Tangle 3Z Ratoon Ornament with 3D Shading - Abstract Pattern Drawing Class | Zen Linea | Skillshare

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Tangle 3Z Ratoon Ornament with 3D Shading - Abstract Pattern Drawing Class

teacher avatar Zen Linea, Certified Zentangle® Teacher & Jeweler

Watch this class and thousands more

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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

8 Lessons (41m)
    • 1. Intro

    • 2. Prepare the Background

    • 3. Drawing Ratoon Tangleation

    • 4. Drawing Outer Tangles

    • 5. Shading With Watercolor Pencils

    • 6. Adding Graphite Shades

    • 7. Adding White Charcoal Highlights and Optional Shades

    • 8. Adding Shiniest White Highlights and Finishing Touches

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About This Class


Learn to draw the simple and beautiful Ratoon tangle and apply the shading technique that will give it a 3D appearance!

In this class you will learn to:

  • Prepare the watercolor background
  • Draw the attractive Ratoon-based ornament in a triangular shape (you can do it on a square-shaped tile just by adjusting the shape - instructions are included in the PDF file) 
  • 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. Everyone 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! To download the attachment and upload your drawing you have to log in from your PC and visit the Projects & Resources section.

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 zentangle.com.

Follow me on Instagram to see hundreds of drawings and process videos, visit my learning platform to see live classes, video 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. Intro: Hi everybody. Today I'll show you how to join shade this super cute R2, an ornament on a watercolor background. I loved playing with shading techniques. I drew this ornament for the first time more than a year ago. But you can see how I apply the totally different shading approach then just if you compare these two drawings, this one is quite flat, while the new one has more of a 3D appearance. There is no wrong or right way to share the drawing, but I'll show you one approach which you might want to try. So let's start. 2. Prepare the Background: I will start with the preparation of my background in a way that I will. I am using a wet brush to wet the surface. And I'm on purpose leaving this dry border on the outside part of the time. So that when I use my watercolor and liquid water color on this surface, it will not spill over to the very edges outside these with zones. Or at least I hope so. So after I'm prepared and my background is width, I'm going to just drip some color on the surface. I'm going to use one color on one side and another color the other side. And then I'll use my brush once more to try to spread it because I don't want the surface to be to wait. When I lift my paper and I have to do it really cautiously and slowly, those two will merge and mix. You have to do it really cautiously. So the tomb don't spill the color around the border. And now I'm going to help it mix by just using orbiter. Avoid them, crash. This one. Just smudge and then later, if I don't like it, I can go over it with my white gel pen to hide the stain. They're going to take my brush again and spread some more color. So there is no precise recipe for doing this. You just have to experiment and make mistakes. And let the watercolors also do their own thing because you cannot have a total control over what's going on with the watercolor pencils. Which for me is an interesting experience because. I love hanging control and I love having controls over the line work over the shading process and so on. But when you are preparing the background in this fashion, then you just have to trust the process and do the best you can do to guide the, the colors. But you have to leave it with them wanting to do their own thing. As they spread around. And just going to add some more violet in, maybe spread these nice light, dark eyes here and descend. And you can always take your very thin brush if you want to. Maybe fix some lines. Although oftentimes when you mess with it like this, you want to make it more perfect or more straight, and then you end up by not really achieving what you wanted. So a true art is knowing when to stop and when to let go of this need to make everything control, controlled and perfect. And I think I'm going to leave it, leave it like this. Maybe just try to make this corners more consistent. This one might be too pointy. But this is now where I should stop and I'm going to dry it with the blow dryer and then come back. In here it is after blow drying. Far from perfect, but it beautiful. Old saying this Mandela builder to draw the string. So in basically tracing this, extending this line and trying to connect it with this mark, which marks the half of this side of the triangle. And just to make things easier, you can rotate your tile and amigdala builder and just draw another one. I went the wrong direction here, but doesn't matter. And then one more here. So I'm trying to establish where the middle of the tile is. And there wasn't too precise about the second the second line. But I'm going to use this one. And it has true rather small circle zen gem. To start drawing the Raton tangle. 3. Drawing Ratoon Tangleation: I'm going to draw six petal shapes along these lines. They're going to be similarly sized. But I'm not striving for perfection here. Because we know we cannot achieve perfection. And I'm going to add three more rice shapes. I'm adding them in order to leave the space for the orange line. And the next thing to do, I will go around it and connect it with this seed shape. And I'm extending this. I will do the same here. So I'm adding this orange line and connecting it to this, then extending the other one and going here. So what is my outer line at the top? Because becomes my inner line at the bottom. The inner line at the top. And the outer layer becomes my outer line around the rise shape at the bottom. And of course, the next thing to do is to add the same thing here. So I am connecting it to this. And this one will become the inner line. The extension of the inner line on the outer layer becomes the outer line on the gnarly layer. So just let's repeat it. I'm going around and this is the outer part of the outer layer. And it connects to this inner line of the inner layer. So it's the opposite. And this outer line connects here to the center line. And once again, this line will connect to the inner line here. And this line will connect the outer line here. And the only thing to do is head. Or lines outside. The other three rise shapes on the shorter sides of the strings. Because we don't have enough space to draw this ethos. This is not actually a red zone, but it's a, let's say a pattern derived from tune. 4. Drawing Outer Tangles: And now I'm going to add some flux tangles and I'm adding them. Pay drawing these nice curvy lines from the slope of the pixel to the middle of this line here. So I'm trying to establish where the middle is. And just connecting this Pythagoras to that point. Here, I've got a little bit less space. But it doesn't matter. I'm just going to divide it the same way. And this is the basis for the flux tangle. I just have to round the edges. And you will see how easily we squeezed these flux tangles into these shapes. I'm feeling this bases with blogging because I always add some contrast to my time either by using black ink like here to fill these, let say small remaining spaces between the tangles. Or I use some darker shading where I do the shading with the graphite pencil or maybe watercolor pencil solitary, I use. I like adding some contrasts, so dark shades and allied highlights. Oh, I forgot about this one. I'm using some ornaments on my flux. And this is what most of us usually use, just nice line. And the adult to make this shape appear like Mies botanical, floral design. And to end this line work, I'll just add some orbs between my flux tangles. I'm trying to draw within the borders without worrying about being too precise again. And I'm going to feel this small sections with blocking. This is actually called the rounding technique by Santa angle. And by doing that, your, again increasing the contrast. But this also makes these orbs appear like they're trapped in these spaces with some kind of a thick liquid. And this is something that die like using whenever I have similar spaces between shapes. And this is actually the end of the line work. As we shade and highlight later, we might maybe go over these nice white lines on some places. And then we can always go back after the drawing, after the shading and highlighting, and revisited those lines and add some more black. 5. Shading With Watercolor Pencils: And now I'm going to use these darker shades of the same colors for the shading. And for the purpose of shading, I'm going to assume that my light source is here, just like in market and then we can delete it later. And what I'm going to do is add highlights to the top of any of these shapes and add shades to the bottom. And after I'm done with shading with these watercolors, I might also add some graphite, but we'll see how things look like when they develop. So I'm basically doing what I just told you. Adding some shades on the bottom part. And in both cases, I will use the same colour, which is here. So this is the bottom. I'm switching between the violet and blue. I'm trying to use the same as the background. And here I'm kind of going from the blue to the violet color. I don't want to forget about these petals. And I'm also going to shade the place under the central Zan Jin here as well. And the bottom part, I am trying to make sure that I don't forget any shapes. And after I'm done with this, I will concentrate on the Orbs. So also looking at the overall ropes and seeing where the shade would be in the light source is here, where the shade would fall. And I think we got all these red tune ships covered. And now I'm going to shade the Orbs. I approached the shading of the orbs by drawing the darkest section on the SOP. While I am going to use a more highlight on the bottom. And for these flux shapes, I'm going to shade him right next to the two red tones so that her tunes turns out when we add the highlights. So you see wherever we have a section without any shade by here, when we're the dark shade next to it. On the neighboring cell angle. It will actually make these four called tangles standout. And for the blending, I'm going to take my watercolor brush or a water brush, which has this tank filled with water. And this is a very thin Saqqara coin brush. It's the tennis one. Laminates going to use too much water. I don't want to use too much water. And just using as little as I can to blend those shades. And it doesn't have to be blended perfectly. Because we are also going to use charcoal pencil for the highlighting. And then we're going to first now try to blend these blue shades and then go to the violet ones. And I'm always trying to use whatever I'm using for shading and her bloating the shades at a low angle. When I'm using the water brush to blend the shades. Basically I'm activating this color pigments and trying to spread it from the place where it is most intensive to the place where we turn not shaded as much. And then using kind of circular, little circular motions to try to be as precise as possible about it. So in trying to push most of the pigment where I want to have the most intensive shades. And it's not something that's easy to describe with words. You will just have to get some practice. Don't be afraid to just it's just paper. There's not much you can mess up. So don't be afraid, just take your colors and your paper, your brush, and go for it. Because it's going to be perfect even when you are a skilled artist. So you just have to enjoy it and play with it. I'm located has some kind of a playful and joyful activity. And just relax Swan sewing it. And whenever we amides have not enough shades, we can always add them. So it's better to add little by little because you can always add some more. But you cannot actually erase if you have too much. And now this first layer is finished. And they have to wait for it to dry before adding some more. I don't want to forget about the central zone gem. And I'm also using the pigment in the top where the light sources and I'm spreading it sobered the bottom, but timelines are going to feel the bottom color. What I'm trying to achieve is a nice circular space here in the bottom. And that is going to be without TMI color. And the Tyrol field be the highlights. 6. Adding Graphite Shades: And now some of my sections are already dry. And I decided to add some more shade using my graphite pencil. So just slightly elif some graphite marks. And you can notice the way I do it is always, always at an angle, at a very low angle. So I'm not holding the pencil like this. I'm holding it at an angle. And I'm trying to control where these shades are. And then of course I haven't blend them will be the blending stump. And I'm using it with wherever I also use in my color. It's just going to add some more depth to these places. Instead of using the color, the gravid pencil, you can also use the black color pencil. Or maybe people like charcoal pencil as well. But I mostly use either black colored pencil or graphite pencil just because it's always nearby and they just naturally reach for those. I think I covered all of my spaces with graphite traces. And now I can grab the blending stump and blend it. I'm also going to have to at some here to decentralize engine. I grabbed my paper stump and I'm going to use it the same way as I use the pencil. So at a very low angle, interest smudging this and making these transitions less feasible. And what I like doing is always, always rotating the tile. So I can hold this binding stamp the same way. And just smudge these traces, graphite traces from moiety left to right because I'm right-handed. And when I smudge the shades on my Zen gems, I turn the title so that I smudge them also home, left to right, top to bottom. Because I will do it more, most evenly. You find too. In fact, that this is just my experience. It also depends if you are right-handed or left-handed. I shouldn't forget about these inner, inner parts of the petals, which I might also, I should use some shade here as well. But you can see that when I'm doing that, I'm actually also muting the black line. And I will just take my pen once again after I'm done with the shading and highlighting. And I will retrace some of those lines and it will really make a big difference. 7. Adding White Charcoal Highlights and Optional Shades: The next thing to do is adding these highlights. I'm using these general pencils, white charcoal pencil, which is my favorite medium to do that. And I'm first going to do it on retune. It's not easy to be precise with this charcoal pencil. Because even when you really sharpen it, it doesn't stay sharp for a long time. So just try to be as precise because if you go over the black lines, then what I would recommend later stage is just to go over those alarms with black pen again. And this is what we will do after everything else is finished. And I'm going to grab this blending stump. It's the one that is dedicated to Blinding white pencil. So it has the white tip. And then just smudging these traces of charcoal white to make these transitions smooth. Now I'm gonna go, go to these orbs. And I'm using highlights on the herbs on the opposite side from the light source. But since I'm right-handed, I just rotated that style so that I'm into it like this, starting from the left and then smudging gate towards the right. So please do try to experiment with how you position the paper in order to make this drawing process as comfortable for you as possible. Because if you like drawing, drawing and if you draw for a long time, then it really makes a difference. When you pay attention to rotated style all the time and keep your hand in the same position so it remains rested. And I might add some more white traces to these outer part of flux. And sometimes I don't even smudge it. If I don't see that it needs to be blended. But then of course, you have to be careful with how you move your hand over because if there is a layer of white, it is not thin. You more it just smudge it across the paper. Cross the drawing. So you see now these dots are muted. My pen and retracing them again. I turn that style right direction so the light sources up to see what else should be added here. But I actually can't see any bigger problems. I'm just going to retrace some lines that are muted. And due to the use of my charcoal pencil and color pencils. And I won't certain parts really to be black because of this shading effect. And after I'm done with that, I'm going to show you what else I really like using for shading is a light gray brush pen. Then using this coil coloring brush pen. And then we just edit uncertain parts where I put my to achieve deepest shades. But you have to do it carefully because it's water-based, so it's going to smudge the color. If you go over it. Bike with a water brush and it's a light grey colors. So I just want to use it like this. It will have a subtle effect. But still you are going to be able to, maybe you wouldn't even be able to tell what was used. But you can see this, these deep, deep shades just on some parts. And I am going to use some more black ink here. And also here because it seems to me that it's two gray instead of black. And also here, so it's always under the shape where I would put the shades. I think I might, maybe touch up on this central Zan gem. And you have to be careful with using the charcoal pencil on Zen dangled tiles because those are really delicate. 8. Adding Shiniest White Highlights and Finishing Touches: And the last thing I want to use is the Jelly Roll. So it's a white gel pen to add the final highlights. And I'm just going to use them. Use it very carefully. So I am using it to edit these lightest highlights on some of my shapes where I imaging the light reflection will be most intensive. You just have to lightly touch the paper surface and this wide ink will flow. You don't have to go over it multiple times. You can use may be some other script paper just to make sure that it flows before you go with it over your artwork. Just a light touch. You're almost touching you too though. And you can use it in dotted fashion. And the other thing you can use before it's dry, you can easily smudge it with the water pressure because this is also water based ink. So before it's dry, you can easily blend it with your brush. And I think I might actually be finished with it. So you can really see now this glow that this drawing has after the shading is done. I remember how it turned out. And I'm also going to erase this mark of the light source. And the other thing I'll do is I'll go over this smudged part with some white ink. And hopefully when it's dry it will disappear. You can use your white gel pen to maybe touch upon a few spaces. And the more you tangle and the more you use your colors and highlights, you will be better able to see what has to be done. So observe the drawings that you like to see how the shades and highlights where used and then practice because there is no other way to learn it. Just practice and enjoy this process. Can be patient. Don't judge yourself. And with time, you will be more than satisfied with your skills.