In zentangle there is a form to go into for certain reasons. You have your pen, tile, pencil and tourtillon (stompfer). There is a ceremony, a ritual, to start with. The slight dots in the corners, the pencil-line that binds the corners together and the string. Why is that? I have learned it this way: to do the same thing, use the basic material, to start in the same way, is a prevention against planning. This helps to keep focus and not to worry, just be in the flow. But when it comes to travelling tangles, what is happening? There is a lot of color, almost no string (?), almost no dots in the corners or pencil-line connecting the dots. I thought of that today finishing Crystal Kieloch´s tile.
Where to start? What to do? I almost started planning something. Then I started to think of all very young students I have met. When I gave them paper and other stuff to work with, they didn´t start to think what to do. They just started with the pencil or whatever they had and let the paper get filled. No planning. They had access to their inner life and that came out while they were drawing or painting. And the result was always satisfying! But this process was easily destroyed or very much disturbed if they were aware of certain expectations from their teacher! So I had to be very careful not to interfere with their creative process!
Thinking of all this I took a deep breath and looked at the tile again. The patterns already drawn was my string! I placed my brown pen somewhere and started to draw auras letting the "string" guide me.
I was so happy doing this, because it worked! I just went on and on! When I was finished I felt satisfied with the process and I could appreciate the outcome! It was a golden moment. Crystal had started with Printemps, Bittersweet (Crystal Kieloch) and Rope. I added auras, Meer and Ruutz (Eni Oken).
This evening I made my daily tile. What came out was a monotangle with Crezendo (Pam Hartz Miller).
String 160 (Lianne Woods). It is what it is and I loved the process. So simple as that!