10 Days of Drawing Square Tiles: Another Geometric Tessellation Sketchbook

1. Introduction: Squares are one of the most common shapes in everyday life. They are used in design, construction, art, and technology. Due to their right angles, equal sides and symmetries, they can fit together perfectly and underpin tiling surfaces, mac grids, and digital displays. Hi, I'm Diana, mathematics teacher and a geometric carts. In my seventh class in geometric drawing and pattern design, I invite you to create with me another tessellation sketchbook with ten new square tiles. This is a follow up to my 14 hexagon tile course. I will teach you how to construct a simple square grid using a compass and how to split it in a variety of shapes. Then you will learn how to transfer and replicate each tile with tracing paper. Each day, we will tessellate a new pattern with different symmetries and layouts. Then I'll demonstrate various decorating techniques and effects for you to join alone. This class is suitable for any artistic level, and the visual instructions can help you create more of your own future designs. This project will add new pattern ideas for everyone to create another geometric sketchbook, which can also be applied to any other art and craft. 2. Project & Materials: The past project for this course is to create ten different square tessellations by making a single tile and replicating, making it all from the same one grid, but creating all these different designs. If you have already done my sketchbook on 14 hexagon tiles, it will be the same setup. We're going to construct a simple square grid. We're going to trace selected line segments on tracing paper. Transfer those into our sketchbook. Decide on a different outline, decorate them in different fun ways, and then add a few finishing touches for any effects, depth, and to correct some inaccuracies. Complete the project, you will need some good quality watercolor or multimedia coloring paper. You're going to need a plain piece of paper on which we're going to construct the initial grid, and then everything else is just for decorating. We need a ruler, a compass with a pen attachment ideally. If not, you'll have to just outline on top with f hand, pencil, eraser, and then a variety of pens. I always recommend a waterproof fine liner, any metallic markers or pens, and any other paint or alcoholic in markers or coloring pencils, and I love using water color as well. We're also going to need tracing paper and some masking tape. Let's get started. 3. The Underlying Grid : Before we start on our construction, we need to consider the sizing and the size of the paper we're going to use. I'm going to use a square sketch book which is 20 centimeters by 20 centimeters. Ideally, I'd like to be able to repeat three tiles across and up, which means that I need to be able to fit three diameters or six radii in the page. The shapes that we're going to be tying in the squares are quite big, so we don't need a big construction. So for my size, I'm going to go with a two centimeter radius. That's quite small and it's going to get tricky to get right, but we only have to construct it once and then repeat from that. If I use a diameter of 4 centimeters, then the width of my biggest design will be 12 centimeters and it leaves a bit of a gap a bit of a white frame around. I'm happy with that. As I said before, The accuracy won't be very easy to get right. I have a method that is going to help us get this a little bit easier. Before we commit to our small radius, we should find the perpendicular line first, so we have both our axis in place before we have to start adding the smaller details and that will help. With any radius, as long as it fits on your page, quite big like this. Mark two small arcs that intersect the horizontal line that we're starting with. From those marks, make the radius even larger because we need to ensure that the radius will go at least half way more than half way here so that the lines can actually cross. Now with that radius, again, make sure that it fits within your paper, make a mark above and below the center and repeat from the other end without changing the radius here. Below and above. Now this is going to show us where our vertical line is going to go through. On a larger scale, this is actually easier to get right. Because working with a two centimeter radius is quite small. We have our two axis now, we can start constructing the actual square tile with a radius of 2 centimeters or whichever radius you have decided to go with. This is considerably smaller. I don't need to go any bigger than that size. Now, starting from the center that we've already used, we can draw our first circle. From the four surrounding intersections, we're going to draw four more circle with the same radius. The reason why we need these four circles is to see where the corners of our square are going to be. I'm just going around the circle because the axis were already there, that's really helpful. Three, and one more at the top. Four. Now the overlaps between those four exterior circles, they've made those mandas or from Italian almond shapes, and at the corners of those four is where the corners of the square is. First, let's outline that square. Nice and careful here because we are only doing this once and we'd like to be able to use it reliably. Then I'll overtate and repeat the other two lines. This is the overall size and the overall outline of the repeating tile we're going to be using. All that's going to be different is the way we split that square in order to create different patterns each day. We're not finished, we've just managed to construct the outside of the tile. Now we need to add a few extra lines to actually separate this into more shapes in order to be able to pick them out each day. The first thing I want to do now is draw the two diagonals from each corner. To the opposite, going through the center, splitting those mandols in half. Again, it's not going to be perfect in terms of accuracy, but it's going to make perfect. Next, I'd like to draw another square inside that actually goes this way, pointing downwards, so it's a dynamic square. Basically going from each of those centers of circles that we draw around the middle. On here and here, and the two other Okay. So far so good. Next, we're going to go with the diagonals. Now there's a few different options which diagonals to use. The ones I want to go with are the ones that cut through the intersections between each Mandla and the sides of that square. Two here. Two here, two here, and two there. The moment we've split the square in four, and each of these four now gets split into three, so now we'll have 12 overall. If we take this point, which is an intersection between that arc and that line, and then go through the center and then through the opposite intersection of the opposite and parallel line of that square. That cuts another arc. The fact that it goes through the middle should help you figure out where to go from here, through the middle and through here. I'm not going to go outside of the tile. There's no need. Similarly, the next one there starting there, and then through the middle and through the opposite, those two which are on either side of that vertical line. Line is the middle to help you and draw. Next this one here. Again, straight edge of that square crosses that arc through the middle, and then the opposite straight edge and with that arc. It's almost like where the curve is making an S shape. There. Again use the center to help you align it and straighten it. Can you see them now? Finally, the last two, which is on the other side of the center, Yeah, it seems good. That is giving us some other interesting possibilities for later on. The final set of lines is where the original circle cut the two diagonals. These four points. This one, this one, this one, and this one. We're just going to draw two more pairs of parallels through those. Again, the original circles and arcs are important. We're not going to be adding any arcs, but those are important. That should be a line parallel to this one. And I'm going to rotate it because the visibility for me is better on this side and this isn't great because I'm overlapping it. I'm just going to go the next one again through here and here and as closely parallel to this as possible. Now you might notice that it also should go through these two points. We have four points really, but the furest apart are the most helpful because they're slightly more accurate when they're further apart. From there and there. But then use these two to guide you and help you if you need a little bit of straightening and that's parallel and the last one through here and here. We're creating these little corners and through these two ideally. And that's all of the construction of the tile. Now by picking out different shapes and different lines, each day, we're going to create lots of different designs. However, sometimes some of the shapes are quite large, which is why I wanted to go on a smaller scale and repeat it more times rather than make them large because then it won't be as fun geometrically and it won't have as much structure and it won't be as fun to color and decorate if they're too big. You could try depending on the size of your paper to repeat that four times across and down. That will give 16 tiles. But for me, the size I have, I feel like that will be a really nice size and then repeat it a three by three. Some days, however, I'm going to change the outline. I won't necessarily go all three by three. I can remove some to make some interesting shapes. This is the point to join the long. Which means now we will be ready to start outlining and tracing and transferring the first tile, so get your tracing paper ready. 4. Day 1: Transferring : For day one, we're going to trace the first pattern. Now, a unique piece of tracing paper, minus A four size, yours might be letter size or similar. We're not going to waste the entire page. When I did my hexagon tilings, they were slightly larger and I split the tracing paper in four and I was able to use it four days in a row. This is slightly smaller. I'm going to attempt to split it into six just to save paper. My favorite way of splitting tracing paper. Roughly, I'll just figure this out the way is to just I'm actually going to go across. I'm going to roughly judge a third of the width of this. I'm just really in a very fast test, pull it and it works for each time. Now I am using 90 GSM, so it's quite thick tracing paper. I don't like the flimsy ones where you can get damaged. This is really solid and I like 90 grams per. Now split each of those in half and I will promise you that they are big enough for each day. Okay. We'll take one of those pieces and secure it on top of line. Now, you might want to trace with a different pencil now. Consider a pencil with a softer lead, more like two B rather than HB and perhaps even a little bit thicker. I still like my mechanical pencils, but I am going to use one that's thicker and with a softer lead. To show you the difference between the pencils I use for constructing in my compass, I use 0.3, which is the thinnest that can possibly get sharpest and accurate, and I use HB thick HB hardness for it, whereas for tracing on top of tracing paper in order to be able to transfer easier, I use 0.7. So more than double in thickness and I use to be so softer. The first das the pattern is very simple. I'd like to start with a very simple one, but it's still nice and effective, especially once it's been transferred and decorated. We're going to start with drawing a regular octagon and eside shape inside the square. This is a static one, meaning it's sitting on its side, on its edge, and this is why we did those diagonals through these points here at equal intervals because where these lines slick the outer edge are the points that we want to join together. Just these. In other words, there's going to be four diagonal lines that cut off basically the edges of the square and the other four lines that lie on the edges of the square. Again, I'm going to do this in rotation because I like to be able to see clearly on this side and so you can see. From here to this one, where that diagonal hits that line. The downside of this method is that it might smudge a bit of the graphite. But once you've transferred it and repeated it with waterproof fine line, deleted the construction marks, the graphite will disappear, so it won't matter. From here to here. That's a very classic simple shape. It really does look like bathroom tiles. In its simplest form. But it does hold a nice surprise, which I'll show you in a moment. One of my favorite things about this is that the shape that we pick out explicitly here drawing on top is not necessarily the only or sometimes not even the main shape once we transfer it because we have the negative shapes in between. Now, I really like outlining the edges of the full tile in a dash line. This is so we know once we replicate this several times. I like to know how to overlap that tile. I only do it in a dash line because it's not actually going to be repeated, and it's not going to be part of the design. In some days, as you can see, in some parts of the edges can be part of the design, and sometimes they're not and this helps me see the difference, and it still helps me transfer it more accurately in the correct place. In the watercolor sketch book. It's that simple. They want that simple, but you can already see the possibilities and the variations behind. Once we transfer that, what's going to happen at the corners at each four is going to be small dynamic squares that form in between. These are the hidden shapes, the negative shapes. This is now ready to be transferred. Two other ideas. One might be to label them. If you, for example, trace them out all at once and you want to do the decorating later rather than do it day by day. The order doesn't really matter. I have done it in a logical ways. For example, tomorrow's pattern is a bit like this one, but it's split into more shapes. You might want to give them names or numbers. Another thing that's also helpful is two other things. Firstly to know where the center of the tile is because we're going to want to find the center of the page in our sketchbook and also roughly the horizontal, so perhaps halfway through here. Just by looking at that line at the bottom, that will help us. We could draw the whole line. But again, we don't want to overload this when we trace it. Now, before we transfer the tracing paper into our sketchbook, we need to find the center of the page so we can start from the middle and expand the pattern outwards symmetrically. I'm now going to use that's my middle width, that's 0.5 and it's a bit arder. So mis 20, but still measure it because quite often I find that it's a millimeter below or above. Whatever your half is, just mark a small mark. No at the very edge because I find that deleting it from the very edge, it never quite rubs off as easily. So I do it slightly try and do it slightly away from the edge itself. And then use those two marks to align horizontal line. I will draw a faint line, not necessarily to the edge again, but the main thing I want here is the center, and just a rough idea of the straight line. That's because when we take this off now, we need to be able to find where the center is. Now, the first thing I do is peel off my masking tape and flip over the tile because we need the graphite to touch the paper underneath. Now there's the center, there are the two little marks on the side to help us roughly with our orientation. That. Now, depends on how busy the design is, if it's a very busy design with lots of lines, I would use a spoon to rub it off. But when there are lines, you could just go over with a slightly harder pencil just to make sure the marks come off easily. I'll show you the difference on half of it. Do this half with a bit of a harder pencil. D four lines with this way. Then I will do the other four with a spoon so that you can judge which way works well enough for you. This moves the tracing paper a little bit more, which is why it's important to have that thick heavy weight tracing paper, so it doesn't move around and get damaged easily. But if you press hard enough both methods will work, I definitely prefer a spoon for busier designs because there's just too many lines. So hardly any difference. This is a bit more defined. Now depends on how you want to decorate it as well. For example, if you don't want to have visible marks when you paint it, if you use this method and you rub off the pencil, chances are there will be a bit more of a stronger mark in denting the paper, slightly embossing the paper, and that might help you where your boundaries are when you paint, whereas this isn't really going to leave any mark because we were just pushing it flat on the paper. It's up to you. I'll think I'll decide day by day. It's much quicker and easier with a spoon when you have to repeat it another eight, nine times, however, for the rest of them, We can do this. Now because this was already a straight edge there, we didn't really need the corners, but it's still helpful, so that's a little bit too high a feel. Yeah. That's a lot paler now. If I do it with the pencil, that will work better. Now, another interesting benefit of doing it with a pencil on top is that if your graphite runs out from one side of the tile, you can just flip it and do it this for the next tile, and that way, you're constantly up the pencil, so it doesn't actually go to light in theory. As you can see, it does that anyway. Now I'm going to have to either repeat with the spoon or with the pencil. We can experiment of what works best for you. If your pencil is softer and thicker, that will also help you. Then we have six more to do. It's all transferred now. You can decide whether to leave the edge like this or to complete it. I really like rounded off edges like this, not rounded off, but cut off truncated edges. However, just to mix it up a bit, I feel like I might complete these. That will give a few triangles as well, but leave those chopped off. There we have a cute little pattern for day one. Now this is ready to paint. 5. Day 1: Paint Along: Come back and let's start painting our first pattern. You don't of course have to follow what I'm doing, but it will be nice to follow along and paint along. Now you can go many different ways with this. To me, this reminds me of tiles. They can be anywhere, marble tiles, wall, kitchen counter, garden patio. To me, though, it reminds me of either a bathroom or a swimming pool and I'm seeing really light bluey green color. I'm just going to mix the colors lots of water, and I'm going to emphasize more green on these tiles and more blue on these or alternate them. I'm also going to have a go at using medical alcohol, but with some cotton buds, so I can maybe create some effects and see what that does to the paint as it is still wet. Let's just start as we go along. It's up to you here whether you want to go on wet. I will go on dry because I've already mixed everything with a lot of water, and so I'll just have a go. And very randomly and non uniformly, will place my colors where I see a majority of some idea. I'd like to go a bit random and see what happens. Of course, if you add water to the paper f, it will be even lighter. As I'm planning on creating some textures on top, I thought I will not wet the paper first. I'll show you what happens when you put the bit of alcohol in certain shape. I can go as thin or as thick as you like. You could of course do this with a brush. In fact, the brush might even be an easy way to apply it. So see how you go. For this kind of painting, I definitely think water helps. Before or after and during painting. I don't mind the colors running into each other. I'm not trying to keep them separate, that's fine for me. See these effects, how these are different. The tip of the cotton buds might be a little too thick, see what you think. I might do the whole thing and then just add some alcohol with the thin brush in the end. 35. Five. Y. This is now all dry and you can see the texture. It was definitely my favorite way of using alcohol so far. The tip of a really thin brush works really well. Also at first it looked like really strong, but as it dried the water took away some of the harshness of it. It's very subtle. To be fair, the way the paint dried on this paper anyway, because we mixed a few different colors and because the paper curled, it said it mean differently anyway. The texture was perfectly fine anyway. Even without the alcohol, you can quite happily do that anyway. It's nothing you can't achieve if you use the few sharp coloring pencils as well. That's another really nice way to emphasize some of the natural curves and highlights that happened. To me, usually there's quite a distance between each tile on a tiling in bathrooms and things. If you have thick white marker that you can rely on not to smudge and interact with the paint, that's great. I'm going to go with my chunkiest silver markers, and yes, it will probably smudge. I'm using an old ruler that I'm not actually using for constructions. I'm going to turn it upside down and try and be careful not to smudge too much. Knowing that I might, if it doesn't come out great, we can just do it by hand. It's not a problem now and again to actually outline by hand, but I'm definitely going to have a go at outlining this now. Okay. That really is the outcome I was hoping for. It was how I visualize that. This might not be one of the most shiny silver pins, even though really shiny, but probably not the shiniest, but the thickness is exactly as I wanted it to separate the tiles more physically rather than internals of color. It is perfect for what I as well, and it's really nice to see the shine as you change the angle. The texture of the paint is great. Show me your day one. This is my day one complete. 6. Day 2: Transferring : Welcome back to day two. Today's pattern starts very similar to yesterday. I like to do them in a logical way, but we are going to break down that octagon a little bit further. I'm just going to label this as our second tile. We still need those points that di the diagonals which divide each of the sides of the square into three parts. I didn't need that one. We're going to outline the octagon by just joining the middle parts of those edges. Join these two, which we will go through that point as well. Edge. Diagonal. It's looking just like yesterday, but now where the fun starts, we're going to start to add a few extra line segments. Now, from this point up here, we're going to join it or align it with the first, not the second, but the third vertex of this octagon, just like this, and it shod look parallel to that diagonal line we have made. However, we're not going to draw the full length of the line. We're only going to draw from where this line meets our vertical axis that is here. And stop where our line meets the horizontal axis and stop there. We're just going to repeat that three more times. From these two vertices, three way, a line here. Now that should be slightly easier because we already have this point here. We start from just the vertical and stop at the horizontal and twice more. What we actually ended up doing is we recreated those negative shape dynamic squares that were in between yesterday's tiles. We recreated those in the middle of the octagon as well. It looks a bit like a ring. You can leave it like this and create more options. However, I really like it when we then add just two more things, aligned through the vertical middle axis through the center, but only outline outside of the middle square and do the same with the other axis. What we now have, we don't have any octagons any longer. We actually created four hexagons and the negative shapes of those hexagons are the little dynamic square. I'm just going to add the corners with the dash line, and then it will be ready to transfer. And there you have the shape. We need also to know where the horizontal is, which we do because of these two segments, but we also need to know where the center is so that we can align that with the center in our sketchbook. I am now ready to take this off and transfer it. I have found the center of the page already. And I just need to remember to flip it. That's another reason why the label helps because it needs to be upside down at this point. There's the center and the two line segments should fit on top of the horizontal line we've drawn below. Now, I'll still use the three by three tiles, but I will go with a different outline and we did yesterday and I think the hexagons create a nice diagonal edge. Let's see how it comes out. I've opted for this diagonal dynamic orientation. That way, I feel like the hexagons are my main focus and I like that. You could put straight lines around it, but I really like the look of these right angles on the edges. I'm going to re outline this with a pencil, not with a waterproof fine liner, because I think for now my idea is to paint it and I want the gaps within the frame rather than a pen. And we are ready to decorate. 7. Day 2: Colour Along: Welcome back for day two painting or coloring. Now, I really thought I might want to delete those pencil marks and not have that harsh border like we did yesterday painting it, but now I'm not sure. In any case, the fact that I have pencil does not hurt, I might not get rid of it at all. But I had this vision where I want bright color of these hexagons going in one direction. And then a similar, but not exactly the same shape going in the opposite direction. Then in between in the squares having something brighter. I've come up with some markers. These are alcohol based markers, so they do go through the page, but that's okay. We already tried some alcohol yesterday, and it did not stain the back of the previous page, so that's fine. I am going to use the two red version of reds in the hexagons, and then I'm going to make a blend of the purples in the dynamic squares. I'll decide about the outline later. I might do just solid black or metallic, I'll see how I feel. I'm going to go for my this is Artis red. Now, I'm going to go with the bigger chiseled edge. I feel like I can cover more at once. Let's start here. I'm going to do that and perhaps use the thinner end, just to define those edges, but certainly helps when there are right angles like this. I know it looks messy right now, but what we can do now is this. Yes, we will outline with something nice and glorious at the end. It always gives that sense of achievement at the end to me personally. When I outline something, it's like, we just climbed the final step. We added probably the most glamorous of stage, and it really doesn't matter if it spills over a little bit because outlining can fix it all. I was visualizing painting this for a while with watercolor, and then I just just my thinking shifted. I'm happy with that, so I'm going to just repeat that in all these three more parallels and then come back for the other colors. It might look messy, but trust me, by the end, it will look sharp. If I thought I needed to be more careful, don't need to be overly careful. We'll realine, make it look perfect. I'm now going with the other color. This is my fig red and doing the opposite directions. That came out a bit less violet and more blue than I wanted, but it's still the look I was going for. I just wanted some strong contrasting colors. I feel that doesn't need any sparkle. I'm going with proper black outlines over the shapes. I feel we've eliminated all the little imperfections. I like the colors. As I imagine them, you can give a bit more shading. But to me, the fact that these are slightly different to these gives the shading I wanted, and these are slightly not too solid. I, show me your d. This is my da. 8. Day 3: Transferring : Welcome to day three. Today, we're going to trace another octagon. However, it's different from day one. First, it's smaller because it's not contained within the full square, but just within the original circle with it. It also has a different orientation. It's going to be dynamic sitting on its edge. Firstly, we need the middle points of the edges of the square tile. Then we need four more points where the original circle in the middle crosses the two diagonals of the square. That is here, here, here and here. Trust me, that will create a completely different pattern than before. This is what I love about this. I change something. Although things are related, it just creates a difference from a small minor change. That is what gives variety and ideas in these designs. Remember that we need to outline the edges of the tile. We also need to know where the center is so we can align that in our sketchbook. Let's flip this over and align the center, and these two points, these two vertices should also lie on the horizontal. And Have you already guessed what the negative shapes will be? Let's see. Yes, that's right. The negative shapes of these really pretty, sparkly four pointed stars. But I notice now if we actually extend those lines further out until they cross, we'll create a larger version of the same star with the same proportions, but bigger. If you have the space, you can go along with me and do that. This is another reason why I like a smaller tile because it gives a more flexibility and variety. Here is what I mean. If I take this line and extend as I'll have to re outline anyway, and then take this line here. I can do this for all four. We will create the same star, and then these stars are within the star. If you have the space, and if you like it, go ahead. Here we have a cute star for Day three ready to decorate. 9. Day 3: Paint Along: Really excited to paint this star for day three. I have this vision, where normally would paint inside the shape. For this one, I actually want to make an overall wash like a background for the full page and then make this standout by painting that as well. I'm going to go with lots of blues in the background. I want to spend ages making a precise galaxy with lots of detail. It's more a background. Then we can make the star really be the star of the show, and I'm going to use some metallic golden bronze. I'm first going to wet the whole page and something that I forget sometimes and the progresting, is don't forget to use something underneath to protect the next page because you don't want to ruin your sketch book. I could of course have put a little bit of blue in there, but it doesn't really matter. Now, what this is going to do is also protect the edges, not just the page before. I'm going to start very carefully at the top because that's the trickiest bit, and then the rest, I can just put a lot of different colors. Different shades of blue. You can do anything but I have. I already have an idea in my head. Now I can do the rest. Yeah, I feel that's enough color, I'll let it dry and then make that star really shiny. The background is now dry and I like that it has this a cloudy texture, but I'm not going to add more detail. I didn't want it to be completely flat either. If you want to add any more detail, that's fine. We could always add more detail later, but I'm really looking forward to painting those stars. I'm going straight on top with a thin brush because I want to be as accurate as I can. But I'm most likely going to outline it afterwards anyway, but it would be nice to have that vibrant, shiny. You could use metallic marker if you don't have metallic paints or anything else, really. Doesn't this look pretty as it's drying? Now, I'm going to outline it with the same paint because nothing else will quite match the color and see how I go free hand. I do like crisp line so I might very well decide that I need to outline afterwards, but I might as well try it first and see what it looks like. Ir. Oh. This is looking fantastic at the moment. Of course, I need to wait for it to dry, but I think the lines join in really well. I really took my time. I don't think I'll outline it at all. This is the final outcome. It's absolutely glorious. It's shimmery, shy. The two colors go so well together. The staff for the three is done. It's beautiful. I can't wait to see what yours looks like. 10. Day 4: Transferring : Hello, they four. Today, we're going to start similar to yesterday, so that's the theme. We're going to start with the dynamic octagon. If you remember, it was the midpoint and then these points here, where the diagonals cut the circle, and then the middle points of the square on the outside. We're going to do those first. Next, we're going to break it down a bit further. This is what we're going to do. We're going to start from the top vertex and align the ruler with the first, not the second, but the third vertex, that one that lies in the diagonal. From the center of a line to the diagonal point and align. Just like that from here to here. Now, we're not going to draw the full line, we're only going to draw from here and stop when we meet that first diagonal. It should be the same length as this line, and this this line and these two should be parallel, and we'll repeat that. From the top middle to the bottom right corner, align them, but only to the diagonal. And two more times. And now do exactly the same on the other side. So from the top middle, but to the bottom left this time. And you can see where they meet when we stop at the diagonals. You can see now that we've recreated yesterday's negative shapes, those pretty little stars inside the octagon, which means now we've actually broken this down into four rhombuses. To me, the rhombuses are now the main thing. I will outline the outside, and also mark the center of the tile. We can now transfer, flip it over, align the middle with the middle. Make sure these two vertices lie on the horizontal line, and I'm going to trace that nine times. Okay. And the way I'd like to outline this, I really like the rumbuse and the dynamic movement around it. I'm going to just go around the rhombuses on the outside, and there will be the stars on the inside. A little wobble there, but nothing that we can't fix later. Therefore ready to color. 11. Day 4: Paint Along: Can now decorate the tile for day four. Now I've thought a bit more about how I want to color it. I don't want it to be too similar to yesterday when that star was really the main thing. Of course, today is different related, but different enough, we have all these rhombuses, but I just want to go one step further. You can always add more details to create more. I'm thinking now of actually splitting the star into four kites just by connecting those opposing diagonals from the vertices that we can see and we can actually do them in one straight line, but I'll just show you what I mean by just doing one of them. Now that's a completely different pattern, which is made of just rhombuses and kites and we can emphasize it completely differently. Yesterday was octagons and the four pointed stars, so two types of octagons. Once I've done that, I can then look at it of how to paint it because there's now more options with more of those little shapes there. You don't have to do this, but again, as usual, I'm giving you ideas and showing you my thought process and how you can keep changing things along until you are happy with what you have. This is what I mean. We have these alternating long rhombuses, and then the kites that are rotating. Here, because I was doing a whole line, I just meant to say, be careful not to cut through the rhombuses, which I didn't listen to my own advice. I can fix that. Another option is to actually cut all these rhombuses into these triangles, and then it truly is a lot a busier pattern notice here. There's a pentagon split into hombus and two kites. I see those hexagons with a rhombus in the middle. My idea was to paint these in two alternate colors, for example, light green, dark, green, light, green, dark green, and then do this, but in the other order and so on. Then I was going to do something different with the rhombuses in between, the ones that go like a zig zag. I'll start from the top left. In the first star that we split in four, I'm going to do the two horizontals in this color. Then in the next one, then I don't want that color to be right next to it and so I'm going to rotate it, so it's the top and bottom in that same color. Then I'm going to continue to alternate them in this way. In each hexagon, I'm going to change direction, and then in each new row, I'm also going to change direction. I think you get the idea now. This one here, that's going that way, so that has to go down, and then that's how I'm going to finish that color. Okay. These look so cute like little daggers in different directions, and now I'm going to do that with another green for the other two directions. This is now dry. I'm really pleased with how it looks now. I clearly did not disguise this line. I've come up with this now. I'm going to keep the outer rhombus, those wavy ones all the way around as a frame whole because they did not get affected by me drawing that diagonal too quickly without thinking. But then on the inside, it's four b four rhombe. I'm then going to split those that have already ended up splitting into two triangles. In this inner part. You almost end up looking like it has its own frame. 30 fir To me, therefore turned out absolutely stunning. If you imagine if you go back all the way back to when we designed just a simple tile and picked out a few lines, there is no way we knew this will happen. I love how unpredictable it is and how we can incorporate more as we go along. We added lots of lines. The gold in real life looks incredible with that green. Real nice outline, you could probably incorporate another set of little triangles there, but no, I would not change this for the world. I love how it turned out. Similar yet different to yesterday. Show me or take and tomorrow is a different pattern. 12. Day 5: Transferring : For the five, we're going to trace out an eight pointed star. Let's start from these two points and align our ruler there, but we're only going to draw to the next intersection that we meet. Up to here. Then skip this part, the middle part, and then from the bottom corner up to the first intersection as well. Then we have the parallel on the left hand side in the same way. From here, to just here, and then from bottom in a corner to just here. We're going to turn this and repeat. As you'll see now, we've just basically created a few right angles. Our star is just made of eight right angles. This and this. The same thing with the diagonals, you can probably see them now, they stand out more once we've started. This time that we're going from the midpoint to the next midpoint, but skipping the middle part again and then connecting on the other side. Again, from the midpoint to the first intersection we meet, skip the middle and the last, and then rotate and repeat the other two diagonals. Now outline the tile. And mark the center. Today, I would like to actually rotate the tile at 45 degrees like this. Although that doesn't actually change the orientation of the star in the middle, it does change the orientation of the negative shapes in between. If we've left it this way, I don't know if you can visualize what shape that will create, but it's like a cross vertical and horizontal. If we turn it this way, so a line the diagonal, then the cross will just have a more dynamic orientation, so it will be made of the diagonals. I'm going to go ahead and trace it this way around. Now, as I've been transferring this and I'm enjoying these crosses, as I said diagonally, I do actually want to add a bit of a detail, which I could have added on the tile if we add those diagonals on just the corners, but basically, I'm going to split the crosses into smaller shapes because of the symmetry in there. It's going to these almost like leaves, or as I kind of see them right now, almost like chain. I see this like a silver chain that can be sort of drawn and interlinked. So that will also help me finish off the edges. They five can be painted. 13. Day 5: Paint Along: I want to paint the stars with lots of oranges, quite abstract oranges. Then these in between, I still see them as a silver chain. I'm going to use a silver pen, but making those black so that the silver pops on top of the black and it really gives that frame and structure around the orange. I'm going to individually do the stars. I'm going to start with the middle one, and I'm going to wet the surface first. I'm painting mainly inside the star. I'm just going to add a few random oranges. Tight up the edges. And the tiniest bit of black because I like contrast with a bright color like this. That's the look I'm going for. Similar idea here, but slightly different combination of those colors. I'm not trying to make them perfectly identical, which couldn't really happen anyway, but I'm not aiming for them to be exact. Okay. Next one. So trying to make those a little lighter or certainly that one different from that one. I just want to break up that little cloud that formed because I want it more going across than just blows going in directions. Real find the edges, and perfect the detail. So you're happy with how it is. That came out a bit stronger than I expected. Go over it with And, brush. Alright, and just repeat on the other side. My orange stars are now dry and they have all these lovely colors, different colors in there. I'm going to first outline it in a thicker black because I want that really deep contrast. Then on top of that, I'm going to outline with a thin silver so that the silver really stands out on top of the slightly thicker black. Then in between the chain, I'm going to then color it in black, and you can use either paint or a mark for that. Y. Coloring day five is complete. It's exactly how I wanted it. I really feel like these look like chains, but I think the silver really pops on the black. I love black and orange. And I love that three d shading as if the whole frame is above those stars and as if this is far in the background. How did you color yours? 14. Day 6: Transferring : Hello to the pattern for day six. Today's pattern starts similar to yesterday with those right angles, but we'll break it down much further than the star. We're going to just construct it in a slightly different order that is more efficient. Also, for the first time today, the outline of the square itself is also part of the design. We don't need the dash lines. We're going straight with continuous lines. We're first going to go over the outside edge, the middle parallel. And the left hand edge, and do it in the other direction as well. We're splitting our square into four more squares initially. Next, we're going into the parallel line here in the grid, that's parallel to the outer edge, the one that goes through these points that cross the circle. But we're only going to draw the segment of every other part. We skip in the first part, and then where we meet the diagonal, we're going to draw a very short line from here to here where we meet the next diagonal, skip the middle and do the same from below. That is the way we started yesterday. However, we need to repeat it also on this side of the square of the smaller square that we created. From here that point, to the next and stop there. Again here. They're parallel. As you might predict, they will create another four but even smaller squares inside the squares. The same on the other side from here to the next line, that's the diagonal from that up to this point. I've gone a little long there, but that's okay because the graphite comes very easily off of here, and we could just make that a little bit more accurate before we transfer. We'll repeat the same in the other direction to complete those little squares. Just the middle parts. Finally, the thing that makes this pattern much more exciting to me anyway, is why I love it is the addition of some of the diagonals. We're going to draw. We're going to align from top middle to right middle, but only draw outside of the little squares. Then we do the same through the longer diagonal. We can do those two at once. Again, just outside of This can be a continuous line here because they are the same, so there will be a lot more detail as you can see already in this pattern compared to say yesterdays. Or many of the others. This one, and then finally, the other diagonal as well. That gives not only more ways to decorate in terms of colors because there's more parts, but it definitely gives it a really nice three D like it's screaming for three D design here, which I'll show you to me, it reminds me of buttons. I can stick out or in from the surface. That's done. We already have the outline and we already have the center. With this one, to emphasize the square, I'm actually going to just do a square outline, so I'm going to go for three by three fully and completely, and just repeat this. This one will probably need a bit more rubbing off with the spoon because there's a lot more detail. It will be harder for it to come off, but you can do more at once. If it's not working very well, try the other method I showed you, it's all parallel lines, so it shouldn't be too hard to outline. That needed a lot more muscle than the rest because there was more detail and we really needed to be able to see it clearly. I'm going to outline it straight with the waterproof liner. The six buttons ready to color. 15. Day 6: Colour Along: Hello, I can't wait to start decorating the tile for A six. I have a very clear vision of how I think it should be. To me, this really helps emphasize a three D effect. The first thing I'm going to do, I'm going to use some paint markers, and I'm going to use some alternating colors to give that three D effect. Now, bearing in mind, I visualize the sunlight coming from above, hitting that top row. With pink, I'm going to decorate the top trapezium. Then next to it, I'm going to use red to have that contrast in the shading, the darkness of the shade. Then to complete that square, I'm going to then alternate the two colors in the same way. And at the bottom, finish off with pink as well. You can do this with two very contrasting colors or two similar colors that one of which is a bit lighter than the other, and both ways should give a similar effect. That now it's as if it stands up and the s is above the surface of the paper. For the next one, however, I'm going to use two other colors, light blue and dark blue. This time though, I'm going to put the darker color on top. And then the lighter shade on the side and now alternate on the other side because I don't want the same color touching to adjacent shapes. And then finish off with dark blue again. I will probably outline the frame in thicker black later. Now what I also visualize sin to me this button goes upwards above ground. When the sun hits that, it will be lighter. I'm going to color this part here in silver as if because it's sticking out, it's in the sunlight, so it's shimmery and shiny. But the next one, because I've changed the shading so that this at the top goes. To me, that looks like it's going as if it's been pressed down, meaning that it's going to be darker on the bottom there, that little square should be below the surface, and therefore, I'm going to go with black for those squares. This is how I'm going to alternate the rest of the pattern. Up, down, down for the rest of it. Draw along with me. Next, we can color the squares before outlining the final grid in black. O. And here we have it. D, six, all colored. 16. Day 7: Transferring: Hello again for tile seven. This is the last tile for the first week, which means we've already used up the six pieces from the first sheet of tracing paper. As we only have four shapes left to make, trust me, let's split this one into four and not six because on some of the days we're going to need a slightly bigger space. I'll explain why tomorrow. But for today, a quarter of the page will do. I'm very excited about this one. I think it may be my most favorite one of all the shapes I've designed from this grid. It has a really lovely surprise about it, and so let's trace it so I can then demonstrate and explain why it's so special to me. We're going to start with the tiny little diagonals here in those little squares in the corners that we've created. Just like that from that point to that point. We need all four of these. Now we're going to align some diagonals from the vertices of these line segments that we draw. If we go on the right hand side of this line and align it with the right hand side of this one, like this from that external edge to that external edge, and start drawing a line carefully and stop where we reach basically that is our vertical axis, isn't it? We're starting doing diagonal and stop in here in this line. That is it. We'll do the same from all four orientation. Start from that right hand side of that little diagonal line that we drew, align it with the right hand side of its opposite diagonal line. This way. Nice and carefully and start doing the line and stop when you meet the vertical axis. Can you see what's happening? Let's do it twice more. And that is it. Now we'll see how we form this little cute square in the middle that we couldn't see before. That will have a really nice addition to the pattern once we've replicated it. Now, let's trace the outer edge in a dash line again. And as always mark the central point. As usual here, we have no choice but to flip the page because we need the graphite to make contact with the paper. We're going to do this. I haven't actually marked the centers, but we have these two points that we can use to make sure the horizontal goes. I know they're a close, but that's still fine. I'm going to trace the first copy of this pattern, so I can then explain and show you what we can do with it. A side note here on this pattern and how that's different. Up until this point, all six patterns we have made have had reflectional symmetry. That means that it has a reflection within itself. There's a line of symmetry where if you fold it, it will be a mirror image of itself. If I fold this along the horizontal, it will overlap perfectly. This is why sometimes we call that shape, it's four fold symmetry, four fold because you could literally fold it in four different ways that will make it identical to its other half. There are four lines of symmetry in here. All of these patterns have been four fold symmetry so far and any reflectional symmetry. It also means that, of course, it has rotational symmetry because when you rotate it, it also repeats itself. But why is that important? Because with a four fold symmetry, when you flip the paper, you get the same exact copy of this. It's a mirror image of itself because it already has a mirror image inside it. Whether I just glide this shape across, or whether I flip the shape across, I get the same result. Today, it's the first pattern that does not have reflectional symmetry within itself. There is no line that I can split the shape and have a mirror half of the other half. However, it does have rotational symmetry. If I rotate it around its center, It will repeat itself four times. It does have symmetry, but only rotational symmetry, not reflectional. The other patterns have both. What does that mean in terms of our patterns? Well, it means that whether I take the original shape and flip it. In other words, if I reflect it to its original whole tile, it will create a completely different pattern because its orientation is completely in a different direction, and that orientation does not exist in the original, and that creates really funky quirky patterns, and we're going to use those in some of the next few days. But in this particular one, I really like it when we don't reflect the pattern. But if we glide it, the proper name for this is to tra, translate the pattern in a different position without actually changing its orientation, just moving it around the surface. Now, the good news about all of these patterns that don't have reflectional symmetry, only rotational. It means it can create at least two patterns from each because whenever you go this way, that will be a different pattern. This is a very nice pattern. Don't get me wrong. But I absolutely love the pattern that in this case, just translates across. I'm going to do this to show you why I really enjoy the pattern. I'm only going to go with the translation. Of course, I'm also giving you ideas that you can create more and more from the same tile all the time. You might want to try both. I'm going to re outline now so I can clearly show you the really nice effect that this pattern creates. It creates this interwoven design, almost like this is one continuous line that goes under and above the other one. To me, it's a bit like a wicker basket. Now I love weaving and interwoven designs. But usually for you to weave them, you have to thicken every single line segment and then delete part of it, it appears like it go beneath and over. It takes a lot extra work, where this is the actual design itself. We can decorate it definitely to make it look three D. You could of course decorate it in a different outline and a different design. I'm going to fix this line segment at the very end once we've painted it and disguise that little bit. I didn't need it. I'm really happy with that. And we're ready to go with A seven. 17. Day 7: Paint Along: Hello, and welcome to Day seven. One of my favorite patterns. I really want to paint it like a weaved wicker basket, so I'm using these neutrals. To create a bit of a three D effect. I'm using a medium sized flat brush because when there are right angles in the geometry makes things easier. Then as things get closer to the edges to get tucked under the previous rectangle, then I'm going to add some other colors. But dark on the edges. Blended nice and seamlessly with the yellow in the middle. Let's complete a couple of those fully. A a little bit of water if you have to. Slightly darker shade again. I want to spare the really darker shade for the majority of the little squares in between. Then a bit of bright yellow to kind of make the middle stand out a bit more. This is how I'm going to aim to complete all of them. Then I might add some shading with pencil to add some depth. We'll see how it dries. Y. Look at that. I'm going to wait for this to dry. Then I'm going to do the squares in brown black, darker brown, and then possibly outline it in go afterwards and fix that error. Ir. I dry beautifully. I'm really happy with the effect. I'm going to just perfect a few inaccuracies, mostly this one here, and then I'm going to outline it in gorgeous gold. My tile for day seven is now decorated with wicker basket. 18. Day 8: Transferring : Hello. It is day eight today, and we're going to trace quite a simple tilted square. But I'm going to do it on one side of the tile rather than in the middle of the tracing paper because I'll need space for another one right next to it, and I'll explain why once we've traced this design. But I'm going to pick this point here. It's from that diagonal that cuts there and do that on all four edges here. Here and here. As you can see already, if we join these points, it creates a within a square tile. But the square is tilted in a way that it only gives rotational symmetry. And there's no reflection with the shape. It is what we were discussing yesterday, which means we have two ways of transferring it. We can either alternate the shape so that it's in different orientations each time, so we can flip it and that creates a much more dynamic shape, or like we did yesterday, we can just translate it along. But with this particular shape, the squares wouldn't even touch if we did that and it wouldn't create a very exciting pattern. You can try it, but I want to alternate the orientation of this. I want to use reflection between each tiles. I thought the easiest way we can do that without having to flip our tracing paper and make a mess with the graphite. I thought if we trace both orientations at the same time next to each other, and then we can transfer two tiles at a time. You'll see what I. So let's just trace out the outer edge of the tile. That's not part of the design and the center as well, even though, so we have that option. Okay, so if I take this off, you can see, if I had that repeating itself like this, it wouldn't touch it, I'll just have space around it. What I'd like to do now is next to it to trace its mirror image. Align that, but on the same side of the tracing paper, that will make it easier. Then flip the paper, just glide it along, so we can align it with the next tile. That will help us here as well to align it really well, that intersection there. Now, we're just going to trace the same, but it's mirror image. Instead of using this point here, we're going to use this one. This one. This one. Of course, this one, which we already have because it lies on the line of symmetry. You could do this method for any pattern or a tile that doesn't have a line of symmetry within itself. Those that have rotational symmetry, you could do that and trace two at a time. Let's do it and you'll see it will become easier to visualize and transfer. A line these two. This is the mirror image of this and it's parallel here. Notice how they go through more points underneath that just can help with accuracy. This one here and the last one. I still want to trace the outer edges in a dashed line. We have a guide when we trace it later. This is why we needed a slightly bigger piece of tracing paper, so we can do both at once rather than having to flip this all the time. Let's see how that works in our sketch. Let's flip the paper and now we have a choice of how you want to replicate it. You could actually do a four by four because you are likely to have space for two on either side of the center if you went with a small construction like me. I still want to go with a three by three, meaning I'll have some odd tiles to trace. But I will start with two at a time, aligning either one of these two with the center, it doesn't matter. My center lies on the line and the other center lies on the line as well, but this one is in the actual center of the page as well. Trace both at once and then we'll have a look to see what we've got. Here we have two already that we can use. Now we have to be careful. If you'd like those two down, that's what I meant earlier. It's not really that interesting because there's gaps between them. But we can rotate this way and do the two below so that and the two above, because they alternate. That orientation and that will be the same. You can see that we're forming some rhombuses in between. Let's do the next two and then we'll see how to do that side. It creates this really interesting dynamic almost uninterrupted chain of squares, and it depends on how you want to decorate it later. I like that they touch, so you could play with the colors in a really nice way. Now let's think about this. The next one at the top, we would need. One is going left, one is going right. The next one needs to be the one that's going left. Make sure that's pointing down. It's basically this way. But only that one. If we turn it this way, we can actually do both of these two at the same time, because again, that's the right orientation for both rows for the two rows. It's only the last one because obviously it's odd that we are going to need to do separately. I feel that's in the right position. Let's see how it comes out. Yeah, that's what I wanted, T going in a different direction on all three lines and then just the bottom. Let's see which way this way around, and we only trace up to here. And that's a pattern. A single tile didn't look that exciting but once we use reflection each time, it created a really nice dynamic. You can emphasize the squares, or the rhombuses, or both, and you can have a really dynamic outline as well. I'm not decided exactly how to paint it yet, so to give myself some extra flexibility. I'm going to outline with a pencil for now. The eight is ready to color in. 19. Day 8: Paint Along: Hello, we have our tilted squares. For our tilted squares today, I want to just paint a lot of different colors, bright beautiful colors in each of the squares in random morder. Then hopefully, just join each square of the corner of each next one. We'll see how this works out. But I don't really want the harsh line, which is why earlier we did it with pencil. I've got this nedable eraser, which will lift a bit of the graphite off without completely raising it so that we can paint directly onto it because otherwise, we are not going to be able to erase this once we've finished painting, but we still need to see the boundaries. I've chosen lots of bright beautiful colors and in no particular order, I'm going to just start from the top left corner. We'll leave the edges and perfect the edges a little bit more later. But for now, just get some colors together. I would ideally like perhaps at least three in each square, maybe even four, and I'm not too worried about which color is next to which. So try and join the edges. It's going to be tricky to keep within the square. I did want some bright colors. It might be an idea for you to try putting some water first. I will see what happens when I just lift off some of the pigment. The colors are a bit easier to actually make out what they are. I'm not I'm not necessarily going for anything too. This is what I'm thinking is good here. A lots of water here can be used. In no particular order again. Don't worry about contrast as well. It will be fine to have some. Blend this a little bit more. Careful at the edges. Add more water. Let's see how it goes around here. Again, I'm going to lift off a little bit. From here as well. So that is the idea. Y. Ty. 35. 30 I really like how the colors ended up. It's kind of how I wanted it. In pretty much all corners, the color is consistent or at least it seamlessly goes in. I managed to straighten the edges at the end with the wet brush. I always find that the bits in the middle and then the edges while it's still damp, they can be changed. I will use the white pends to perfect a few parts. And then I was thinking what to do in the middle and I don't want to actually add any color. Black would look amazing, and it will make it really pop. But I've used black on others, and I just want it to be about the squares. So I'm just going to do some shading in between, just to take those squares and lift them off the page. That's the only thing I'm going to do. And then if I feel like I need to add more, I will. Oh. Gorgeous tilted squares and rotating rumbses, with a shadow and multiclored d. 20. Day 9: Transferring: We're going to outline D nine tile, and it starts a bit similar to yesterday with a bit of something added. Yesterday, we drew a tilted square which fitted within the boundaries of the outer tile. Today, similarly, we're going to do a tilted square, but inside this smaller square here, which is the one that sits inside the middle circle, not outside. But in the same way. If we start from this point and go across tracing that line that makes that inner square and mark the first point. The first intersection we come across to the edge, then down, first intersection, down across, first intersection, to the edge, up, first intersection. These are the four points that we need to use today. Just like yesterday, align the ruler using those two points, make sure it also should align with this corner here, and now extend the line from the second point on the right through to the other point, but extend to the edge of the tile, which is the vertex here. We do this on all sides. Rotate this way. Again, align the two points we've marked. Make sure it also aligns with the top left corner of the tile from the right hand side. Up to the corner and twice more. He is a tilted square, but it actually has those lines. You might be able to visualize what will happen at the edges of each tile. As yesterday, I traced this on one side of the tracing paper because I want to have one right next to it as well. But first, I'm going to outline the tile with dashed lines. Now mark the center, and now we're going to lift this tracing paper up, glide it across and align with the tile underneath. Reposition it. Now we're going to do the mirror image of that tile in the other side of the square. Start tracing that square again, skip the first point and mark the second. The edge and down first second point to the edge across second intersection to the corner and up to the second. We're going to align these two points, and it should align with that corner above there. Top left again, starting from the bottom point up through the second point and stop at the edge, rotate again from the bottom through to the second point and stop at the corner and two more times. And then outline this tile as well. Let's see how it looks in our sketch book. Let's turn it over. Today, I'm actually going to transfer a four by four arrangement and then play around with the layout later. I'm going to start from here. I don't need the vertical yet because I have all of that that I can use to align it with and make sure that corner sits on the center, and then let's see how it comes out. Now we need to rotate this so it can go above it and below so that we can recreate those kites that you see in between. And finally, rotate back again so that we can align here. We couldn't do that here because we didn't know how far down to go. Whereas now we have this. And then repeat the same thing on the other side. And I will now reline with a pencil. So let's paint. 21. Day 9: Paint Along: The way I am going to paint this, I'm going to try and avoid the marks of the pencil and just paint inside the shapes as well as I can. On purpose, I'm doing it by hand so that when it dries eventually, we can then delete the marks and have one design where it has white spaces in between. Now, I'm thinking of painting the two different shades of red in an alternating way. Those going down will be a slightly different shade than those going across, meaning that when four meeting that way, they're alternating. Then for the squares, I'll leave it for now, but for the squares, I'll do that those last, but I'm seeing lots of sparkles. I think. Although these shapes aren't actually kites, they're part of what the kite was, if I had extended it. I'm going to start top left, and just very gently go along. Looks nice. Now, I sometimes do this by first outlining inside the shapes and then it gets really really accurate. But it's a different look, and I'm quite happy for this not to be super precise. I want it to have that hand made look. But also obviously we try our best. I got quite close here. As long as make sure we leave some white on the other side, that's the idea. You of course, don't have to do this, or if you do it and you don't like it, it's very easy to fix just by putting a lovely outline at the end. I've done that many times where I re outlined at the end and improved it. But we might find that we will like the outcome of this one. I'm going to stick with that. If you've outlined those shapes with something other than a pencil, then you might not be able to erase it and in which case, you will just have to commit to a nice outline. You can add a little bit of shading somewhere if you wanted to or just have it quite a solid color if you like. As long as it's nice and vibrant, I was really seeing those strong cherry reds. Now I'm going to continue this way with all the vertical kits or partial kites, which these are now hexicons. Dirty. Now, I don't necessarily have to wait for the other color to be dry to start with a new one. It might be easier in terms of trying not to smudge it. But I actually might start instead of going this way, just to avoid where the paint is. I'm just going to do those three on the outside first and then the to help me with the paint isn't yet. Y. And finally, for the squares, I've kind of mixed in a bit of purple with a bit of shine and have the shiny squares stand out in between. 30 I'm going to let this dry, and then I'm going to rub off the pencil marks in between and tidy up some of the edges. This is now dry. It's a really nice shimmer only when the sun catches it. It's not glittery just nice and bright. Now I'm going to rub off the pencil marks in between shape. I'm going with a thin pencil as as. Then I feel like I will probably have to define some of the edges, especially on the outer edge. On the outer edge, I used the pencil just to guide me because I want the edges to be a bit crisp on the outside. I'm not too worried about the shapes on the inside. They came out quite well in the way I wanted them. There's a few wobbles here and there. But there's a definite white border from the paper, which is what I was aiming for. I'll be curious to see if you used a different outline different colors. These colors always cheer me up. Okay, now I'm just gently going to go over with the white pen just in the places where I feel like is a bit more paint touching than I would like to, so definitely here. But again, I'm not going to go to crazy about this because I do like the whiteness of the paper underneath. This is it day nine, the pent day. 22. Day 10: Transferring: Hello to our last day. For Day ten, I've kept my quirks design of these so far and we can have a bit of fun at the end. Day ten. Again, we're going to need two tiles. We're going to use the two intersections from the diagonals that cut each of the sides of the square. And start adding some lines. I'm going to align the two vertical right hand side points from here to here. But I'm only going to draw the first half, meaning I'm stopping when I reach the horizontal axis, and then do the same from the other side, align in the same way from the other side in a parallel way. But this time, draw only the lower half of that line starting from the middle line. Then we're going to do the same on this side. Align the two on the right, draw the top and stop two on the left. From the middle down. We've created a bit of rotational symmetry again. Now, all we're going to do is connect the vertices where there's empty space with a line segments. From here to here, and then from here to here, which are parallel. Then rotate and do those two. This creates like a really nice pinwheel design. Now, because the rest of the space is a bit empty, we're going to add a few more details, a few more line segments just to enhance it. A we're going to do now is those diagonal lines, which just drew. We're going to draw the mirror image, which is from the middle point to the other point on the edge that we've already marked. So from here to there is the mirror image of that, which means we're going to have nice little rhombuses at the end of each once we transfer, and repeat three more times. These are all the line segments that we need. Now I'm just going to outline the tile and find the center as usual. Now we need to find the mirror image of this. If we're going to translate it to the side, line it with the previous tile. Now we need to find the mirror image of this. We're using the same points because they were symmetrical anyway. However, instead of drawing the top half on the right like we did here, we're going to do the lower half. Then on the left hand side of the parallel, we're going to draw the upper half. Now you will see that these two mirror images to each other and these two mirror images to each other because they have to be equal distance from the middle. Rotate and repeat here, it's even more obvious that we need to draw the lower half because that is the mirror image of that, the reflection, and then to the other two points, these two. Now this is the far end, so that will be the far end, that is the reflection of that. Now the other ones are quite easy because we're just going to join the empty spaces, so we don't have to think about where the lines go, join these and these. Then rotate for the other two. Finally, we just need to work out where the rhombuses would go. Let's start with this one because we already have three lines, but it's just the mirror images of those diagonal line segments. Now rotate, and instead of that line, we're now going to go from this point to the opposite there, and repeat that three times. And now outline and find the center as usual. We can transfer this now. We can start transferring, remember to flip this. Now I want to transfer this in this orientation, but 45 degree rotation. Vital diagonal because that will create even quicker angles. That will be a really interesting way to figure out how to replicate this. I'm going to choose this tile to be my central one. I want a dynamic square outline. I think I need three to one. Yes. Let's align this one. Make sure these two points are also on the horizontal as well as the center matching there. Then we are going to trace both of these because I'm going to need three on this row and then two and one, and that is one of the two I need. That will work well. Great. Now what we're going to do is, we need to rotate this and then slide it down to find its reflection. There should be the rbsis here, but each star should have a different orientation, like here. You rotate like we did with the other ones, slide it down. The reason why I need both of these again, this is going to be my lower part complete then. That's a good place to start doing it in an efficient way. Now, because we already flipped this one. This one should work here. Let's just verify, make sure that is reflecting that. Yes, good. Okay. Now we can complete this part. Let's work this one out here. Make sure that is reflecting that, so they change orientation. You could of course try the other way as well. The last two, that are together as a pair. The final one, we'll just need to use only one of these two, let's just work out which one. Make sure it reflects both, it's pointing that way and that way. It's that tile that we need. I'll outline with a waterproof marker, and I'm going to decide what to do on the outlines. I think I'm going to go by the outside of the stars. 23. Day 10: Colour Along: Hello to the last coloring together for my tenth tile. That's the quickest one of all. Decided to go with some markers and blue and purple. These hexagons here, the long ones, that are concave. I'm going to go for purple, and then the stars, I'm going to do in blue. I don't think that will disguise this here, that mistake. I'll see what I can do later on in the end. Then for the little robss, I definitely want a nice bright silver. I just see those as silver from the start I have been. I'm going to start with this hexagon here. I'm using alcohol markers. Now my sketchbook fell apart into separate sheets, which is fine. I'm still keeping them all together, but be aware it will go through the page, depending on your paper. This is watercolor paper. And it does go through and it can stay the next page. If you're using watercolor multimedia paper, that's a bit better, but in any case, it might stay in the back. Since mine fell apart and they are together, I'm not worried, so I'm just going to do that and then tidy up the edges with the thinner end of this. And then blend it out again. It doesn't look like it blends that well at the start, but it does. You'd have to repeat a few times, which is what actually leads to some of the fact that it goes through the page. In general, watercolor paper isn't really designed for these and they aren't designed for watercolor paper. If you use them on normal coloring printed paper, they are absolutely brilliant. It's just I really like to mix and match my media. I will often do everything in the sketchbook. If a little bit has gone into the rhombus, that's fine because I'm planning on making that silver at the end. Then for the little stars, let's make the one where was the mistake. Let's do the one with a mistake. I don't color it wrong later when I'm not thinking. This is part of this star. I just should have lifted my pen when I was outlining earlier. You could of course go for silver or metallic or gold in the stars instead. But as I did that with was it Day three, the stars in Day three on blue background. I didn't want to do the same. So that is why I'm doing the stars in blue and I want silver emboss for sure. Okay. So I'll continue with those two colors. Then I'll come back to tidy up the edges by putting some silver in. Oh. Okay, don't worry if at this point, it looks messy. I do love it, though. So now I'm going to use a thick silver and just fill it in the rhombuses. Y This is now outlined in silver. I could outline it in the middle as well, but I quite like the middle without the silver. It's more of a frame and the little Rombses stand out. I made them slightly bigger on purpose to go over any of the black marks underneath. I didn't want to see them, and I didn't mind the hombuses being slightly bigger and standing out. I'm going to see if I can cover up this blue where I made a mistake with a black line, but I don't think I can and at the end of the day, that's fine if it's like that. This is my final version. I think when I tilted, you could see the frame a bit more prominently. I just about managed to disguise a little bit there with blue, at least it's not bright, black anymore. The Ramses is shiny. I'm really happy with that. I hope you enjoyed all ten of your designs. 24. Conclusion: Thank you for joining me in this project for the last ten days. I hope that you found it interesting to learn yet another ten square shapes and how to incorporate those into your own artistic style, whether that being painting, digital design, or any crafts. You can use the techniques you learned in this process to keep improving and changing your designs until you feel happy and satisfied with the final results. I will be very excited to see anything that you share in this project section. Or follow me on Instagram and tag me in so I can admire and share the artwork you created.