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clear. Typically, white highlights are created with a white soft pastel pencil, but I prefer to shade with the white colored pencil. Pastel pencil rubs out easily. It can smudge away from the surface of the tile if rubbed against anything. I do use the soft white charcoal pencil to draw the string on the black tiles, lightly so I do not create much dust. Whereas on the white tile the highlights come from the white of the paper, on the black tiles the shadow comes from the black color of the paper. We create depth on the black tiles by using a white pencil to create not just the highlights, but to graduate the highlight out to create form. The more pressure applied to the pencil, the greater intensity of white left behind. On a black tile, practice creating a graduated scale with each type of white pencil you have. Glue this tile into your sketchbook with notes on how each pencil performed for you.
    The first tile is done using the Micron pen and pencil. The second tile is drawn with a white Gelly Roll pen, shaded with a white colored pencil. The third tile uses a Soufflé pen and charcoal pencil for shading. The last tile is drawn with a Glaze pen.
    Create a black Zentangle tile. Use the white charcoal pencil to draw the string. Draw the tangles with a white pen. After the patterns have dried, use the white pencil to create the highlights.
    This tile is a re-creation of the white tile from the chapter introduction. Notice the shift of the pattern’s tonal values created by changing the background paper. Hollibaugh was the darkest pattern on the original tile and is the lightest on the black tile.
    PATTERNS WITH A high-key tonal value when drawn on white paper become a low-key value when drawn on black paper. Working on black paper with patterns created from a lot of line work such as Amaze shift to high key and the open patterns such as Poke Root are now low key.
    These are the same patterns used in the value scale on white paper. Only Knights Bridge is in the same spot on both scales.

DAY 10 LESSONS FROM A LANDSCAPE
    MATERIALS
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Micron 005 pen
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Micron 01 pen
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2H or 2B pencil
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sketchbook
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white tile
    Artists’ value scale is much narrower than that found in nature.
    Guest artist Angie Vangalis’s background pattern decreases in size the farther it gets from the focal point. To enhance fading in the background, the areas near the focal point were started with a Micron 01 pen. As the pattern was almost two-thirds complete, she used a smaller-tipped Micron 005 pen.
    ALTHOUGH WE ARE NOT actually going to draw a landscape, we are going to study how they are composed and then apply those principles to our tangled tiles. Compositional balance is achieved through a balancing act of shapes and their surfaces. Every shape has a visual weight. A shape’s visual weight is affected by size, location, tonal value, background value, and emphasis on its contour. A familiar example of this is a landscape.
    Landscapes create depth by gradually diminishing color and shapes as they recede into the horizon. The focal point is placed off-center in the forefront of the composition because it is closer to the viewer. It appears larger than the background shapes. Shading is darker and more defined on the focal point, while it fades with blurred edges that diminish on the background shapes. Physical weight anchors a composition and creates a visual balance with the light, airy atmosphere in the background. This effect can be used to create depth and compositional balance with the abstract shapes drawn on a Zentangle tile.

Daily Tangles
    Try these three tangles. Finery is a very light-toned tangle. For the best results, focus on spacing the lines evenly when drawing this pattern. Echoism moves the eye through a Zentangle tile. I think of it as an abstract path leading the eye through the piece. Turn your tile when drawing the grid for Flukes.

    Practice Finery, Echoism, and Flukes in your sketchbook until they feel familiar.