where I wasn't happy with the result. And then I just added some more surroundings and broken down some of the triangles into smaller sections and how it made a difference. So I'm done with their surroundings and I'm ready to start coloring. If you still have to finish yours, just take your time and finish it. The alternative is also to finish the rounding after the coloring is then. 7. Coloring - Part 1: And now the coloring, my approach for the coloring is always start with the lightest colors. So I have here for light colors. One light yellow, light green, light blue, and one, it's a cobalt blue, a bit, bit darker. But basically I will concentrate on three colors. And if you don't have a large set and to seek the three colors, three light colors. And then later you can use the Prismacolor pencils or the white pencil to add some variety. And we are going to use the PRISMA colors too. So I'm first going to start with this yellow. It's a lemony yellow color and I will put an exact list of supplies in the PDF documents. And they will just go ahead and color over this petal right here. So I'm going in with the first layer first. There was already mentioning how the key to this method, he is the contrast between the black and the white or bright colors. And this is when the watercolor based horror water-based markers like these that I'm using in these are could attack zig. Clean color wheel brush markers really worked perfectly because you can layer them on top of each other. And you can really use them in different ways to blend them, to layer them. And I really like using them. They think they're perfect for this. The colors are so vibrant that I haven't used them almost at all in my usual Zen tengo art or xanthan gum inspired art because they are so bright that they're overpowering. But in this technique, when you pair them with these bold black lines that make them kind of looks more subtle. They really, really lovely. And now I think I will just go ahead and use the same green color as you see. I'm not doing it with definite plan that I made before about how the design will look like or what the design will look like, or which colors I will use. Because I like to keep this experience, creative experience in a way that it brings some surprise and that there is some degree of creativity and Instinct, let's say instinct in the creative process. Now, I will use these two colors. I have them here still to just add some color to some of these jellybeans. Let's call them jelly beans in the border. And I'm not following any plan. So I just, I'm just picking random places where I will put these colors. And the later, even if I'm not happy with some of them, I can still use some colors on top to make some changes. Also, if I'm not certain about some of these sections, I can always flip them white and then later decide what to do with them. I'm going to use this same yellow to color these orbs inside the tree pollen. And next, I will use a light green color, which is a bit darker than the one that I have already used. So node note that this not the fluorescent one. I don't want to use the fluorescent one, but this one is a light green. And I will just use it like this on the hedges Inside in finery. And then after I am done with doing with using it, I will take my light green. So the one that I used first again and just fell kind of blended smudge it. So and I don't want to have necessarily or that not only necessarily, but I don't know, want to have an even coating of the same color. This is about the stained glass effect. And just as the name says it, this is made of glass that doesn't have consistent color and opacity. Some particles or some parts of these glass are more translucent or less translucent or they had shades and stains. So we want to tried to emulate the same in our drawing. And now I will say make a darker yellow pea. It's actually the name is yellow and just the yellow. And I will just use it on some parts and you can use it the same way or you can take a totally different approach. Really, it's up to you. Whatever fields the right thing to do, you should do it. And then if you want to blend it, you can do it. The thing to maybe worry about. If there's anything to worry about, It's the pen you are using your hand. It seems to me that these Pigma 05 is not as water resistant as some other black pens by Zen tangle. I will not say make this darker green again and just add this darker green color to some of the jellybeans. And I'm trying to find a place for them that's not next to the other green color, just to make it more colorful. But even if I zoom, place it like that, it's not a problem. And I will do the same with this. Darker yellow. Just a few of them. And they will also use the bluer as well. So there will be still some jelly beans to fill with colors. 8. Coloring - Part 2: And now I will take this light blue and I will use it on to color this paradox. And first I'm going with the light shade, coloring all of these sections with the light on. And then I'm probably going to go in with a darker one and just add another shade of blue. One other supply that you could use here are the colored pencils. So if you have colored pencils or watercolor pencils, it would work beautiful with this. So I'm using the blue now. You might hear my dog barking in the background and well, she she's really small, but Mary allow the dog. I have my windows closed but I can still hear her. I am using the blue to color these Tripoli shapes around the central circle. I'm going to use yellow again to feel these. And then I probably go over some of those with another color. Maybe it would be better to use. I didn't know green and gluing some of those so that there's some contrast between these and the neighboring shapes. And I will use the green again, and I will just add some green right next to the yellow shape. So now you can see why these markers are so great. So just take the bright yellow and smudge it. I haven't ever used different brands of watercolor markers than they score at soccer. I know from other people that the ones by Sakura markers and also the ones by Tombow are very good too. So I'm adding some brighter orange to this other section where I haven't added green. And I will just kind of blend it. And now after I'm done with that, I'm going to go back and revisit these blue sections. And I'm going to add some cobalt blue to some of these. So I can't really escape thinking about some of these colors as in terms of shading. So you can see how I'm using this blue, the way that I would shade this tangle. Although for this method, it's not about the shading. It's still my head. I love shading. So I am adding some shades. And later I will probably also add some graphite sheets to maybe, maybe I will to some of these sections in some of these drawings, I did that and I'm going to show you that. And also you can go and look into the PDF materials to, or a PDF document to see my other examples of drawings with the same technique. And then we'll also had some comments regarding the supplies or techniques or whatever I have used. I will also add the darker blue to the corners of Tripoli. So this is really a very nice and vivid cobalt blue color. It will bring some life into this drawing. And then we do the lighter blue. I'm going to kind of blended. But as I said, I'm not worried about have, having a perfect blend. The stains are very welcome here in this technique. And I'm going to use this cobalt blue to color some jelly beans. They're not mine. Many of them lived. Soon. Fields, some of them may be police. There are two that I haven't filled because they're near the ones that I already filled with blue. So I'm just going to go with my yellow inside. And the only thing left is this, are these elongated shapes. And for those, I'm still thinking about what to use. For those. Maybe I can use the cobalt blue. So for me, you know that I use quite a lot of color. Still. Color combinations and color placements. That's something I'd X2 really intuitively. And it's sometimes difficult to pinpoint to any methodology or reasons for making a certain choice. But if you do want to maybe occur more scientific approach to the coloring theory, you should definitely use the color wheel, which I do sometimes. And I will just go ahead and add some stains or some color into some of these yellow sections. 9. Coloring - Part 3: You can see that I have some prisma colors here. And those are basically the colors that I have already used. Just different shades of those colors. Oops, I forgot the blue one. And I'm going to use them just to maybe add some more brightness and interests to certain sections. So I'm just using it to randomly add some color. And I'm using the same color. So blue over what's already blue. And it's something that has to be done. But I find that it does contributes to this stained effect. And maybe if you have the problem of having darker colors, too dark colors, then the thing you would want to do is instead of going in with the darker shade, say call lighter shade, or maybe even sake. The white Prismacolor, like I have here and maybe introduce some light instead of stains, dark stains or lighter stains. So you see how I'm kind of adding light and dark stains to these sections. But with the Homeric colors, all with any colors. Try not to mute the black lines. If you zoom you them, you can always take your black pen again and just retrace whatever needs to be. Retrace. I'm going to take this lighter green and you can use it not only to stains, you can also use it to add some saturation or a vibrant color to some spaces. Here, I'm using now yellow to introduce some brightness into some of these green sections. And I really want to encourage you to let go of any fear that you might have regarding using these colors. Really just be playful about using gauged. Don't, don't feel afraid. Of your supplies. As I said, nothing can go wrong. It's only a piece of paper. And even if you use some color in the wrong spot or end up with something that you don't lie, there's a good chance that you can do something nice of it. I'm looking if there's some spaces where I could maybe go in with a bit of white just to get some illusion of light going through. And now I would like to head some sections. And as I said, it's never too late to add sections to these auras around finery. And they're not going to be small. But still, if you think about stained-glass, you would probably not see this kind of shape without being fused with some black frame or lead. I'm also going to add some color to them. I even grabbed my, well, it's something between yellow and orange. And just to add some interests into these frames Around finery. And I can use some inside these greens as well. And then I will take this really light cream because it's quite vibrant. It's like lime green or something like that. Can maybe even some darker green to some sections to add contrast. So you can see how you can play with it. And there is no particular point at which you have to stop and say, okay, now it's finished. You can really take time to observe the drawing and had as many details as you think it's needed. And maybe just one more thing that it's not necessarily needed in this project, but I'll show you anyway. 10. Adding Final Details: So I want to show you how to introduce some more contrast by adding some shades. But try to. If you decide to try it, you can certainly just wait and see what it will look like when I'm done with it. And then decide if you like it or not. And then if you like it, you can add shades to your drawing. And when you do it, shades just take it one step at a time and do it lightly first. And then if you, if you feel that you need some darker shades or more contrast, you can add some more. So I don't want to smudge graphite all over these sections. I just want to add some right next to the lines and it will not so much shade. Well, my intention is not so much to shade these sections. It's more to make this sections that are right next to the shades stand out even more. And as I said, maybe it's not so needed in this design, but I will show you the examples of my other designs. And then unless you know where the shading was used and why civil, maybe if you decide to explore this technique bone more, you can do it too. So bye. Using these shades. Actually these sections right next to the shaded part will stand out more. And here it is, some shading. I think you can really notice it. It's not too overpowering, but still it's visible. I might also add some inside. Finally, I will first edit to one side and then decide if I needed from the other side as well. And I'm using this tortilla or blending stump to smudge the shapes. I might add some on the other side too. And that's too much. Just some of it. So you can even transform. The way this looks by adding some shade. And by doing that you will add more contrast. And the one thing I would like to do is also some stains to these yellow orbs. And I think I'm done with the coloring. And the only thing I didn't do is I haven't added any stains to these jelly beans around. So of course, you can go and add some, at least to some of them will do it now. And finally, I'm done with coloring and shading. And I want to show you what, in my opinion, really transforms the look of this drawing. Right now. It looks nice with this white background. But I want to introduce even more contrast. And for that I will use the black alcohol marker, but you can use any kind of brush pen. I also have these Karnataka brush pen black, but it seems to me that I will do it quicker with the black alcohol marker. And first I will start with this. Like thinner tape, which is still quite bold. Bold. It's thinner than the other, the one on the other side. And I will just outline all of these shapes. I put a white paper underneath so that I don't color the background. And of course I will use it also around Tripoli. And right here will cover the space between AAA and the circle. And only by adding this bold line. The drawing already looks much more vibrant. If you ask me. And I got some questions when I published the photos of my stained-glass drawings about the background, color of the tile, whether it's white or black. Well, I think with the black paper, you wouldn't be able to achieve these bright colors. So I work on white paper, but it's only by adding these really dark black frames that the meat part really shines. And now I will use this. She's old, is It's chiseled. I think it is tape to color the remaining part and first-hand going around the edges and adding black ink. And it might seem silly, but if you ask me it's necessary because especially when it's saved photos of the drawing, you can see if they're white and they're white edges of the paper and style. But when you color the edges like this, it really looks as though you were drawing, starting with a blank tile. Just going to go around and try to be precise so I don't go over any of the shapes. I don't think it will be a problems. And a little bit more to go. If you feel that your black is not black enough, then just go over the whole area once more. And especially with these alcohol markers, markers as they evaporate and as they get Troy, they look a bit more or less, more or less vibrant. Pale. Maybe they look pale. I also tried this technique with alcohol markers, and it works. You can also do it with alcohol markers. No need to buy new supplies used the ones that you already have. But if I really find that these water-based or watercolor markers are much more vibrant and they're translucent or transparent so that you really get the effect flight coming out from the back. At least I think so. I love this one. I'm not sure about you, but I really love this one. 11. Other Examples: Before I thank you and say goodbye, how we like to show you some other examples of my work using the same techniques. So these two are kind of similar. This is Zen tangled says in dollar sign. And it's a pretty strong one which is perfect for this method. So you can see what this looked like before adding any shapes and colors. And you can see that I have actually retained this or regional string. Let me see. Maybe I can make it like this. Now you can see the lines and you can see that this is the exact shape. So if you have prince priests rungs in the US like these, there are different strings and each of them can be used either to really stick to the shape like I did here, or maybe just use the string as a starting point and then add new shapes and tangles inside. I think they're perfect fit for this method. And I would like to show you my intention was to basically prove that any kind of triangle can be used with these techniques. So I did some floral tangles, and this was the first one. All of these are made on tiles, paper tiles made of Fabriano Tiepolo paper, which is the same paper that's used for Zen sandals styles. So this is the file format. This one is a little bit, bit, bit smaller. Sometimes when I cut my own paper, I have these smaller leftovers that I don't want to throw away. But you can see that this works very well with the florals. This one is actually from the class, from the other video class. And then another one that I drew to try that singles that remind me of Seaside. So you can see these and the background is filled with smaller brick like structure. And you can see the shades here not only to differing, differentiate between the background and the top tangles, but also within the triangles. There are some, some shades her like this verb or this tangle by xanthan all I can't remember the name now. But anyway, I'd sit, use some shades also here in the background. You can see in both of these for the background. So you can see also that in some of these shapes, I have broken down the tangles into sections like this one, this is 3D curl. But in others like verb here I haven't used Section approach, but that's something I can add even now. So you can leave it and then decide later. And they played with these Xin Dao shapes. This one is done. And this is the one that I actually wanted to show you because I started off by having some bigger shapes and they didn't like what it looked like. It didn't remind me as much of stained glass. So I I have broken down some sections into smaller sections after the drawings was colored and finished. So you can see now what it looked like before and after this was an, and there are two more masala type drawings or designs that I did. Very similar. And in these two, I use alcohol markers. So maybe you can notice how these two are maybe not as vibrant as the other ones that I did with watercolor markers. But there's still really, really nice. And by using the colored pencils, you can add some shades and also some more vibrant colors on top of the alcohol markers. Another thing that's good about the alcohol markers, you can use the color colorless blender to take some color saturation of to get these stains in your colored area. So there's many of these now and there will be many of these as time goes by. I'm sure because I love this technique, I really hope that you have enjoyed this lesson. I really enjoyed teaching it. And I can only hope that I have inspired you to try some more drawings and consult the PDF document that you can find attached to this class and maybe get some new ideas. And if you draw some new designs, if you use this technique, I would be really, really happy if you would share it with me. Please use the hashtag Zen linear class so I can find your drawings. I would be really grateful for you if you could share them with me. Thank you once again for drawing with me and enjoy your creative time. Thank you.