14 Days of Drawing Hexagon Tiles: Your Own Geometric Tessellation Sketchbook

1. Introduction: Hexagons are everywhere around us. They form naturally in honeycombs and snowflakes. In crystals like the graphite in your pencil. In rock formations such as the Giant's Causeway, and even in space on Saturn's hexagonal cloud. Regular hexagons tessellate a surface without gaps and overlaps. Their aesthetically pleasing symmetry is often an inspiration in architecture, design, and of course, fine art. Hi, I'm Diana, a mathematics teacher and a geometric artist. In this class, I invite you to join me on a two-week geometric journey to create your own tessellation sketchbook. I will teach you how to construct a basic hexagonal 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. I will demonstrate numerous coloring techniques with media such as watercolors, pencils and markers. I will discuss a wide range of layout contours, shaping fills and shading effects. Each day we will tessellate a new pattern culminating with a recursive rosette. This class is suitable as a starting point into geometric art or as a deeper exploration for accomplished creatives, or if you simply wish to engage in a regular mindful art practice. By the end of this course, you will better understand how geometric structures are related, and you will develop your visualization skills to create more of your own future designs. This project offers something for everyone to create a unique geometric art sketchbook. 2. Materials: We're going to discuss the materials you will need to complete your project. Ideally, you will have a sketch book. If you're planning on using watercolor or any other paint, watercolor pad is ideal. I'm going to use this one. It's a square shape one, which is eight by 8 " or just over 20 centimeters. You could use this one or any other shape, it doesn't have to be square, it could be circle or rectangle, or it could be just separate sheets that you will keep together in the end. If you're not planning on painting, then you could just use any sketch pad for this project. You will also need some paper to construct the single tile on. Ideally, we will construct it once, and then we will trace different shapes each day, so you don't need to do it every day. However, if you'd like to vary the size or practice each day, there's no harm in doing it separately. I like to use slightly thicker paper to construct on, but you can just use normal printing paper. Once we have constructed a tile, every day we're going to use tracing paper to be able to transfer our design into our sketchbook. I really like using slightly thicker paper because it's more sturdy, it doesn't crinkle, it doesn't damage when you use a thin pencil or even a compass on it. I quite like this one. It is 90 grams/square meter. I do like using thinner tracing paper, not for transferring, but for outlining and deciding on my shapes and colors and patterns by using the templates I've provided. I've provided two different templates, and you can decide which size is better on the sketch pad that you have. This one can fit eight radius lengths on the design, whereas this one is six of those. Now, using the thinner paper, I quite often like to use a highlighter and then sketch on top to see what shapes I'd like to pick out for 00:02:14.960 --> 00:02:20.280 my overall cutout and any color combinations or sizing. That's a really useful way of doing that before you commit your final design onto your precious sketch pad. To construct the underlying grid, we're going to need a ruler and a pencil to draw the original line. A compass, which we're going to need to construct this circle in which the hexagon lies. If your compass has a pen attachment, you're going to need another pen or pencil. If your compass already has a lead in it, that's perfectly fine. You won't need anything else. Once the circle is constructed, we will need to pick out certain lines, again with the ruler and a pencil. You might consider using a darker, more permanent fine liner to outline the grid so that it stands out a bit more once we cover it with tracing paper ready to transfer. For coloring our patterns, you can use absolutely everything you want or you have at home, or you can just use that opportunity to explore different media. I'm going to use different variety of watercolor paint on a few of the days with different brushes with fine ones, wet on wet. I like to use a pipette to control the amount of water I'm putting into the color, and you will need something to hold your clean water and perhaps to mix the colors. You could also opt for watercolor pencils. They are fantastic alternative to watercolor. They give a nice control when shading, we can blend different colors and accentuate the pigment by using a water brush and just dropping water on top if or where you like it. Of course, you can use a variety of highlighters, fine liners, gel pens, metallics, and vary the infills and the outline of the shapes, and that's what we'll explore each day. 3. The Underlying Grid: Before we can construct our underlying grid, we need to decide on the sizing that we're going to use. How far are we going to open the compass. That will depend both on the size of your sketchbook and also on how many repetitions you would like in your completed designs. I have printed two possible options from the template I've included in the resources. Although this one seems a bit more complete, I'm actually going to go for the slightly smaller one where there's not too many repetitions. It allows for different outlines, and also my paper is fairly small. I wouldn't want to work on a tiny, tiny scale, so I will go for this one. This one is where you can fit six radius lengths in the design, and this one is eight. Whatever the size of your paper is, you want to be able to divide, but by either six or eight, I'm going to go with six, you want to probably leave a little bit of space on the outside. My paper is 20.3, if I go for three centimeter radius, I have six of those, it gives me 18 centimeters leaving just over a centimeter on either side, and I'm really happy with that. Note as well that this vertical line is actually longer than the horizontal because this doesn't quite go as far out as the full diagonal. This is the shorter diagonal from the midpoints. However, since I'm working on a square paper, I want to make sure I can fit the longest part and some days I will rotate the design so that it looks like this rather than like this. A good way of sizing is if you are able to print on the size paper that you have, then you will be able to measure how big this template comes out on your particular paper, but I'm aware that not all printers can print any kind of paper. I don't think I can print out this. I'm going to go with a three centimeter radius, and I know that I can replicate the radius six times, which gives me seven complete hexagonal tiles with some around it, and each day, I'm going to vary the shape I'm using depending on the tile. My favorite compass has a pen attachment. It is the Staedtlar mass comfort, and it means that I can change the medium that I'm using to accentuate any curves in any of my designs. Now, today we're only constructing a very simple tile. If you're a complete beginner with using a compass, that's absolutely fine. If you want to find out more about different compasses and how to use them and do some exercises and practice and understanding better how to use compasses, you can go to my other course on constructing an interlocking hearts geometric Mandala, which I did for Valentine's Day. However, this is much simpler as it only really contains one simple circle. Firstly, you want to make sure that when you start out with the compass fairly closed, that the point, the sharp point of the compass and the end of the pencil let are fairly aligned. They will get further apart once you open it. Now, as I'm right handed, I like to flip my ruler upside down. The centimeter scale is on the bottom and it increases to the left. That means that I can put my point on zero and then see how far to open going in this way as I'm holding the compass with my dominant hand. I want to go up to three, so I'm going to use this wheel to slightly open it. It was actually fairly accurate. Yeah, I'm happy with that. Really all I need to do now to make any circle is to hold my compass as far down as possible on the point and put all the weight and pressure that I can on there, and then move my hand holding the handle and just gently touching the other side of the compass and just turning by twisting this between my fingers. It is a very good idea If you are still not very confident to do the same thing while turning the paper in the opposite direction to where you are going. There you go. That just helps you complete your circle. That's all that we need to be able to do with our compass. I'm going to flip my paper and start the construction. Firstly, we're going to need a straight line. In this case, we don't really need to measure where on the page it is or how long it is. It needs to fit the circle that we're going to draw. So this will be enough. This is plenty more than 3 centimeters. Now I've opened the compass to the correct width. I'm just somewhere in the middle, going to draw a full circle. Now, by doing this, I've now created two intersections. These intersections tell me where I can go next. Now, without changing the width of my compass, I can put the point on one of the new intersections. Let's go with the bottom one. I'm not going to do a full circle, but I'm just going to mark a mark on the left crossing the circle and a mark on the right crossing the circle. This is you can imagine a part of a full circle that I'm not drawing because I don't want to overload the grid. All I need is to know where the new circle, the invisible circle crosses the original one. I need to do the same thing from the other side. I'm going to rotate my paper. Put the pin on the other intersection, and again, mark to the left and to the right imagining as if that's a full circle crossing through the middle. Now I have six intersections and they're equally spaced because they're all equal to the radius that we've just used, meaning now we can construct a regular hexagon with six equal sides and six equal angles. Now I'm going to join each two intersections starting on my left. I want to do this vertical side. You want to take your time here because we're constructing this once, and the more accurate this is, the more accurately will transfer. Inevitably, some of the accuracy will get lost in the transferring, but the overall repetition and symmetry of the design will remain, and that's really what we're looking for. One more line here, and I'd like to rotate my paper so I can see what I'm doing on this side. So actually constructing a hexagon is much simpler than constructing a square, which isn't necessarily what you might think. That's because of the equal distances inside and outside, which is not the case for the diagonals inside squares. Two more lines and our hexagon is complete. The size of this hexagon is going to be the outer edge of all the different tiles that we're going to be doing each day. The only thing that will vary is what we're picking out on the inside to decorate. Now we need to make a few more lines inside. Before we are able to choose different lines each day. As we already have this line, this is one of the three longer diagonals of the hexagon. That's the diameter of the circle. That's two full radiuses going through the center. We now need to do the same thing through the other two diagonals. To opposing corners and going through the middle. You should be able to feel how your pencil is going through that bump, which I just did, on the other side. That is three diagonals, which now split the hexagon into six equilateral triangles. All these lengths are equal. If we replicated all of these further out, this is called an isometric grid from Greek, it means equal measures. From each point to the next, it's an equal measure. We are now ready to connect with a straight line, every other point, not every adjacent point, but skip one, go to the next, skip one, go to the next. What that's going to do is create a large equilateral triangle. Then we want to do another one starting from the other three points. There will be two triangles overlapping each other. However, I'm going to draw that by using parallel lines. I'm going to draw a line from here to here. If you visualize this rhombus, I want to split it in half. One, and do the same here. Now we're going to do the same thing from these two corners going down. If you visualize these two rhombuses, we're going to split them in half. What that is doing, it is cutting that line in half at an exactly 90 degree angle. Because the diagonals of a rhombus are perpendicular. Now you can see there's two more to do from that side. There are two rhombuses that we want to split down. That really created two equilateral triangles overlapping. What that does as well is where the two triangles cross in each point where they cross. This is actually the middle of this line and that entire part here. This is what we're going to do now, and this is the last part of the construction is to connect this hexagon that we created in the middle. We're essentially connecting the opposing corners of that, but we're going to extend it to the end of the bigger tile. Nothing goes beyond the bigger hexagon. We're connecting these two points which should go through the middle. This one and this one. If this is too fast, you can slow it down, pause it, and print the step by step instructions. I'm going to start from the edge of the tile, which is basically going to be a halfway. It's the midpoint of that line. Again, it is at the right angle, so this is the midpoints. We repeat on this side. If you visualize this rectangle, we're going in through here, here, and here, which are the two corners of that hexagon in the middle. And extend to the edges of the bigger tile. Finally, the horizontal one, you don't have to turn your paper the way I do. I like it this way. I'd like to see it from that perspective. The final line in the construction, here we have it. Each day we're going to pick only some of the lines and make completely different looking tessellations and tiles. Okay. 4. Day 1: Concave Dodecagons - Transferring: For day one, we're going to start with one of the simplest possible shapes from this. Each day we're going to make it slightly more complicated. We're going to need tracing paper. Of course, we don't want to waste the full page. I'm going to split this into four and that can be used for four days. The easiest way to split this is by holding a ruler down roughly in the middle. And in a fast sweep, just tear it. There you go. Then we'll do the same thing with half of it and make a quarter. This is going to be roughly big enough. Okay. Now we can cover the design, and I'm going to use a bit of masking tape to secure the tile onto the piece of paper that I have. Now, because I'm using the nice thick paper, it doesn't move easily, it doesn't wobble. I'm only using masking tape on two of the edges. I don't feel like I need any here. All we're going to trace out today the outer edges of the two triangles that we overlapped. If we use the full two triangles, that would be a hexagram, but I'm going to avoid the inner hexagon, just using the outline, meaning that we'll make a dodecagon - 12 sided shape. I'm going to do a line here and I'm going to only go to this point and stop. Then go over the middle third and then do the end. I'm going to repeat this on this line, which is parallel. And again. Now, here you might consider changing your pencil to one with a softer lead as it transfers more easily. I could have done that as well. From the other edges, just the first third, then skip middle third and do the final one and the parallel line. Repeat and finally, the two horizontals, which I'm going to turn the paper. Since these look like stars, I want to start free and easy before I get complex and detailed, what better way to start than with a galaxy? Because these look like stars. That means we're going to have a go at a wet on wet galaxy design. This is it. Now, what we're going to do as well to make the transferring easier, we're going to also trace the outside of the hexagon, but I'm going to do it in a dashed line. That is just for placing the tile so it matches well and joins well as I lay it down in the sketchbook. It's just for guides rather than part of the design. On some days, the outer edge will be part of the design. But for this one, I only want to use the stars, which means when we multiply the shape, several times and we put the stars next to each other. There will be these rhombuses will form in between the stars. It's really interesting that when we trace just one shape, we're not only transferring that shape. We're also creating the negative shapes. These are the shapes that aren't actually explicitly drawn. Now, I need to decide whereabouts on the page to start transferring. For this, I'm going to need to find the center of my page. When I measure it, it comes up a bit more to 20.2. I'm going to mark 10.1 on both sides vertically. And then I'm going to align this and again mark 10.1 in the middle. It would be useful to draw a very faint line. It will be helpful to know where on your tile the middle is, so you can go back to the design and just mark where that is. Of course, you want to flip it now so that the pencil lead is going to make contact with the paper. The reason why this line was helpful is when you align your middle, you also want It will be difficult to judge otherwise the orientation. You want the line to coincide with these edges. That's a pretty good way of aligning the paper. I'm going to reuse that masking tape. I'm not using new pieces. They're the same ones I used before and I'm not really pushing it down too hard. I don't want to risk damaging the paper underneath. Now, the most logical way is to go over with a ruler and a pencil and press to transfer. However, there's a really quick and easy way of transferring, which you might wonder why I've got this spoon. With the spoon, you just rub off on top of your paper and you can move it and repeat a few times and it's just the quickest easiest way of transferring. Make sure when you transfer, you also transfer these lines just so that when we move the paper around afterwards, we know where to go next. There's the first tile. Now we're going to repeat that same tile at the corners at the edges, the other six edges of the previous tile. I decided to emphasize the rhombus shapes on the edges just to make those stars stand out in between. Now I'm going to go over the design with a fine liner, waterproof one, and then I can rub off any of the other lines I don't want, and then you will be ready to paint. 5. Day 1: Painting - Star Galaxy: We're now ready to start painting our galaxy. And to preserve each page, each day, I'm going to use a plastic pocket, especially if we're going to paint to put on the page afterwards so that doesn't get damaged, especially when we're going to be playing around with wet on we. I'm going to put that underneath. Don't feel like I need to secure it necessarily. I should be fine. But it will help feel a bit more confident with playing around. I do want to keep all the pages together rather than tearing them off. Now, I decided I want a circular outline. So I'm going to use the compass to just very faintly outline this and I want my rhombuses to fit in in all directions. These ones are longer. See how far this goes. I'm just going to make a faint circle, just as a guide where I want to paint within. And then I'm going to put some water into the chosen colors. Now I'm doing a galaxy and I'm going to experiment and change as I go along. But the main colors I want are deep blue. Violet, which is the dark purple, might want some light blue, might want some black here and there, and possibly a couple of blue and white metallics, possibly a normal white as well, a tiny bit of yellow gold well. And I will play around as I go. This one. I will leave the colors to mix up in here. I want to emphasize the circle, so I'm going to use my compass with a brush, which is a really fun technique, and I'm going to secure the brush sideways. I'm going to ensure the brush doesn't come out of the circle that I just drew. It will gently sweep across like this. Now, I'm going to just put water on the edges, so I know none of the water and paint will bleed beyond those edges. I'm just going to use my usual. This might not have been enough water or maybe it is. Now I'm going to do the rest just by painting it with water essentially. Hopefully, yours glistens so you can see whereabouts you've put the water. If not, just put a bit more color in the water, it will go dark anyway. Just so you know whereabouts you've put water already. Repeat those edges because they should have the richest color really. And it's starting to dry in parts, but that's okay. Okay. And now, I'm going to use. I'm actually going to use the same brush for the outer edges. So do the same thing again. Just check that it doesn't come out of the page. Slightly different now that it's wet. Now just dip in whichever color, I'm going to start with purple and go lightly around some of it. Then let the water take care of it. That's really nice. I'm going to try and create that elsewhere also. Okay. Now I'm going to do the other part in my deep blue. That's it. Now I can mix any colors. I'll use a tiny bit of black to join in. Now this black is obviously not enough water in there. That's okay. Let the water take care of it. Allow the water to take the pigment wherever it likes. Okay. Mm. That might bleed out a little bit. I'm going to use a little bit of paper. So make sure that doesn't bleed out. It's a little bit. That's okay. That can be saved with the paper. Now with this brush, I'm going to add a bit more color here and there. I'm wondering if I perhaps need a bit more water just create this as you go along, I love how the black and purple mixed up. Okay. Blue again. Now the water here has become quite dark in my cup, but that's okay. I didn't want that harsh line here, I'm trying to create edges where we don't want any sharp edges, although there's no reason why they're wrong. Just looks a little bit more mysterious when you blend out. I feel like it needs a little bit of light blue in the middle. A bit more blue. There are some darker black patches, I think, around here. That was really nice so I can emphasize part of the stars, if that's what you wish. I'm going quite random. I like to see what the water does. Okay. Things combined. That's wonderful here. Now, this is looking a bit like a puddle, so I don't really want that. That's better. Put some more blue. I'm going to use silvery shimmery blue. It's up to you how dark you want to go, whether you want it to be very dark everywhere or a bit less moody. It's up to you how you see it. I like the fact that it's unpredictable. I like that I don't know exactly how it's going to turn out. That's one of my favorite things about it really. I feel like a few naturally whiter spaces, but they will benefit from a bit of a shine. I emphasize that path. Between the other colors. Yeah, I think that's working well. Okay. Well, soak up a little bit more here. The shimmery gold, the shimmery, silver, actually I feel is taking care of any of the edges that we don't actually want them to be too harsh. I feel that's doing a good job of that. I really like that white. Beautiful. Now, we're covering some of the lines underneath, which is fine. We will have to use our understanding of where the lines are underneath. Okay. That's nice. Okay. I'll do the same with the light blue, but I feel like it needs some darkness as well, contrast. So a blue area. This is such a therapeutic process. There's quite a bit of that. Hopefully it dries ok. Okay. Okay. Where would we be Without some gold? I do like the silver on this design most, so I am going to take a bit of paper. And a bit more on the other side. I didn't want to take off some of the intensity of the black. And let it dry. The painting is now dry and looking beautiful, shimmery, dark, amazing. We need to finish the final touches. Now the most important thing is to emphasize the geometry that we constructed underneath. I'm going to do this by using a gold wet paint marker. It's one of those that you have to shake a lot and press down and this makes fantastic outlines. Now I'm going to use a ruler. Now you may have noticed the ruler is slightly thick on one side, you need to flip it because this way, when you put it on the paper, the corner isn't actually touching the paper, which means when you glide the pen, it's not going to rub off any gold on the sides of the paper. Now we're going to outline just the same way as with the black marker underneath earlier with the fine line. The easiest way to do it is to go along with all the parallel lines. I'm going to tilt that slightly and start outlining right to left, so I don't overlap and smudge any of my gold. You could go with silver or purple or blue or just black. It doesn't have to be shiny. But I want to emphasize the stars in gold. The gold outline is done. There are a few inaccuracies, so I'm going to use a few different pens to put the final finishing touches. They're going to help me disguise some of the mistakes and add a bit of bling and glitter here and there and emphasize those stars. 6. Day 2: Vertical Rhombuses - Transferring: For day two, we're going to trace out some rhombuses arranged vertically. So take your quarter piece of the tracing paper that we cut out yesterday and secure it with some masking tape. I'm only doing top and bottom. Nice and flat so we can see the grid underneath. Now all I'm going to trace is the diagonal lines that go top right to bottom left and the diagonal lines that go top left to bottom right. But I'm not going to trace any of the horizontals or the other diagonals. So that shape, and I'm going to go from top to bottom without interruptions. That shape will transfer really nicely. Remember not to go beyond the tile. So from the edge of the tile to the next edge through the middle. There will be three parallel lines, and the same on the other side. It will look a little bit like a cage. But once we transfer it, we can pick a different outline, different way of decorating it completely. Now, just for guide, again, we're going to trace out with a dotted line the outside of the hexagonal tile. But that will not be a part of the design. It will just help us place the design when transferring it in the correct places. And notice how all the rhombuses are arranged vertically, and when we transfer them, all of them will be in the same orientation. On a different day, we're going to use different rhombses in a different orientation and you will have a completely different look, especially when we emphasize different parts of it by coloring it in a different way. That is the tile done. Now, I need to find the center of my page, but because I used the compass on the previous page, I can see already where the center is. If you can't see where your center is, measure halfway down the side - 20.2 centimeters, so I will mark halfway at 10.1, the same on the other side vertically 10.1. Then I will draw a faint line going horizontally through the two points I found. The line is already there. Now, remember we need to know where the center of the tile is, which we can see from where these two lines cross. Remember that we need to flip the paper so that the pencil lead is in contact with the paper. And align the center point with the center underneath, and these two intersections ideally need to lie on the horizontal line. That will give the orientation we need to be as straight as possible. Once you've done that, use your masking tape to secure the tile, and then we're going to use the spoon to rub this off. Remember, we need to trace the outline as well. These came out quite faint, so I'm going to repeat those with a pencil and ruler before I decide on which decoration. I'm going to use a permanent one. I'm just going to go and repeat these lines with a pencil. Now, I decided on my outline, I'm going to go over this with a permanent waterproof fairly faint thin blue fine liner because I'm going to decorate the majority of it in blue, so then I can delete any of the other pencil lines that I don't want. 7. Day 2: Colouring - Golf Jumper: I think this turned out a really cool outline. And it reminded me a bit of those golf jumper patterns. And so I used the tracing paper and the template to decide on colors and combinations. I came up with this. We're going to do blue and possibly a bit of pink inspired. It will look like a golf jumper - a completely different look just for fun. Again, I'm going to use water color pencils because these are quite small spaces. I want to not worry too much about control this early on in the two week challenge. So I will add some water, not as much as yesterday. However, just to be sure, I'm going to use my plastic pocket again on the page after. Then I'm going to start. Filling in the rhombuses. Okay. I'm really happy with that. It looks really cool. Perhaps I should have left these blanks, so that's an entire zigzag white line, but I felt maybe it's a bit too much white, and even though now some colors next to each other, that are similar, I made a slightly different shading. Also, we're going to outline at the end so everything's going to pop anyway. Now, I'm going to use a water brush to gently go on top and make these colors come alive. Be careful not to put too much water. It's better to add. If too much of the pigment comes off and you're no longer happy with how strong the color is, we could just go over it with a pencil on top. I'm just going to gently go over the color and see what happens. Thank you. We're ready for the final step, which we're going to outline. I'm really happy with how this dried, but I feel it will make it pop even more with an extra outline. You could use the same waterproof liner or a different liner. You could use a coloring pencil if it's sharp enough. I'm going to use a metallic blue, so hopefully this will pop. I'm a little bit tempted to make it look a bit 3D. But golf jumpers are 2D flat, so I think I won't. I think the outline will be enough to make it really stand out. I really like how the water dried. You will see that it's not quite the same texture as watercolor paint, but I do quite like the texture and I'm leaving it as it is. Day 2 complete. 8. Day 3: Equilateral Triangles - Transferring: We are going to trace some new lines today. Now I have one half left of my tracing paper, and we're going to split it in half. I'm just using that to roughly find the half of it that vertical line, and I'm going to use the ruler to split it in half. That is the third quarter, and I'm going to overlap the basic grid. Just as before secure it with some masking tape. If you need to use some mask and take on the side, that's fine. For me, I feel like I don't need to. Now, today for day three, we're going to trace the diagonal parallel lines that we did yesterday, but we're also going to do the horizontal lines. So essentially, the rhombuses we created yesterday are going to get cut in half to make equilateral triangles. I'm going to start with these three. Remember to repeat the lines as much as you feel you need to in order for them to transfer well enough onto the sketchbook. I got three just similar to yesterday. Going this way. Three, going the other way. And make sure the center is nice and clear and well aligned because we're going to use that to place it in the middle of the page when we transfer. That's one in this direction. Okay. And finally, these three going across. I'm going to rotate this. It's easier for me to see that way. Just align your corners nicely, and that now goes through these four points, one in the middle. Again, I'm working just within the boundaries of the hexagonal tile. I'm not going all the way out where the full circle is. These are the lines inside, as you can see that creates a multitude of equilateral triangles. This is essentially an isometric grid, meaning that all the distances between each corner, each line is the same length from Greek meaning equal lengths. As before, I'm going to trace out the outline of the hexagon in a dashed line. I can use the tile to replicate it several times in a particular shape. Now, as you can see, these shapes are considerably smaller than what we've done so far, and this is going to help me decide and determine how to decorate it. I'm going to go with some infills by hand because there will be so many of these triangles. I'm going to use fine liners for this. This is now ready to transfer. We're going to start by finding the center of the page. I've got 20.2 centimeters on the left hand side, I'm going to mark 10.1, and I'm going to repeat on the other side. 20.2 half of that 10.1, and now I'm going to draw a faint line again 20.2 faint line. Don't have to go to the edges as long as we know where the middle is 10.1 again. Okay. Now we know how to align the piece of tracing paper. We need to make a decision whether you want to transfer it this way or this way. I'm going to go this way with the corner pointing up and I will align this as before. I want to align the center with the center of the hexagon in the middle, and of course, the straight line needs to lie on top of the line behind it. I need to flip this because I can see the pencil is on this side, so I need it on this side, just like that. And I'm going to secure it very gently using the same piece of masking tape as before, because I'll take this off and repeat a few times. Now, I played around with the tracing paper and a few different outlines. I will see once I've replicated this six times around the center, I will use my spoon, my trusted spoon and I will start rubbing this down until it all comes up. Now, I've chosen my final outline. So it goes in slightly further in than the six hexagon surrounding it. It will look a bit more like flowery pointed snowflake. Since there are so many of the triangles, I don't mind going a little smaller. And I will outline with a fine liner before I can delete the marks of the pencil. 9. Day 3: Colouring - Zentangle Triangles: Our triangles are now ready to decorate. There's so many and I really wanted to try some Zentangle style infills so that it's a nice meditative process rather than feeling overwhelmed that there's so many. So I was thinking how to color it, I played around with the template, which again, I encourage you to do. I did quite a few different outlines, a smaller bigger one, the bigger one, I thought was too big. As you can see, I ended up with this one. I also planned my colors. I used an app to actually color it and see what it looks like. I'm going to use four related colors in a way that vertically, two of them alternate, two of the same colors, and then skip a column and the same two, but in reverse order. So if you have two of these here, let's say, the purple ones, here you have two orange. The in between is the same with two alternate colors - two pinks, two reds. I'm going to go for two solid and two sparkly colors. For each of them, I will do a different infill. For example, I have decided I'm just going to put this here so I don't mess up the order. I have decided this is going to be my color on the outside and here. The top two here will be that. I have decided two, my first in field to be five parallel lines, roughly equally spaced and parallel to this diagonal. One to three, four, five, roughly equally spaced. Obviously, this is by hand. It is supposed to be a relaxed process. Then I will color in every other ribbon that I created, I will fill it in, like this. This is exactly the color I wanted, but I fear that my pen is running out a bit, so I have to be very slow and patient with it. So in here as well. That will be two ribbons, alternating with white, and then the corner itself, which would be like a small mini triangle. This is what I'm going to do for the triangles that are pointing upwards of that color. Now, you see that in the alternating rows, they're pointing downwards. Now the ones that are pointing downwards like the one here in the middle. I will do the same, but I will go in the direction of, again, the left hand side of my triangle, so one, two, three, four, five, one, two, three, four, five, this time though, I will color in not every second one, but every first one. So I will color in the out here. That creates a nice shape here in the corner where the two vertex touches essentially of the two triangles, and I will do that for the rest of these. These are actually really a nice size to do infills. I thought they would be much smaller, they're not, which is good because it makes it meaningful to fill them in without too much of the repetition. I think that's enough of a repetition. Of course, you can do a different outline. The whole point of this is to give you an idea, but for you to do it however you see it, I don't think there are any solid rules about how you doing infills. I just wanted it to be in this color scheme. So I will do that for the rest of that color and then we'll be back to do some of the other infills. Okay. This color is done. This is given it a bit more of a structure now, which is quite nice. I'm going to go next with red. I'm just going to do a few different squiggles. Let me see where my reds are. They're just before the purple ones I've done. I'm just going to go with a few curved lines like this from each corner and then meet them in the middle. But I'm not going to color in any of it. And the next one is here. I'm going to repeat this therapeutic process. I really like it. I do feel like it needs to pop against the other color that we did. I am going to actually fill in a few of the gaps just to make the color more interesting. The pink is now finished. It was such a beautiful shimmery color. I decided that they were going to be dots in one direction, but I was going to color the negative space in the opposite direction. There's some balance of white and pink. And finally, for the final color, I'm going in with a ready orange sparkle. I'm just going to make a triangular spiral, going from the outer edge inwards, just like this. Color in the middle. And then I'll do the ones that are pointing upwards first, then I'll rotate the paper to do the rest. Day 3 complete. 10. Day 4: Concave Kites - Transferring: Welcome to day four. Today, we're going to use our last quarter of the first piece of the tracing paper that we started with. I'm going to cover the grid with masking tape. We're going to trace a slightly different pattern today, of course, different every day, but today, we're going to alternate the shapes as we go around rather than having six identical ones. We're going to have three identical ones that alternate, they're all going to be kites. We're going to trace first the three long diameters of the circle. These are the long diameters, the long diagonals of the hexagon. Start with two opposing vertices going through the middle. This one first, and then the other two that connect the opposing vertices. This one. Go across and this one going that way. We're splitting the original hexagon into six equal and equilateral triangles. Now we're not stopping there. What we're going to do now in the bottom left, we're going to trace these two lines from the corner to the middle. And from the middle to the other corner, following the lines underneath as a guide. We've created a kite that is pointing inward, so this is called a concave kite. We're going to do this on every other shape. We're going to repeat this on the top, from the one corner to the middle following the line below and from that middle to the top corner on the other side. In many languages, this is known as a deltoid because it looks like the Greek letter Delta here. This is the last kite we're going to trace going this way to the middle and from the middle. This is how we started. We have the vertical line and every other shape is that type. Now, as usual, we're going to trace out the outline of the hexagonal tile. This is going to help us multiply it and transfer it and replicate it onto our sketch book. But the symmetry is going to be slightly different because we've now chosen shapes that alternate. One more. Now, in between the kites, you can see that there's the triangles, but we're not finishing them off with a solid line, which means that once we repeat this shape and move it, let's say here, one of those concave kites are going to get attached to one of these triangles. What that is going to create this shape is going to come out here. Every alternating shape is also going to be a kite pointing outwards. We're going to alternate six kites, three pointing inwards, three pointing outwards, concave, convex, concave, convex, and so on. It's going to create this nice little diverse pattern. That's different. We're going to now transfer this into sketchbook. Okay. Just as before, we're going to find the half point of our page. I'm measuring vertically on the left hand side. I'm using the same size as before, of course, same sketchbook, 20.2 centimeters half is 10.1 and the same for me on the other side. Yours might be different. And a light horizontal line through the middle. Through those two points as a guide. And mark your middle again. To me, as square shape is also 10.1. And we're going to trace it slightly differently today. Now, you remember we started off tracing it this way. However, we're going to rotate it 90 degrees clockwise. The vertical line, the vertical axis that we traced is now going to be the horizontal and we can align it through the middle of the line we just drew. That way, the line of symmetry is now vertical because the two halves on either side are the same. Of course, we're going to flip it over. Okay. I'm going to start with my two pointing upwards and one down. Of course, you can go this way, but this is how I visualize it and with the center in the middle point and this line guiding us. I'll put this in here. Then I'll show you roughly the outline that I've been thinking about. We've had a circle, a rhomboid type and a spiky one yesterday. Today, I was thinking that this can make almost a triangular shape, which is why I've rotated this. I will try and create this outline here. Then the convex kites, I imagine those as petals of a flower and the other ones as leaves. I imagine something like that. I'm going to trace this a few times first, and then I will repeat that six times around it and then delete the lines that I don't want because I can't really tell otherwise how much of it to repeat. I'll take my spoon. I'm going to rub off on top. Okay. Now, the next one, I'm going to go here just by gliding this this way. By doing this, I mentioned this earlier, we're now creating this kite here pointing outwards, and now this needs to be aligned with this horizontal line and that should be a straight line just like that. I'm going to just rotate this around the whole thing. Okay, so this is the outline I'm visualizing making kind of this triangular shape. So I'm going to repeat the lines I want to keep and delete some of the other ones. 11. Day 4: Colouring - Green Fingers: The pattern is now ready to color in. I will just in case, I'm going to put my plastic protector on the page after. Because even though that's thick paper, we just never know how the pigment will go. I'm going to use for today's design, some blendle alcohol markers. I see this as petals of a flower, which I'm going to go with these purply light purple colors. Then the other ones will be my green leaves of the flower. I'm going to start with the purple and I'm just going to outline with my darkest color on the outside. I'm going to start with It doesn't really matter, but I'll start with this one in the middle. And just outline the edges for now. I'm trying to go quite pastel and not too intense yet, and of course, I can repeat this a bit later. This is still looking quite patchy for now, but that's okay. Then I'm going to go with this color. The next it's a slightly different shade, but light to go into the middle. Okay. And to just repeat the edges here. Do you like how they're blending and it might not look like they're blending just yet, but they will once I go over the last color. With the last light is color, I'm going to go over the entire petal. I'm actually going to go with a thicker outline that will help it blend. Just be careful not to come out too much out. Yeah it's too small a space for that. I'm going to repeat a few times. Until I feel the blend is nice and sufficient. I do like that slight contrast of the shading. It's just a different shade of a similar color. I do like that. Contrast. Then again, I'll repeat with a light shade. I might add a tiny bit of pale blue in the middle. Yeah, I'm happy with that. I'm going to repeat this on all these petals now that have the same shape, and they're pointing in all three directions down and sideways going up. Now we're going to do the same for the other leaves with the green. I'm going to go around the edge. I'll start at the top with the right green that I have, looks like a good color for leaves, grass, that kind of thing. This one has a bit more of an area into it. Then I'm going to go around with this green. And I'll just try and patch up some gaps here. I like the one color is a bit cooler, there's a bit of a blue tinge to it compared to the other one. I'm going to repeat this for the rest of the green leaves. Okay. The final step will be to outline and cover up those lines with green sparkly pen just to complete it. Nice and carefully, so it doesn't smudge the outline is done now. It's really nice shimmery green. However, when I was using the ruler, I did catch a bit of the ink and it smudged a bit. I'm going to show you how I'll try and fix it. Hopefully, it's nice and dry by now and I'm just going to use one of the paler purples, but just going to gently go, might not work since that's a metallic color and it doesn't cover the metallic. I could go over with purple inside the purples, but I'm happy with how it is. The other thing that happens quite often to me, especially with these outlinings it splashes out on the outside. I'm going to try and use a white gel pen, not a sparkly one, just a normal white gel pen to cover up the white almost as if I'm using Tipp-ex or erasing liquid. I'll wait for this to dry and see if it needs another layer and see how it works. The liquid of the white gel pen actually smudged that even more. So I'm just using a lightly damped tissue and gently wiping off there's less pigment left. And there's a little bit more here. But now, I'll try with the white gel pen again. And just dabbing it gently so that the actual pigment goes on top of the surface. And now I'll wait for it to dry again. It's drying there and there. I'll leave it like this, by the time it's completely dry, hopefully won't be as shiny and that's all that complete. 12. Day 5: Concave Hexagons - Transferring: Hi, it is day five, and we're going to start a new piece of tracing paper, which we can cut in four pieces and use for four more days. Using the ruler, one piece, and then cut the other one in half again. You just tear it. Today we're going to trace some hexagons. Similar to yesterday, they're going to be going inwards, they're going to be concave, they're going to create a nice shape. They will look a bit like flowers again but different type. We're going to trace partial diagonals now. I'm going to start with this one here. We're going to trace the top and the lower third, but skip the middle third. So just like this to this point, skip here and this point again. It similarly to day one, but there'll be a bit more detail into it. Then we'll do the same on the parallel diagonal line. Then we're going to go in this direction. Again, just outline the first and third part of the line and it's parallel. The ones closer to the vertex, but not the ones in the middle. Finally, the horizontal lines. Again just the outer part of them. Just to join what we already have there. Okay. We're going to add one more detail, and this is to split the inside into three equal parts. I'm going to align this horizontally inside the star, from the center, I'm only going to highlight the left hand side of this. Then here, I'm going to do the top half of this line on the inside of the star. And in this diagonal, just a lower part. Now we have three of the same hexagon. They have equal size but not the same angle, so they're not quite regular, and they're concave just like the kites yesterday. And as usual, we're going to trace the outline with a dashed. line, and this will help us when transferring this. I see this as some kind of flower different from yesterday. It's quite nice and symmetrical and pointy, we will just transfer that. I think overall, it will have a flowery outline as well. Of course, remember, these are just one possibilities of infinitely many. I am seeing it a certain way and sharing that with you, but I encourage you to do a variety of mine or even something totally different until you get that feel for all the different shapes that you can create. This is now ready to be transferred. Okay. This is the page for day five. You could see from the alcohol inks yesterday. You could see some on the other side, where nothing else had gone through the page. That's okay. And I'll find the center of the page 20 point 2/2. 10.1 on the 10.1 on the right. A align through those two points in the middle. Marking at 10.1 and in the center. Here is the design. I'm just going to turn it over so that the pencil lead is on it. We could see the center of the tile, which should go here, and this part of the line should lie on the line behind it just like that. I'm going to secure that. As usual, using the spoon, I'll rub this down. I'm going to repeat this six times around the original tile. I'm now going to outline the edges of the flowery shape. The hexagons mainly is what I'm going to emphasize, and then it will be ready for painting. 13. Day 5: Painting - Red Roses: The outline is done. You could see I've gone over a little bit too long in a few of the corners. We'll try and fix that at the end. Let's see how it looks. Once it's been decorated. We're ready to paint our red flowers. Petals. I've got a few different shades of red. I will probably be using the carmine mainly with a bit of eres, and then I'll see if I want to highlight some other shades. I will start with a pale color and see if I need some layering. I'm going to wet the petal I'm working on and then apply the red. I'm not trying to make it too wet. Just enough for it to glimmer so I can see where my paint is going to go. I'm going to go with a fairly small brush and I'm starting with my Cari. I'm going to first go over the edges slowly. Then once I've seen how the water distributes the red. I'll decide where to go next. I'll do this with most of them. I realize this might dry, but it's just the first layer. We can just take it slowly and change the look of each petal as we go along. The basic color is now dry. It's quite patchy and pale and that's how I wanted it. If you prefer it more solid, you can go over with more solid paint, but I want to make a few very fine details. I'm going to actually going to remove the red paint I've already used. I'm going to go with a slightly different shade and make some fine thin lines each petal. And then if they come out too strong, we can then use a little bit of water to blend. Let's see. So mixes a bit more water. That's a pretty color. It is giving some contrast from the other red. Okay. I'm going to repeat this on the rest of the petals. I decided to outline the petals with this sparkly red paint by hand. This turned out beautiful. I don't know if you can see the she well on camera. But it looks really nice. If you want to add more detail with pens or anything on top, that's fine. I considered giving it a bit of a three D. Look, I don't really want to paint anything in between. I want the flowers to be the focus. I've decided to stop to me. This is just finished. It covered most of the black and any of the perfections of the black outline. There's just this bit here where I went a bit too far at the start, so I'm going to use my white gel pen to just dab a little bit on top. In the hope that I cover it up. And let it dry. If you need a second layer, I'll do it. But to me, that is day five finished. 14. Day 6: Rotated Rhombuses - Transferring: It is day six. We're going to trace some rhombuses today. I'm going to use some of the tracing paper leftover from yesterday. Okay. And just secure it in two places. Here's the original grid. We did some rumbses in day two, which were always oriented vertically. Today, we're going to trace some rhombuses that will be oriented in different directions. I'm going to follow the diagonal lines starting with this one. I'm only going to highlight the top and bottom part of the line and skip the middle. Again, that's from the outline of that star we did on day one. Just going to take this repeat this. Actually, I'm going to go with a slightly softer pencil because it transfers better. Yeah, I'll go with this one. The first and third third of that diagonal. Then parallel to this, we're going to do the inside half of that line. So these two segments inside the smaller hexagon, but not the outer ones. From here to here through the middle. And then just on this side, on the third line, just the two thirds pointing outwards. I feel like I want to repeat this one, don't know why this one is coming out. Okay. This is my softer lead and it's much easier to transfer, so I'm going to stick with that. I'm going to do the same thing following the diagonals going in the other direction. On the outside line, I only want the outer two segments, but not the middle. Then in the middle, I only want the inner two segments that connect the smaller hexagon inside through the middle, on the outside, a symmetry, so the outside will be just as the other part, the two edges, the two segments on the outside. And I will do the same with the horizontals, but I prefer to see it this way. I will connect just the outer two segments. So essentially, we're completing the same star outline as we did on day one. Through the middle, just inner two segments. And then the outside, just the two, here and here. There we have it. Similar to day one, we've got the star, but we have split it into six equal roombses that point out in different directions. On day two, all the roombses we're pointing out this way, going down, but this is different. Now, as usual, we're going to outline the tile. The one downside of me using a slightly softer pencil lead is that it was much more, but we always delete the pencil marks, so that's not a problem. It's actually easier to transfer it this way and to see it on camera. As always, we're going to find the halfway point. This is how it was when we traced it. However, we're going to rotate this 90 degrees clockwise, so the middle needs to lie on the middle. We could have traded line as well, but I didn't want to overload this. We have these two points to align with the horizontal line behind, and that's what we're going to use. Here we have it. Now, I don't know if you've already seen my thinking here. But this is now when we replicate it this way, when we repeat this, this is going to complete what looks like a cube. I don't know if you ever realize that a cube is just a hexagon split into three equal rhombuses all point in a different direction, and it mimics the three dimensions of three different faces. This will become clearer when we replicate it. But I think going up looks more like stairs going up. We're definitely going three D off the first tile. Here's the first tile then. I'm going to do one above one below before I decide how to go sideways. So make sure that rhombus is complete. These two lines look like they are straight, continuous lines, and of course, that dash line should overlap the one at the bottom of the first tile. As I'm seeing this in cubes, I'm going to want to have that top completed as well. I'm just going to trace the lower two segments here just to complete that top cube. Making sure this is aligned. You can see the cubes. Now I'm going to go sideways and just expand that and make it look like steps of pyramids. I don't know how wide I'm going to get to here, but I'm going to do this one by one to see how far it comes out. I want to add one layer at each new row. Okay. I've outlined the one side. I will stop that here. I have one, two, three, four, five, six rows of cubes. I will try and replicate the same thing on this side. Now, what you might find easier is to just cover the entire page with the full tile and then pick out the shape. But I already played around with it with the template that you can download and I already drew and decided how to do it by doing the full page, and then I picked out. I think that looks good in terms of The shape, it really lends itself to these steps, those pyramid looking steps. I'm just going to repeat the same thing on the other side. Now I know how I need to go because I'll just repeat what's on that side on this side. I can see that there are three full tiles, three full width of the tile at the bottom with just some parts missing and then it gets smaller. As usual, I'm going to outline this with some waterproof thin fine liner and then delete the lines I don't want, but I'm going to stick with one, two, three, four, five, six rows of those cubes. 15. Day 6: Colouring - Climbing Cubes: The cube pyramid is now ready to color. To achieve this classic three dimensional cube. Let's look at just one hexagon at the top. We've got one hexagon split into three rhombuses that is one cube. The three rhombuses represent the three dimensions. The top rhombus is really the face that flat surface that is facing upwards. Now, I like to visualize the sun coming out of the top, but not directly from the top. Top left northwest. To me, that means that the very top layer, the top face facing upwards, will be the one that will be the lightest. I'd like to go with some bright colors because it reminds me of the sunlight. All of the rhombuses that are oriented that way will represent the surface pointing upwards. We're going to color those in the same color. Now, you could use three different shades of the same color and using your lightest shade or three different colors together. That's completely up to you. You don't even have to make it three dimensional, of course, but I think we haven't done that and it really lends itself to that look. Then the side on the rumbus that is actually pointing to the left is where I visualize is the face on the side of the cube, the left hand side of the cube, and that side will have some light, but not as much as the top. That will be the second darker color. The second darkest color, either the second darkest view of the same color or just a darker color. Then finally, the third dimension, these are the rhombuses that are from our view if we were looking at it from this direction. This is really if you're going upstairs, this is the face, the surface that is facing you as you're going up. The sun isn't going to go there, is not going to catch the lights, these should be the darkest ones, the ones pointing in that direction. The easiest way to do the coloring would be to color one color going in the same direction. Now, I'm going to color one cube completely to turn the hexagon into looking like a cube. Then I'm going to just color in all the rhombuses that are parallel in the same color. I have chosen to work with highlighters. I'm hoping they're not going to go through the paper the way my alcohol markers would, but the markers would work beautifully. You could use pencils, even paint. I just want to use the highlighters, and I'm going to do the top where the sunlight is coming from in this yellow. Enjoying this nice, bright neon look as well, and they blend quite well. They're not the kind of highlighters that leave marks as you repeat. That's a really good medium for today, in my opinion. This is going to be my top nice bright sunny. Now, I have used waterproof outliner. However, I still will be careful not to catch too much of the black. I think in the end, I will decide whether or not to give it a different perhaps a glittery outline or something else, as I'm going with bright sunny golden colors, we'll see. To me, my second color will go here. I feel like this is lighter than that, even though they're just different. But I'm choosing to go with the orange this way. Of course, you might choose to just now, if I keep repeating the yellow, it's not going to go darker, I couldn't really achieve this look with just the yellow. But perhaps with another one with another color, you could I've gone over a bit there. You could potentially layer this to go darker. I'm not sure in my case that I can. You could then for the last one, maybe maybe go orange on the last one and then the yellow could go over the orange one to blend and create that middle shade. However, I'm just going to go with a third color, and that's going to be pink for me because to me, you know, high lighter colors are quite standard variety of colors, and I want you to be able to use whatever you have. But usually we get not red, sorry. Usually we get green and blue. I don't think green and blue goes with these two for that kind of sunny color. I'm going to continue with All the yellows going this way. All the rhombuses that point that way, and I'm going to do this with all the three colors. The three dimensional look is now complete with three different colors. The lines aren't perfect, so I don't want to leave them black. I've decided to go with a copper sharpie or bronze because just to bring that light from the sunshine. If you want to give it an even deeper three D look, you could consider maybe highlighting the middle, at least the top tiles, the top faces, as if the light is shining in the middle of that surface, possibly with white pencil, a blender marker, anything like that. I'm leaving it as it is because I like the bright neon look. It's different to every other day and I enjoy the different look. My sharpie is very deep and even if I flip over my ruler to avoid touching the surface of the paper, this is still going to smudge. I have to have a really big thick ruler for this to work, which I don't have right now. I'm going to do the outlining by hand. It might be less accurate than what we have here, but it will tidy up the edges. I'm going to go very slowly and carefully doing these parallel lines. This time, I'm going this way rather than that way, so I don't smudge anything with my hand. Okay. Okay. I definitely helped straighten some of the edges and some of the splashing out of the highlighters as they're quite thick when you use them. I think it was more opaque than I expected it. It's not a sparkly, but it certainly gave it that complete look, it's almost like a wire along the edges of these cubes, and I think it goes really well with the neon colors. If you need to give it some more shading, that's fine. But I think we had to make a choice as well between doing it by hand and taking off slightly that crisp geometry versus smudging it. I didn't want to risk smudging it and I think that's fine. Most of the corners where the outline from previously, most of those got fixed, but I can see here. I've gone a little bit too far out. I need to make sure my pen is working right. And I can try and rescue that just a little bit of white gel. I do have other white pens. You need to try and see which one works for you. I have a white paint pen, which is the silver and gold, which are great, but the white one, I never find opaque enough, I just always comes out see through and doesn't cover anything I want, so I don't really use it. I'll try to t this. Just here, I can see a bit of the black outline. From before and any other tiny little smudges that I'm not even necessarily from that. You don't have to do this. I don't do it for every single piece of work I make is just this helps. Now, see if I've gone a little bit too wide as well like I have here, I can just very faintly and gently, correct that. Once that's dry, just gives you that nice final uniform feel. That's it. Pyramid of three D cubes for base six is done. 16. Day 7: Isosceles Triangles - Transferring: Hello, today seven. For today's design, we're going to go a little bit more detailed. As we go along and choose more lines that we haven't used before. The shape begins very similarly to yesterday's when we started off with the outlining of the star and then making the rhombusis. But then we will add something to that. I'm going to start on this diagonal bottom right. Just like yesterday, I'm going to highlight just the outer two segments of this length. Then in the middle, I'm going to go over the inner two segments only. They're the ones that connect the inner two vertices of the small hexagon. And then on the other side repeats from this diagonal, where I've got the two outer segments. Then we're going to repeat the same on the diagonal is going from top to top left to bottom right, just the outer two segments. Then the middle two segments. And the outer two again on the third line. And you can see that star shape shaping up on the outside, and then repeat the same one more time in the three directions that we started from the inner edge and outer edge again. And I went over the middle by mistake. Just as I was about to tell you that we've just created the same six rhombuses as we did in sitting inside this star shape and they're all pointing out in different directions. Now, the extra detail we're going to add today are another three diagonals and they're the ones that go through the long diameter of the circle. Going vertically from edge to edge through the middle down. Doing the same on the side diagonal, top left to bottom right through the middle and one more time in the third full length diameter that we have on the grid. You will see now that from the six rhombuses that we're already there, We created we half them each. Now we've created 12 isosceles triangles, length of the triangles are equal, and the third one is longer, and they repeat all in different orientations. Now I'll trace the outline. In this design, we want a solid line because we want it to be exclusively made out of those triangles. As I complete this shape for the first time with a solid line, which will be part of the actual finished design, you'll see now that we're actually adding six more isosceles triangles that are the same as all the other ones on the inside that we created initially. In each hexagon, we have 18 triangles, and you could see them as groups of three triangles together making that large equilateral triangle. The six groups of those triples. I have found halfway of my page and have that initial horizontal line, and I'm ready to flip my tracing paper and align it. The center of the shape will go on top of the center of the page and the back line there will help me align the full tile this way. You can flip it the other way if you like. Whatever you do, that length will be longer than this length, because this doesn't quite go to the edges of the circle that was originally there. So it's up to you whether you want longer length to go vertical Actually, I have come with my longer length length being vertical, and that was the same orientation as when we did it initially. I'm going to transfer the first tile here, then I'm going to transfer to either side. I think this will be three four lengths, will be my width. Then I'm going to go up and down and then decide where to stop the top and bottom because as we said, three times this way might not quite fit this way or it will leave a lot less space up top and bottom since it's higher. I'm going to do almost three by three and then see what goes in between and at the end, decide on an overall shape. I do feel like I want to see some right angles because I see some angles here. We haven't really had a rectangular shape. I'm hoping for one like this because that also lends itself well to doing an abstract background with some detailed outlining. Okay, I like this outline, three full of the shorter length tiles going across. Not quite three going up. They would fit, but this looks a little bit closer to a square, and even though it will leave a few unfinished triangles on the edges. I think I like that look. I'm now going to go over with the ruler, so to make sure that all the lines are nice and straight and parallel. I'm going to go straight in with the waterproof fine liner because I can see the lines quite well. You might want to go over with a pencil before, but I can see them quite well. Once I've done that, I will delete it underneath the pencil marks underneath. 17. Day 7: Painting - Burning Lava: Oculus triangles are ready to paint. For this section, I'm going to use some orange abstract background paint. I'm visualizing something like burning lava like fiery. I'll probably have a bit of black as well. As usual, as I see it as I go along. I also have some sea salt. The big crystals are going to help us create some texture, and then possibly a toothpick or something sharp, which will help us guide the paint in certain ways. Let's not forget to protect the page afterwards. We will definitely need that. Very importantly, the masking tape mine is really wide. I shouldn't have really got one that's too wide, but I'm going to frame the page in the hope that none of the paint goes below. And beyond this border that we've created, it never quite perfectly works for me. It's always spills out a bit, but that's okay. I'm sure we'll find the way to discuss and see how we can possibly fix it if it needs fixing. There are a few different ways to do that. I usually find that for me, the issue is at the joints of the different pieces of the masking tape. Even though I go end to end, to do the vertical sides gently aligned before you commit. Once it's stuck it's stuck, even though so this is usually where I find water can go. So I advise you to go over that edge where it overlaps to emphasize that. If there's a small gap there, the water will find its way out going down. Also here where the overlapping piece goes on top of the other because otherwise it could find its way there. Also be very careful not to attach to something else that might tear off at the end. Putting water in all of them. I want just a few different shades, possibly some metallic as well. I'm pretty sure I will want some black patches here and there just for contrast. I'm going to start at the edges at the corners across, that's a good base color. You could always add more water after. This is what I'm planning on doing. I'd rather add the water after. I already feel like adding a different color. Try this more Bj opera orange as bright or earthy color. At this point, I don't mind whether it's uniform or not. I don't mind whether it's differs in intensity or not because of the other textures and layers that I'm hoping to add. Okay. Okay. I quite like the edges to be crisp and intense in color and then on the inside, it can vary. Again, I don't really mind. Now, I don't want any visible marks. I've got a little bit of fluffy, which I can remove with my tissue. That's good. Now, I'm going to dab a few bits just to create a bit of texture with water with quite a watery brush, different one more point. I'm going to go with some bright orange. This is a neon orange color. Okay. But I also want it to be to drip. I want it to be Water enough to spread. I'll do this in a few different places. It's better to actually have fewer bigger blobs, I find. Of course, we can create even more texture. As it's still damp, but not evenly not throughout. I'm now going to put some salt and usually people use salt in different ways, but a common way is to just leave the salt to do this thing. I like to do a few additional I like the big crystals for this. I also like small table salt, but for other we're using it in other ways. I'm going to let this just for a few moments to stick to the page because I'm not only hoping for the salt to absorb the paint from where it's landed. One thing I really enjoy about using salt is where there are clusters. I enjoy putting new extra color in between and seeing where the paint goes because the paint is now restricted by the blobs, the crystals of the salt. They might move a little bit as you put the paint down and you might think, that's just gone on top of it. Well, yes, but also underneath. Where the paint is underneath, it will create more of a contrast between. Okay. What's already underneath, see how the background is getting lighter now. But the new blobs of paint that we put down will be more contrasting than if we let it just sit as it was. I like that it creates almost another layer altogether. Another thing I really like is if you leave the salt crystals, especially this size for a long time, they will glue to the paper as it dries. Of course, we can scrape them afterwards. That's fine. But it does leave that sheen from the crystal. It's almost like a metallic a metallic splash of paint once you've done that, so I do enjoy that. Now, I'm going to add, I like that the neon is definitely working through and creating a bit of contrast, even though it's such a similar looking color. Now, I'm now going to go over with the black. It doesn't have to be black, but I like that burnt effect. I want it to be quite watery. I don't want to make the water blacks. I'm just going to drop some water on the brush itself. Now I'm going to very carefully. Put some black here and there. If you feel like there's an imperfection somewhere, that may be a good place to put your black. Notice the more water there is on your brush, the more the black is willing to travel. Here is where I feel that using a toothpick can be a really interesting way. Now you can use it even without this. But I enjoy seeing how it can guide the paint might not even need it because this is what I was talking about before, the paint can only go through some of You don't want this to be too structured either. You don't want it to look like an octopus. Well, unless you do, but in this design, I don't think I would. I quite like this, which is less structured. I don't want to overdo this, but that's what I was saying that it can be a nice way of just letting the pain travel. If it goes to structured and you don't like it, just put another blob of water on top, which is what I'm going to do now. I'm going to actually just put the blob on top of the brush, and then go in other places where I think. This isn't really spreading. For this one, I'm going to go back to my toothpick. Because the background is dried here, it's not spreading as much. Now I'm going to clean up the brush and do that with this color. If you feel like some of the black is too much or not spreading quite the way you want it, then that's a good place to put some more lobs. But this is how I like it. This of course, as usual, it's a bit unpredictable, but I like that. Okay. And if you feel the intensity of the color is too much, then you can also use tissue to die to help with that and I'm definitely going to do that here. Yeah, and even once more because that just is just like a black cloud there. Okay. It's pretty good. Okay. Okay. And this could be repeated as many times you like and with as many different colors. I quite like this. It's actually transferring quite well. Of still some salt. I'm going to put some of it back in here. Okay. Now, I'm going to add some metallic, I think copper gold, anything like that will go. Um and I'm going to go on the edges of the black because that should create some decent looking contrast. Now it's a too if you want to go on the side where there's hardly any color or more color and moisture. Of course, the amount of moisture is going to change the way the paint is moving. Where it's drier and there's less pigment, it stays, but it's like here is traveling more. I think that is beautiful color. Do you like seeing how the gold just runs into the black? That is a very nice. The black is quite thick somewhere too. That's what I like to see. That's useful for skies and all sorts of things, but also in my opinion, nice abstract. Designs like this one. What I'm going to do is go in with a thicker gold pen first, and then I will go on either side of that with my fairly thin black outline. Okay. The outlining is now done. Make sure to wipe your ruler. I like me, you used the edge of a ruler. Okay, I've completed the outlining with the black marker. I did it by hand towards the end. There was a lot to do. I like how it's emphasized the structure of the geometry. That is the first week of our project. Okay. 18. Day 8: Right Triangles - Transferring: Hello to week two A eight. Today, we're going to trace every single line that we've already drawn on the grid. It's got more and more detailed as the first week has gone on. Yesterday's Isles triangles will get split in half and it will create twice as many right triangles, which are much, much smaller now. It'll be more of a detailed one. After we trace that, we're going to decorate it accordingly because it's a very small scale. I'm going to trace first those diagonals. One, two, three, from one end to the other without any interruptions. Then the vertical lines. And the outside is going to be part of the design, so we can have a solid line because they're part of the little triangles. Then the middle. And the other side. The diagonal. Now I'm going to turn the page this way and repeat My page is ready for transferring and aligning the tile. But before that, I've used the smaller template as I have been doing to try a few different things. Since it's so small, I'm going to go for coloring only every tile or doing two separate colors in the same fashion as a chessboard. That means every shape, even though they're not square, Only touches another corner of a colored shape, but not an edge. They don't share an edge. There are no two adjacent shapes that are the same color. I'm thinking either red and white or red and black. I'll see how it looks. I'll do the red first and decide whether I need more. It's very detailed. I was trying this shape, it was too big, and then I came up with this shape. This is what I'm aiming for the smaller one. Let me just align it better. You can see the a full tile in the middle and then less than half on the other six sides. So this is what I'm going to do and then outline it. I ended up adding just a few more lines around the edges than I anticipated, but it's still that kind of look that I was imagining. It is now ready to decorate. Okay. 19. Day 8: Colouring - Chess Board: As I mentioned earlier, I was visualizing a chessboard effect where every other shape is colored and the neighboring shapes, they don't share the same edge of the same color. I'm going to use this to help me and I'm going to start with a red marker. Like this. I was thinking in which way to go, what systematic way I can start to color in. There's not really defined columns. They're all in different directions. I'm going to start with the middle hexagon, the smallest one in the middle and start from this. I'm going to just focus my attention on this hexagon, which is split into these 12 triangles. I'm going to start in the top right of this that's such a nice vibrant color. Top right of this hexagle I'm going to go in wise direction. Skip one and go to the next one. So all the ones that have the longest side opposite the right angle, pointing on the right down at the moment. No. This layer is now also done, and now I'm going to continue with each pair on the outside. I'm just going to continue rotating layer by layer to ensure that I don't get it wrong or out of sync. The coloring is done. You can see at the very last minute my concentration lapsed and I went from here to here and it's a mistake. I'm trying a different white pen than the gel pen to see if I can fix this. I mean, most of them are solid white, not solid. I'll let it dry and then see if I can do another layer of it. In the meantime, the other imperfection is this line here because I originally did a shorter line, then I extended it and it didn't align very well. I'm going to check if I can disguise the black mark inside this red triangle with a fine liner, which is the same color. Now it doesn't cover it. I almost emphasizes it. In which case, I do like it white. I'm not going to color in these black, but I also do like the black outline. I think it gives contrast between the two. If the red had worked here I might have covered all the different layers in red. But I will probably just go over this with a slightly thicker liner on top of the lines that already exist. So this is dried and not covered up completely my red. I'm going to try the pen I usually use, but that might just move around the paint from below now. I'm not sure. Yeah, it's just It's just removing the paint that came from this pen. I try another layer. More of a generous one, see if it can create a solid. More of a solid kind of look. I mean, when it's wet, it looks okay. I'm not sure how we will drive. I'll try this a few times. We'll wait for it to dry and then I'll just repeat the black lines just to tidy up. Okay. I've gone over the black line in there. I'll just zoom in. Okay. With the red just to try and cover that up, and I am going to do a few white imperfections. The spin is better than any other one. I've used for corrections. I do feel like I have to repeat a couple of times, but actually, that is now the original mistake and it's actually much better. As long as you make sure the previous layer dries, otherwise the next layer just moves the paint below it and it just exposes the imperfection. Okay, so in the white part, I'm going to try and disguise this. That's certainly helping to be very careful. This is a bit thicker so harder to control. Thin pen line, this will be perfect. I'm going to wait for it to dry and do another layer of the white and I'm actually not going to repeat the black lines because they're quite consistent as they are. If I repeat them, I risk not aligning them as perfectly and doubling up just like I did there. I don't particularly want to go with too thick of an outline because actually I want the shapes to pop and not the frame like we did yesterday, the frame was more of a focus, so that it's different. I'll be back once this is dry, then we'll see whether it needs any more work doing. The paint is dry the white paint marker. I think it looks really good. The red there is almost covered up that double black line. The white there has worked really well. I will just join in this little black is missing just to give that crisp edge of the two triangles. I've tied up most of the edges. I'm actually really capful with this and I will leave it as it is. That's the eight complete. 20. Day 9: Rectangles - Transferring: For the nine, we're going to trace out some rectangles, but we are going to rotate the construction grid 90 degrees such that the longer width of the hexagon is now horizontal. Go to cover this with tracing paper and there are some hidden rectangles there that we can trace out in a triangular arrangement. If I start with this diagonal here, I'm going to trace that from this corner to this corner. Now, if you see this one length further in both at the top and at the bottom of the line we just did. Now we can draw another parallel line to the original, which is the same length, going from this vertex to this vertex, just like this. And we're going to do the same but pointing towards the left. From this point, we're going to connect it with this vertex here, just like this, which is now parallel to this outer edge. Okay. And on the bottom, we'll just connect those two vertices. It will make a large equinatural triangle, which is one sixth of the area of the four hexagon and it's parallel outer ridge as well. Okay. Now we're going to complete the rectangles by drawing the two shorter sides on each. This is one of them then and another one to parallel shorter sides, just following the grid underneath. That's a third of the four line underneath, and finally one here. Essentially, we have three rectangles and they are creating some negative space in between. One type of triangle, the equilateral triangles in the middle. But also on the outer edges, it's now making some smaller isocles triangles. We're going to complete the hexagon by just outlining the outer ridges that we haven't done yet. But in a solid line because they will be actually part of the final design. The idea is that once we replicate this tile, at the end of every rectangle, there's going to be a small triangle attached like this, and at the end of every triangle, there's going to be one rectangle like this. We don't really want two rectangles back to back, that will just create another rectangle. This creates more of a movement and more different shapes. Three rotated rectangles with triangular negative shapes. We finally need to trace just mark where the center of this shape is to help us trace it. Now that we've found the center of the page and drawn the first line, we can trace it. You have an option whether to do this way or this way. I feel like I prefer the triangle pointing upwards, overlap the center to that point, and these two vertices should lie on the line at the back behind this shape. That will be my first shape I trace. And then I will surround that by six more before I decide on my final shape. 21. Day 9: Painting - Patio Paving: The outline is the and this is ready to paint. To me, this reminds me of a driveway or paving patio, and these are the paving slabs. This is what I'd like to emphasize. For the rectangles, I want to go with very pale mixed colors. I'm going with my slightly less intense water color set. I'm going to go with a few different pinks, a light blue and purple. I could add more, but for now, this is what I'm going to do. I'm going to pre mix them this time because I want to be able to directly match them and mix them up. I feel like the pigment here will take a little bit longer to release. I will prep four of these with some water. I want it to be pale, but visible enough like the mixtures visible enough, so there's the first color. And we won't need that much to cover this amount of space anyway, so perhaps that's enough of this color. To just go for the other pink. Perhaps I should have started with this one. They might not be the colors you associate with paving or the floor, but it's not exact. It's just an inspiration. I have a vision in my head, how it should look. And because they probably some of the largest shapes we will have created during this project, I feel that blending a couple of colors would just be a nice thing to do. Night blue. That's a very nice shade of blue. You said does have a nice variety of colors this more. Finally, a little bit of purple, not too harsh, not too dark. These aren't going to be quite watery anyway. You can test the shades and decide whether or not they are the right intensity for you. But I'm happy with it. I know I can just add more water or more paint if I have to. So I'm just going to go ahead and start creating. Okay. So I'm going to just randomly go with one color in a different rectangle, and I'm sticking to the rectangles. And notice on the edges, there's four of them I. So I'm roughly placing some colors here and there. I want the pink to be my main color. I'll just do a little bit of blending later on different shades. I don't mind whether they blend in or whether they end up being a gradient. So I'm going to start blending now. Just gradually and just make sure it doesn't. Just add a bit of water as and when you need to. I like this brush because it goes well with the right angle, the edges. Now let's blend and in the end, we can always add more color if we feel like there's not enough of certain shades. I made a mistake here with the line. It was a bit too at one point. All of this will get re outlined for sure. At the end to tidy up the edges to give it a little bit of definition in the edges and a little bit of sparkle. Yes. This one felt like it was getting a bit dry than the rest, so that's why I jumped over here. There's no rules. You can do it however you like. You could take a smaller brush. It's flushed. You could take a smaller brush and be much more precise at the edges. But I want to do the main background before I worry about the final touches. Okay, I'll let it dry, and then I'll be back to paint the rest in silvery. Okay. This is now dried. It may not be the colors you associate with this, but it's how I visualized it, but I really like how it dried. Now I'm going to go with a finer brush for all the shapes in between, and I'm using a silvery gray, and I feel like this will be ideal in between. Need a little bit more here. I'm using the pink water. It doesn't matter. That could be now as pale or as dark as you like it. For me, although I associate the rectangles with the pavement. More than yellow shapes. I wanted the color that I associate with that in between. These will look a bit like stone or something I imagine on the floor looks this color. I'm doing both types of triangles in this color. I do see a little shimmer. I don't know if you could see it and I don't know whether it will dry with shimmer. We could always add some silver, white shine, but I actually don't need it to be overly Overly shiny. There's no need for it to be overly shiny. But I do want it to also be not too evenly painted because I want that kind of stone slab effect. This is now completely dry and the texture is exactly how I wanted it and visualized it. It's how I imagine and see actual pavement. They're not completely flat on top, so the color isn't exactly uniform. You could notice how some of the angles and edges aren't perfectly colored. All I would do now with a very fine brush like this one, just dip it in the water and very lightly. Notice here, there's absolutely no pigment and here. Just very gently. Don't even worry about which colors in which shape. You could start from the one you are, but see now this corner is pink. I wouldn't want to do too much of this because I don't want to get rid of the texture, but I'm literally just filling in gaps. This is ready to outline completely dry. Now I want to give it shading with a mid gray color. Again, I like to imagine that the sun is coming from above. That means that all the edges that are facing down that are going this way. The light will be blocked by that. Underneath that, there will be a shadow. So all the lines that are going in this direction parallel to this edge. I will give them a dark line underneath. So I want to go parallel this line. It's these three lines of the first ones. So I'm going with my lighter gray because I can I can layer that. Okay. Now let's see where the next line is. It's those three. This one. This one. This one. Now, we will go with these diagonals. Again, in the same direction, but it's slightly more tilted, so here. G here. Basically, the left hand side of the big triangles. Where is the next here? If you just focus on the triangles, you'll find them easily. Then those three This is the whole thing finished, Day nine complete. 22. Day 10: Reflected Pentagons - Transferring: Hello, it is day ten today double digits. Today, we're going to find some hidden pentagons in our grid. The first thing we're going to trace is the small hexagon in the center of the bigger one. Go around these mid points. This one third, this one third, I'm going in parallel lines. This middle one third. And it's parallel. From this point to this, and the horizontals. This line and this line. Then we're going to go with the shorter diagonals. This is not from the vertices of the bigger hexagon, but from the midpoints of the edges of the outside hexagon. We're going to go from tracing that line from edge to edge, but we're only going to outline the parts that are outside that hexagon. So these two segments and the same on these two sides. They're starting from the vertices of the small hexagon up to the midpoint of the edges of the larger hexagons and across as well. Here we've already created six pentagons surrounding the hexagon. Now we need to also split the hexagon inside into pentagons. There will be reflecting the three here. This one, this one and this one. If you visualize how this one is pointing this way, now it'll be pointing this way, going inwards. From the center of the small hexagon, we're only going to go up to the middle of the top edge and stop there. Then do the same in this direction. Okay. And in the third direction. Inside the small hexagon, there are three pentagons. Then inside the big hexagon, there are six surrounding the three in the middle. Nine. As usual, I'm going to outline the edges. The edges are part of the pentagons, therefore, we want to solid line. We've got the centering already and we've got the edges that are showing us where to align it once we found the middle of the page of the sketchbook. This is ready to transfer. I found the center of the page and I looked at the template and I wanted to see how else I can arrange those pentagons. At first, I was going to do this rosette, the green one, which is quite big. Then I thought, it must be a way to actually have a pentagon since we're doing pentagons. I'm going to outline I try two different sizes and I'm going to go for the bigger size here. But as usual, it's easier to just put the middle tile surround it with six more and then we'll outline what we want to keep, delete what's outside. This is now ready to do. The middle of the three lines will go in the center of the page and the two horizontal segments need to lie on the horizontal line behind it. And I'm going to transfer the seven times. This is the final shape and it's ready to paint. 23. Day 10: Painting - Marbled Mosaic: For the painting session, I have decided to go with a few different greens and I'm going to paint each individual pentagon with a variety of green shades. Some are more different than others. I will include a little bit of shimmery yellow and light blue, turquoise color, and I will pre mix them in here. As the shapes are a bit more faded today, I have zoomed in a bit. The way I will paint this today, I will paint inside each shape, but avoiding smudging the pencil, therefore, leaving some space between the paper, the white space, and each of these edges. I'm going to paint each of these individually by blending any combination of these for each individual pentagon. Once it's dry, we're going to rub off all the pencil marks and it will leave this naturally looking white space in between, which it won't be as perfect as using masking fluid, but I purposely want this technique today. I wanted to look almost like a man made mosaic, which won't be perfect anyway. Sometimes they'll be a few rounded off edges that aren't perfect. If they really aren't great at the end, we can rescue it by either outlining each tile with green or using our white pen to touch up the corners. Let's start. I'm going to start from left to right, and I'm going to start with this color. Now, on some of the edges, we had to cut off some of some of the shapes. On the edges, one before pentagons, but the idea is exactly the same. Then using a different color to the other edges. Then depending on how intense you want the color, you could just blend it with some water or just with paints do the neighboring one. It's up to you how much space you want to leave. Okay. The blue is now blending really well with the green. And so if you want a bit more intensity of some of the color. You can. I want all these same colors in a variety of ways that are blended in. I'm going to go to the one below using a different one. You might want to do a gradient, but I'm looking for something the neighboring colors aren't exactly the same. Neither in the shade nor in the intensity. I just want a variety. We will get the opportunity to do a gradient of one color in a different Dsign? It's nice how even on the brush as you go over the page. It's nice to put it change color even when you just draw a single edge. It and straighten this. Again, as I said, the corners, the vertices of these pentagons won't be as defined as if we outline the Another technique is to outline lines on either side of the construction lines. But I want it. This way. Like I said, we can tide it up in the end. I want it to look a little bit more random and cobbled than let's say the paving stones from yesterday. Let's see how that will go. If you want to add intensity, can go back to the paints. You could go a one size smaller I'm using one, but definitely could go with a zero as well. I just think that this kind of size that we're using right now is perfect for this technique. I like a variety of ways. There you go. Some can be very pale if you like. And some can be darker. You could start from the middle as well, go dark and do most layers going lighter to the side or the other way around starting more defined at the outside and going in between. With this one, I'm not doing that on purpose. But it is definitely a nice thing to do. That will be a mistake here and we'll fix that at the end once it's dry. Inside the pentagons, if a mistake happens with the color, I would suggest fixing it with a wet brush or in some water. But if we've gone outside and we don't want any pigment there, don't touch it until it's all dry. And then at the end, we will use a bit of white to fix that. Okay. And I'll continue to do this. Until I've finished. This one so far is probably my favorite. Completely dry and raised. I raised the outside lines as well. I want the definition to come from just the tiles. It wouldn't make sense to me to have the gaps in between, but to border around not to say that it wouldn't look nice. This design, I choose not to. I will try to fix a few mistakes with my white gel pen. This could also be done with white paint or a white paint marker or acrylic marker. The first mistake that happened was here, and I Okay. Think that's fine. Some of the other edges could be perfected, but I don't want to do too much of this because I want the natural texture of the paper. In a couple of different places, the paint managed to blend as they touched while it was still wet. As much as that actually creates beautiful effects, it's not what I wanted for this one, and not for most of them. I feel like I've missed a few. Okay, so there's a little bit here that can be fixed. I'm not going to be too precious about it, but I will just separate these two. Otherwise, you could go forever now and try and be a perfectionist. Like I said, if and when I do want more straight edges, I tend to outline with a pencil on the inside of the construction line, and then that makes it easier for me to keep to a certain shape. This I want it to be a bit more free hand. The shadings I really like, that's not particularly working well. You could I'll try it with a slightly thicker pen. But I don't really want to go over everywhere. Yeah. I'm not going to do any more than that. White pencil might work quite well actually instead of paint markers, white pencil. This really thin line here. I'll stop because I like the look of this. It could be another opportunity to do just white lines entirely, which is just a different look. There is another thing you could do if you want it to similar to when we tied it up the edges in the rectangles yesterday, you could take a brush and either in a little bit of pigment or water and I'll go over the edges of these. I don't want to. I think it's beautiful. It's what I wanted with the colors that I wanted. To me, that is ten complete. Okay. 24. Day 11: Convex Kites - Transferring: Welcome to day 11. We are going to make some kites today. Initially, the tracing begins very similar to yesterday when we made the pentagons. We're going to start with tracing out the small inner hexagon from the points making the smaller middle line segments around the center. And then similar to yesterday, at each corner of our small hexagon, we're going to extend the little line segments on the outer edges. I wasn't being very accurate here. Okay. On this side to this pair of line segments. We're starting to shape yesterday's pentagons. The third one is here. Yes yesterday, we divided the middle hexagon into three further pentagons. The difference today is in the big hexagon, we're going to join opposite corners all the way through the middle, just like this. Here's one way. Here's another way and the third way goes this way. What that's done now is divided each of the pentagons into two halves, which are kites, but it's done the same thing in the middle. Six in the middle, 12 on the outside. As usual, we're going to trace the outside of the tile because this is part of the edges of each. The final two parallel lines to complete the outer hexagon. By now, you will see that the possibilities are endless. Because the tile itself is hexagonal, it will tile perfectly. But what you do inside, there are so many choices. I might want to tie up a bit. The tile is now ready to transfer. My page is ready in the sketchbook, I found my center and my horizontal. Now we need to decide what outline we'd like to do, what contour or layout. As usual, I've looked around the template with my thinner piece of tracing paper, and I've come up with several different ones. I was considering this orange one, that's really spiky. The pink one lends itself quite easily because it makes those hexagons pop. But then I was thinking, I want to I'm making a it made out of kit that would look amazing, and just looked at the lines and it is possible to trace it, which is great. This is the central tile here in orange that I've repeated on top, meaning that we would need the usual six around that or parts of the six around that plus a little bit on the top there. That's fine. I want to go with this. The only thing I've noticed is since the kite is even shape vertically, that the top part only includes two radius lengths. Whereas the bottom part is three. If I align the central tile, the first tile in the middle like I normally do, then it wouldn't be in the middle of the page. We really need 2.5 radius lengths to be in the middle of that. I just need to remember to align using this point, not this point. In other words, instead of aligning with the usual mid center, I need to go halfway down that. That's okay. Instead of doing this, let me just flip that. Instead of doing this, I just need to just shift that up, translate it to use the correct word. That is now my midpoint and these two line segments and these two corners should align with the horizontal line behind it. Now we're ready to transfer as usual. I will surround this by six other tiles, and then a little bit extra on the bottom, and then we will look to find where those kite lines are. The transferring is done. This is now ready to outline. This is the middle and I had one, 2.5 full length of the radius going up, one, 2.5. If you look at it as two small hexagons and a half. I've put little points there to remind me that part here, half of this is equal to the sides on the top, one full length, another and a half at the top. Then these will just join in, so I'll start from where I've drawn my points. It follows on these lines that are already partially there. From here to here and again on this side. I feel like this line can be straightened out a bit. Then these two are a bit easier to see. I quite often find it helpful to put tiny dots on the ends of the line segment that I'm looking to emphasize because it can be grids can be busy drawings, and it helps you just pick out the bit that you want. Here we go. This is our ready to start decorating soon. Now I'm going to delete all of that stuff. I'm going to re outline just this and the inner with my waterproof fine line. The shape is now ready to paint, perfect it with the same amount of space on top and bottom because we lifted it. 25. Day 11: Painting - Flying Kite: This is now ready to paint. What I'd like to do is to create a gradient of one color that goes from darker to lighter inside the kite. To protect the edges, I'm going to use some masking tape. Now, I want to go with purple. It's my favorite color. We haven't used it in a little while, but I will mix up a couple of different shades, but I also can vary the amount of water that I'm putting in. No. I think that will be enough now to get started this and I'm going to start horizontally top to bottom. Here we go. I'm going to add some more water here without adding pigment. More even. Okay. I want to blend this out. As the paper underneath is dry, this will need a bit more blending if not. Now I'm going to do the very bottom with the biggest amount of water possible. It's very pale, and I'm going to work this upwards now pushing the pigment away. You could even use a little bit of tissue on the bottom to out some of the pigment. I'm going to add more the top. This is quite a fast technique because you are doing a large surface area quite quickly. And you can layer it depending on how depending on how intense you want it. Okay. Repeat a few times until you're happy with how smooth it is and how intense. With the dry brush, I'm just going to go like this because I don't want to see these horizontal lines. That will also help define the ends if they aren't already and still have that intense color at the top. Okay. Like I said, if you wanted to dab some across the bottom, but I think that's actually exactly what I was hoping. This gradient here I'm quite happy with. Here, the dark part of it isn't quite as dark as I imagine this color would be. I'm just going to add some at the very top. As it's drying as the rest is drying, hopefully that pigment and the top will stick a bit more. Yeah, that's what I was looking for. At the top. The paint is now dry and ready to peel, going to carefully lift off the masking tape. In the opposite order to to how I laid it down. Slightly at an angle. Pushing the surface might help. That protected the page quite well. So this. That's a good darkness of good definition. All right. This is the finished product. It's a bit patch in places. That's probably not my most pigmented paint, I didn't use my paints that are usually more intense. Maybe that would have been a better choice. You could go with a very slightly damp tissue over it or again, another layer of paint with the brush if you want to, I'm happy with it. My general idea was for it to go from light to dark. Now, for the actual lines, I will go over with it some gold pen. I'm going to outline it with a gold pen and then decide whether it needs slight shading and some imperfection fixed. I will see whether I want to give it some darkness for three D, or a little bit of white perhaps. For some contrast, I'll go with gold first and see how that looks. This is now complete. I outlined it with the gold. I had to repeat in a couple of different places to cover up the black. I was considering whether to have a very faint thin line with white to make it each individual pop or some black to give it shadow. But I actually think that will take away from the background, and I'm really interested how the gold looks different on top of each shade. So it looks shiny and wonderful on top of the light and the medium and it pops into the dark color. That's why I wanted it. Not complete anymore. To me, that is day 11 flying kite done. 26. Day 12: Trapeziums - Transferring: Hello, today 12. Today, we're going to trace out some hidden trapezoids or Tropsiums in our grid, which aren't very obvious. The first thing we're going to do is split the hexagon into six big triangles by drawing the long diagonal, three full diagonals in three directions. The last one going this way. And this is now six equal and equilateral triangles. Now what we have to do next, and it's not obvious because we haven't drawn those lines there. If you get your attention to the middle of these two triangles, there's this point there and there. We're going to align our straight edge across those two points, the middle of this triangle here, bottom left and top left. It's where these lines below intersect. Now in the top triangle, we're going to draw a line, vertical line following the ruler from the middle just to the edge of this triangle. We're going to skip the next triangle. There's nothing there, and then repeat the same on the lower one from the middle to the bottom edge. We're going to trace out the edges at the end. This triangle and this triangle should look identical. And we do the same thing on the other side, the parallel pair. From here, the lower half of this segment, skip this middle triangle, and then the lower half of this segment. These will look the same. Now we're going to repeat this by rotating 120 degrees. Skip this one, but come to this corner here like this. We started here, we turned not to the next one but to the one after, that's 120 degrees. And we are doing exactly the same now. From that point and that point, we're going to align the straight edge, lower segment only, and repeat for the parallel segment, lower segment. Again, we'll turn not here, but here, that's another hundred and 20 degrees. Repeat the same thing. Here and here, and then the parallel pair, here and here. Yes, they are meant to match like this. This is now back to the original orientation. We've basically created three smaller hexagons on the edges inside these rhombes. Now, what we're going to do next, we're going to align our ruler going by these two points. This point didn't exist before, but it does now. These two points, so that will be parallel to the outer edge and only do this segment here. This one here and do the same on that side, aligning these two and only that's the lower segment of the middle triangles. Now we've completed this every one triangle we split into three identical trapezium trapoids. Next, we will turn it this way. Again, another hundred and 20 degrees Ali now we have three points there. Lower segment of the middle. These points these two points here, lower segment of the middle. You can see that for the first time today, we're actually choosing extra lines that weren't even on there. We could add a lot more lines to our grid and pick more intersections. This is showing you how you can create more and more ideas and designs even if they're not obviously there or you can just keep adding. The lines you add and intersect, the more new shapes can appear. That's a really good technique. It's a never ending thing. We're going to align these three and that will complete. This little hexagon and it's parallel here and that completes the whole inner part. You could see that we've created three small hexagons on the edges, and then three in the middle, there's so many different ways to see it. I'm just going to outline the outside because this is part of the trapezium, it will be a solid line, it's the full design. Now the entire design is made of rotated trapeziums which join in different ways. You can think of them as triangles, as little hexagons. Each trapezium is half of a hexagon or a third of a triangle. You could see now that if you look at the grid behind, we picked out lines that weren't there, but from intersections that did exist. Now you could also see what would happen. You might ask yourself now what would happen if we trace these new lines and some of the ones behind. It will create more other shapes and some smaller depending on how much you choose. I could see lost small kits in there that could get created lots of things. More and more ideas from just the same tile. This is now ready to transfer. You could do it in many different ways. I prefer to have two of the smaller hexagons on the bottom and one on the top. I found the center of my page, which aligns with this. Then these two intersections should lie on the line below behind. As usual, I will transfer six times around the original. I might aim to make a big hexagon, so I'll see how it comes out. This is now ready to outline with the fine liner. I'm going to stick with this hexagonal shape. The pattern is now completely ready to be decorated. 27. Day 12: Colouring - Stepping Stones: We can start coloring this pattern now. The way I see it, I really want to give it a three dimensional feel. For every three shapes, I want three different colors pointing in different directions. All the shapes that are at the top of each triangles, like this one, this one, this one, and so on. I will color in with light blue as if the light is hitting it and that's my lightest color. All the shapes that are coming in from the right like this one, this one, this one, and so on. I will go with dark blue, and all the other shapes from the sides, the other side, the left hand side is going to be my darkest one, I'll go with black. It will look like stairs or stepping stones. Similar to the cubes that we did a while back, but not quite the same shape. Now, the difference here is that every alternate triangle has a different configuration. Every other one is identical and it alternates with another type. So they will be colored in slightly differently. So I'm starting on here and I'm going to color in the top trap sid. I'm being careful at the edges, but I'm pretty sure that at the end, I will want to re outline the complete pattern. So if a mistake happens anywhere at the edges, it's not a big problem. It can all be fixed. Now I'm going to skip this one and color in the same one on all the alternate triangles. Now in the alternate triangles, where the shapes are oriented in a different way. Starting at the top, this shape is at the top. I'm going to color in these shapes on all of the other remaining triangles. We're ready to go for dark blue now. I'm going to start from I just realize the missed one here. That's fine. Two even. The ones that I want to go for next, in these types of triangles, where that ones there, I'm going to go with the one trapezium on the right hand side, which is just below the light blue one. Like this. Then on the alternate ones, I will still go to the right, but it's oriented in that way. Now I'm going to go ahead and just color in all of them. The blues are now complete. The white looks quite cool. You could leave it like this. To be honest, if I had a third blue, I would go with a blue, but now I've committed to black. I don't have another one, and I do want that contrast. All the remaining tiles, they are on the left of each triangle, I will make those black. The coloring is now complete, I really like how when these joined, they are really intersecting with each other now, it's given it an even deeper three D effect. I'm now not sure whether outlining it as I was originally splitting everything into trapezius, will take away from this effect and I can't make a decision. I'm going to use one of those thinner tracing papers again to decide whether or not, I want to split the shapes. If I was to split the shapes as they were originally, it would be something like this. I think it may take away from the color as opposed to keeping them this way. I think the way that they intertwine this way is really nice. So I'm going to not outline in the middle of each color. I'm going to just outline around each color. At the joints, I'm going to go over with the paint markers again. The outline is now done. It's beautiful and shimmery. With the blue sparkly pen, I really really like these gel pens. Now, I'm going to go over some of the joints where I decided not to because I joined the shapes. So I'm just going to just fix a few little imperfections just by doing this. And if there was anywhere where my outer line went too far, I can fix that now. I've missed one line here. I'll go back to do that line in a minute. So the light blues With the dark blue. See here, I've made a mistake. Very carefully. Put in the corner in a little bit. And then just do the same at the joints. Trapezius, which are now stepping stones, three dimensional shaded, all complete and beautiful. This is the 12 Cte 28. Day 13: Rotated Pentagons - Transferring: Hello to the penultimate day. This is the last day we're actually tracing anything because tomorrow we're going to construct the shape from scratch. Today, we're going to make some pentagons, but they're slightly different. They're not actually as big as the exterior of the full tile. Firstly, we're going to trace the diagonals on the inside of the smaller inner hexagon. We're going to go from this point to this point through the center to the other side. And then the horizontal. This will start to look like the rhombuses on date two. Now this is where it's going to be different. Now, we're going to create some lines that aren't there yet. We're going to align the mid points of the exterior edges of the larger hexagon from here to here. We're not going to draw the line. We're only going to draw inside this small triangle here just like this. And the parallel. Allign with these two points, the mid points of the outer edges, but only draw inside this triangle, do the same on the others. Aig this here becomes this and it's opposite, it's parallel here. Okay. Finally, the horizontals. These segments that we're drawing now are going to be the outer edges of these petals that we're going to create pentagonal petals. Now you might be able to see it. We're going to join all of these together. So these two. This edge skip here and this one. I might as well do the parallels top two edges. To this side in this way, just the outer two segments, and it's parallel. This is interesting because it's a pentagonal tiling, but we can create it from getting into a hexagon. And it's known as the floret pentagonal tiling. There's only a few pentagons that tessellate without gaps and overlaps, not the regular ones, these are irregular with different kind of angles. This is the shape. Unlike all the other days where we've always traced around the outer edge of the original hexagonal tile, this is not what we're going to do today. This is going to be the full size of what we're going to transfer. I found the center of my page. Here is the tile. I'm going to just trace the first one and then show you the different ways you can add more tiles to it. Okay. Now, previously, we have been doing shapes next to those and it created these negative spaces. But today, we're actually going to insert those into the negative space. I'm going to create six more by doing this around the original by just fitting it into the gaps. The beautiful petals are now done. I'm only going to delete the horizontal line, and I'm not going to outline with anything else on top because that doesn't actually have any construction lines that we don't need. Except for that line. I'm also thinking that I want to color this in watercolor pencils and I'm not 100% sure yet whether I want to outline the each petal afterwards with a gold pen or anything. I might just want to leave it with the watercolor pencils. Therefore, I don't want to go with anything that won't get covered up by the color lining with anything else. Just going to go and start decorating. 29. Day 13: Colouring - Fabulous Flowers: Our flowers are now ready to decorate. I'm going to use a mixture of orange and pink to do the petals, and then I will add water as and when to make some color stand out more. I'm thinking of alternating each petal going from pink on the outside to orange on the inside and then the other way round for the alternate once. I will start with orange and define the outer rage the most a little bit here, and then I'll do this on the alternate three. You could go really pastel and gentle on these colors and when you add water, they will go a bit more live, but they could also the intensity can be taken away with the water, which gives you that flexibility of how to change the look. You can also add a little bit of pencil on top of the damp to add any more definition on certain parts if you want to. I'm going to blend out with a little bit of the lighter orange here. Nice sunny colors. And then towards the center, you could leave a little bit of white just like it is now, that looks nice. Towards the center, I will add a bit of pink just like this. And maybe blend it with this color. If when you blend it, you think there's not enough definition, you can repeat with any of the other colors. I actually quite like that white glow in the middle. I won't add any more color to that, I don't think. But maybe some definition here. These little details can be added later. Now, I'm going to do the alternate on the other three petals when I start with pink on the edges. You could see why I didn't want to outline. I want that to go away. I want just the color. The definition is, I think, pretty good without needing an outline. But of course, we can make our minds up when we see it finished and dried. But for now, to me, because of the alternate leaves, petals, the alternating color does give it that definition on the edges. I don't want to go too pink on this. I still want orange to be my main color. This is more of a peachy pink. I really very pink? Again, this will blend out as much as we wanted to. Then I will add a bit of that glowy orange here in the middle. Add a bit of definition. And I will repeat this six more times. The filling in is now done, the shading is done. This to me, turned out really pretty in its own right, and I'm glad I only chose two colors. Okay. I'm going to go over the orange first. I'm only going to define the edge for now. I want to make that more intense by just leaving the water on there, it will create more of a contrast. If I blend out too much, the color will disappear too quickly. I'm first doing all of those edges. Then I'm going to gently go over the rest of those petals. The more you drag water across the paper, there it will blend out. I want a gradual. You don't even have to go over the entire petal. See, now it's starting to dry though it may need some blending anyway, but I wanted that intensity of those Yeah, I like that definition on the edges, especially on the outer ones. Unfortunately, I feel like we are not going to get away without outlining because of the pencil, but that doesn't mean that. We can try and outline with the same pencils first once that's complete with the color that we actually want. And if that doesn't work, then we can outline with anything else. I mean, I will never say no to a bit of gold. But I was enjoying the variety of this project. The different look every day. So I'm going to try and be as accurate on the edges as I can. Not relying on the outlining as much. Saying that that's not the best one. Now I will just gradually blend out. Yeah, perhaps I'm not going to blend out the entire leaf because I was enjoying that white space in the middle, whereas now the contrast is lost by quite a bit, so I'm going to just. And have less water. That will help. If your brush isn't as water it, it will help to not wash out as much. But also, we don't want any harsh lines, so I'm just going to add a bit of pink later on here. The other ones are looking better. Yeah, I think we'll be outlining later. That's fine. The orange is now blended. I'm going to do the pinks next. I'm just going to add a gentle golden outline, and then I'll see if anything needs touching up at the end. But first, I'll let it dry. Pretty flowers are done. I don't know if you could see the shimmer, shimmery golden, pretty, beautiful. That's day 13, done. 30. Day 14: Recursive Rosette - Constructing: Welcome to day 14. This is our last day of our two week geometric sketchbook challenge. I'm sad that it's the last day, but it's also one of the most exciting patterns because we're not tracing today, we're constructing from scratch. Now today, we need to find the middle of our page, but we need a vertical and not a horizontal line. Do the same thing that you would normally do but measure top and bottom. Mark you half -10.1, the same as before, and find the center. Now, this is a recursive rosette. It's a circular design, which means the first circle, the bigger this is, the more layers we can get. I'm going to go with a radius of nine because that will take give me about a centimeter on either side, and it will give me the biggest amount of space possible that I have. I'm going to use this compass. It's becoming my favorite. It's really good and sturdy, full circle. Then from both intersections, we're going to just mark two arcs on both sides of the lower half of the circle and then do the same on the top. This is where the six vertices of the hexagon would be. Now we need the outer hexagon. What we're going to do is immediately go into triangles by connecting every, every other corner. Can do parallel lines here from top to bottom. Then these two in reverse. Then these two use the pencil to help you and it's parallel. And the twoztals. Now, what that's done is that it's created a smaller hexagon in the middle of the two triangles. Now we're going to keep repeating the process by connecting those corners, every other one, creating three smaller triangles on the inside. Now here though they will alternate their orientation compared to the outer one. Let's go with two parallel lines here. And here. To go in this way. They basically go halfway through between the previous these outside edges. It's parallel. And this pair. This is the second layer we've added. But the second layer, all it's done is completed the round of this is good that it happened. This is completed the first round of rotations because it's those kits that are actually what is going to repeat over and over getting smaller and smaller going inwards. The second layer completed the round of. Now we've created a new small hexagon, we're going to go into the same thing again and now the orientation will go back to the original. We have these to horizontals. So from the top corner of the small inner hexagon to the bottom right. And it's parallel. And the third pair goes this way, from the top corner and parallel to the outer edge. And it's parallel this side. This third layer completed the second round of. We have one layer here, the next layer here. We'll continue that for as long as we can. Let's continue on the inside. We need this diagonal. The vertical lines. That's the third layer D one, two, three, I think four is realistic on this size. I was hoping for maybe six, but I don't think that will work because once we start decorating it, it will be nearly impossible. Let's complete the fourth one. That will be fine and then see where we're at. But if you are working on a bigger size, you might well be able to go to a fifth or even a sixth layer. So there's the fourth layer of kites. I will make one more, but I'm not convinced that it will be we'll be able to use it or see. Let's make it anyway. Yes, I'm not going to go any smaller than that. We've got one, this size, two, three, four, five layers. If you look at them, they can almost be looked at as a spiral going in and leaving a bit gap in the middle. Next we need to outline just and then delete all the marks we don't need. And we have a complete outline looks beautiful. It's made out of kites, but it's clearly a hexagonal design, and if you look at one, two, three, four, five, it curves into it and it creates a little star in the middle. Now we're ready to go and start decorating it. 31. Day 14: Painting - Rainbow Rosette: The rosette is now ready to paint completely outlined. I've decided to go with red, orange, yellow, green, blue and purple at the top because it's my favorite color. I'm going to put some water on the background first, especially since it's quite a large surface area, and then paint it like a spiral. I'm going to go with each smaller kite underneath on the left hand side. I'm going to start with the purple and I'm going to try and emphasize the left hand edges of my kites. To give that curvy look. I'm going on that edge right now. Let the water take the pigment and spread it. You can go as light or as dark here as you like. I enjoy the different texture and different intensity of the color. I'm going to now blend it from the other side with just a little bit of diluted water, diluted paint, and just blend it along. I do like how the middle is already got color on it because the water is doing its work. I blending at the bottom at the edges, but there is a bit of a solid line in the middle. So you might leave it this way, but you might want to blend it out a little bit more in the middle. I feel like the contrast is a bit too sudden. So I'm going to just spread this out a bit. So it changes a bit more gradually. Again, there's no rules here. It's whatever you like. Yeah, that's blended in better now along the edges as well. So I'm going to go in the kite underneath, lower left. Again, a little bit of water and try not to touch the edge above so that it doesn't blend into it doesn't bleed too much. So I'm going to emphasize the vertical line. I really like it when the paint is so dark, you can really see it travel. With some of the light colors, it looks different. I like to emphasize that bottom left corner as well. It's a right angle and it just looks really aesthetically pleasing for me, and then just a bit less pigment on the other side and gently blend. Careful here along the edges. We will outline this afterwards, so it's not a problem if some bleeding happens. In fact, you could color the entire curve that's created by all five kites, all in one go. I'm just choosing to do them separately. Now here for the next and the next three, I'm going to go with a fine brush. Much finer tip. A little bit of water, but not too much here. A lot more will go a long way. So again, emphasize the left hand edge. And the lower left right handle. Just tidy up a few bits at the top. Once you've seen how the paint is settling, but still wet, you can add or emphasize different parts. Just here. That's looking great. Very nice shadow. Plan from near the side. There's probably enough pigment here to spread, yeah. Tidy up the few little corners as well. And the last two, I'm really liking this purple but then again, it's my favorite color and my favorite paint that I have, especially on wet. Okay, that's plenty enough color for that amount of space. So just emphasize the edge. This brush is perfect for this. The smallest one, I'm not going to it will travel too much otherwise, and then just blend them. I could blend those together really. I just emphasize the sides. I'm emphasizing the sides and slightly underneath. I really like that. A curve made out of straight lines. It's a really nice illusion. Yeah, I really like that. Now, this is almost drying, not completely, but it's damp. I'm going to avoid painting on either side of it. These are the two colors I will skip and I'll paint every other one. That means skip the red and then go straight to orange. I'm just going to turn this around and do exactly the same with orange and then skip that and do exactly the same with the green. Using the same technique, the same order emphasizing the edge. Now, the paint here is almost dried because that's what we painted first. So I'm going to go in this order with red, then yellow, and finally, the blue. By the time I get to the blue, that will be dry. Here's the final finishing touches on the blue. I do like how the blue is drying as well. This is all dry now. It can be outlined. I'm going to do one final gold outline for the last day. On the smallest parts I might do by hand. Just shade in the beautiful little star in the middle, just to make it pop. That would also look really nice in black or something dark. You could go darker as you go closer and closer to the middle and make it look a bit like three D like a whirlwind going deeper in the middle. But that is now fully. This is all dry and outlined and shimmery, the little star is looking fantastic and dry as well. It's glistening. I do want to fix a few imperfections, especially where the paint is spilled over. And I'm just using the white paint marker, and I'm just going to dab it across possibly a few times, let it dry and repeat a few times. Our rainbow for day foe, two week geometric art challenge complete. 32. Conclusion: Thank you for joining me in this project for the last two weeks. I hope that it gave you the opportunity to explore some new techniques and add creative ideas to your future practice. I hope that you found it interesting to learn more about shapes and how to create new patterns and incorporate them into your own artistic style. I'm very excited to see anything you created. It is by far the most rewarding and satisfying part. So please publish your photos here in the project section and share them on Instagram at maximum dot art. Let's keep spreading the love and joy of geometric art. Thank you. Okay.