It's hot and humid outside, not my preferred weather.  Demotivating. 

However, I see the value of "warming up" in other contexts, like when doing any kind of art.  Warming up = doing anything mental and/or physical to get oneself going.  Even sitting down for only ten minutes when there is supposedly NO TIME.  Here's last night's warm-up below, a quick tangle done just before sleep, inspired by the Sunday night Tangle Time with Amy Kam.

This morning I noticed I didn't want to meditate.  Not. At. All.  So I applied the warm-up idea to meditation, telling myself that I only had to sit for ten minutes.  And reminding myself that I could look right at the resistance the whole time if I wanted to, and that everyone has resistance at times.  I did, and of course discovered that I easily meditated for my entire usual time (way longer than ten minutes) and enjoyed it.

Yep, warming up...I may not like it when the weather does it, but it's pretty darned handy for the arts and for meditation.

After warming up today, I did this:

I'm not sure it's finished yet.  Probably is.

This was my second try at drawing Tisoooh (see my first attempt HERE) and I could not believe how much easier it was.  So much easier!  I want to continue to explore. 

Thanks to my friend Susie Ng in Thailand, who actually tried the same video I described in my previous post about it and then went good-crazy into experimenting with Tisoooh on her own.  You can see her amazing results HERE (scroll down until you find them but prepare for a visual feast along the way).  Susie is a phenomenal artist, as you'll see!

A kind neighbor brought these marigolds in a tiny bottle.  She collects old bottles and also grows flowers.  A wonderful combination.

I could actually have given this post a much longer title.  Something like:  "Kind Neighbors, Marigolds, and Other Favorite Things."  Too long.

Finally, a quick late-night tangle I did last night after watching Amy Kam's weekly Tangle Time.  The tile had been given a watercolor wash years ago.  I added the tangles (Gneiss, Black Pearl, Crescent Moon, Shattuck), along with colored and chalk pencils and graphite.  I threw in some white gellyroll.  And I still couldn't sleep--however I didn't wake up this morning until almost nine.  Oooh, a lovely sleep after all.  Once it actually came.

Today more than a hundred CZTs from around the globe gathered online with CZTs in Singapore to do an hour-long meditative tile on behalf of those who have suffered from Covid-19. 

These were the same CZTs who last year donated $10K US and this year donated $12K US to Covid relief efforts as a result of their two very successful and well-run schools for tanglers.

What I loved about doing it, though, was that 3 or 4 different CZTs from the other side of the globe led us all through an hour-long meditation in which, as we drew, we focused our compassionate attention on anyone who has suffered from Covid.  They did a superb job leading the meditation.  I so admire the structure they've created to support humanitarian efforts.  Thanks!

And now for the tiny treasure.  Yesterday I went to my local bead-and-jewelry-repair shop to get my watch battery replaced.  While waiting, I spotted this wooden box, which is no more than about 1 1/2" square.  With what appears to be a tangled Turtle on top.

In fact the box is so small I had to take a picture and enlarge the photo in order to see the fine detail on the turtle, which just blew me away.  The top of the box slides off so smoothly it's just a marvel of craftsmanship.  It's so small that I cannot imagine what to put inside. 

This continent was originally called Turtle Island by the First Nations People, and I still call it that.  I am very fond of turtles and simply couldn't resist this tiny masterpiece.

And this leads us right back to the meditative nature of the turtle:

Here she is, the icon. 
The original. 
The exquisite.





But since nothing is sacred these days...

She apparently was photographed attending a party shortly after posing for Leonardo.

This is her "riotous party smile."

Uh-oh.  I know this is a sacrilege, right? 

But what fun to try.

Romi Marks had a wonderful workshop called "Zenovating the Mona Lisa," and since I'm in full-on learning-and-practice mode I wanted to take it.  My motivation actually was learning to tangle on photographs, especially on photographs with a lot of dark areas in them.  I want to try this out on pictures that I've taken, and I knew there were tips I needed to learn first.  Romi is a marvellous teacher and I learned a lot doing this.  Next I want to try some of my own photos to see what I can do.

So many art opportunities, so little time.

This was my interpretation of a well-done class by Vandana Krishna, CZT in Bengaluru, India, as a part of the Artifex series I mentioned in the last post.  While I'm not sure my version actually looks like a magnifying glass, I really enjoyed the process. 

On a night when--for no obvious reason--I simply could not get to sleep, working on this tangle was relaxing, fun, and absorbing.  I have occasional bouts of sleeplessness, and am so glad to have drawing to occupy me when it strikes.

Here's how it looked when I finished the linework, and then on the right is how it looks after adding some color and shading.  There's currently a big boo-boo in the center of the tangle (I'll probably fix it at some point), which I left in place for now.  You can see it in the large version--a misplaced black line.

I love the life lessons I constantly learn from Zentangle®.  This was another big one.  I set out to draw one thing, ended up getting hopelessly lost, and by the time I finished the preliminary linework last night and forced myself to stop and go to bed, I was looking at a hot mess.  I didn't think it could be salvaged.

But this morning I just had to keep going to see what would happen, and ended up with this--which I quite like.  [Although it does bear a resemblance to "St Patrick's Day on Steroids," don't you think?  But that's ok, I like it anyway.]

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Here are the details for you tanglers out there (no need to read this part if you don't tangle--it could be boring for you):  I fell in love with an Emiko Kaneko CZT video (HERE)* and thought I'd give it a try.  But I misunderstood what it was:  She clearly labeled the video "A Tangleation of Tissooh," but all I saw was "Tissoooh," which is a high-focus tangle by Tomas Padros CZT that I've always wanted to attempt.

Emiko made it look so easy that I was sure I could do it and learn. 

Well.  I did indeed learn, but not as she intended! 

Mine has some resemblance to hers, but I ended up with a lot of weird space in the background, and things are not in the same places as on her tile.  So did I learn a lot?  You bet.  But now I need to go back and find a simple stepout for ONLY Tissooh and have a go at that one tangle--this tile combines Tissooh with something like Bales, Tripoli, and Orbs.  However, I do love my outcome.

For years I've heard that it's lways good to learn by copying the masters, and Eri is certainly a master of this art.

For me, the biggest learning is that no matter how bad something looks, it's highly likely that it's worth it to try and save the thing.  Or as the I Ching would say: "Perseverance furthers."

*Thank you to Susie Ngamsuwan for catching the fact that I'd attributed this tile and video to the wrong CZT.  Wow, much appreciated.

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Note:  I've been doing a LOT of copying lately, along with watching videos and going along with them.  I always credit people as I'm copying.  I'm on a mission to learn from a wide variety of tanglers whose skills I admire, and if that means I am copying for awhile, that's ok.  It's a powerful way to practice.

Here are three quotes about copying as an effective tool in learning art:

It would have been the equivalent of Jackson Pollock's attempts to copy the Sistine Chapel. (Malcolm Cowley)

But Shakespeare's magic could not copied be;
Within that circle none durst walk but he. (John Dryden)

If my students seem to copy me when they are learning, that is good. It shows they are listening and trying to do what I tell them. They will develop their own style soon enough. (William Draper)

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Finally, I took these two photos only one minute apart.  The first one, on the left, was taking on a white background in indirect daylight.  The second one--using the same camera with no setting changed--was taken a minute later on the blue background and in direct sunlight.  WOW--look at the difference!  It might as well be two different pieces, but it isn't.  Isn't that incredible!  It never fails to amaze me how light and a different color in the background can make the same thing look totally different.

PS:  The one on the left is the actual coloring of the tile.

Looking out the window this morning, I noticed the back yard appeared to be covered in light snow, but of course it was merely cottonwood puffs adhering to the grass. 

Everywhere.

It's that time of year again, when we have a blizzard of them floating gracefully down to earth.  As I look outside just now, I see them coming down at the rate of a snow-squall, despite the late spring warmth and the heavily leafed-out trees. 

From what I recall, this goes on for weeks.  Two weeks?  Three?  This area was (and still is) a major source of poplar wood.  The leaves of the poplar (another name for the Cottonwood) are somewhat heart-shaped and may have inspired the following tangle.  Or not.

This was inspired by a class from this spring's "Artifex Eruditio," (Latin for "Art Learner").  Actually the class sample looked absolutely nothing like this--I went entirely off-road as usual, so mine doesn't look like anything that was taught in the class.  I did some of the line work yesterday, more this morning, and then added color this afternoon. 

I am not usually fond of using hearts in my pieces, so I'm blaming this on the fact that it's Cottonwood Season.

The most closely-watched trial in this country in a long time ended today, with three guilty verdicts.  Perhaps this signals the beginning of some kind of reckoning for racial injustice in this country.  There is so much work ahead.  I put my head down and sobbed when I heard the convictions--relief, and sadness.  All mixed in.
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Allow me to change the subject completely, as I do not want to get into the habit of posting political thoughts--that's not the focus of this blog.  So there was another ending today:  I finished this rug, which I've been struggling with for quite a while.  I had one color scheme in mind, and it didn't work out. 

Not. At. All.  Which meant I had to rip out a large proportion of the rug, think about what else might work, and then re-hook a large proportion of it.  I did, and just finished binding it today.  Next I gave it a good steaming and took a picture.  Tonight I'll sew on the label.  Hurrah!

The pattern is by Pearl McGown; I believe it's a very early design of hers, done while she was still in her "geometric phase" and before she started designing the florals for which she's better known.

I did the color planning--much trickier than it sounds, as I mentioned above--and of course I did the hooking using largely #8 strips (with a few 6s and maybe even some 5s) from my stash.  I bought a few scraps, but nearly all the wool (some of which I dyed) was from my stash so this rug didn't require more than perhaps a total of one yard of new wools.  If that.

There was a LONG period as I worked on this where I was aiming only to "get it done," thinking it was so ugly that I'd never want to see it again.  But now that I've changed the colors and done a lot of re-hooking, I like it.

My "Duncan" was inspired by one I saw in 2009 at a rug show of the late Lida Skilton Ives' work.  The show was held at UConn in Storrs CT and the "Duncan" Mrs. Ives did stopped me dead in my tracks--I fell in love on the spot and knew I would hook it one day.  Gee, it only took me twelve years to start my own version.  Mine doesn't resemble hers one bit, but she completely inspired me.  Thanks also to my friend Kathleen H who, when she saw the photo of the Ives rug, told me it was a McGown pattern--I would never have guessed.  And Kathleen had already hooked her own version before we ever met, and since then has hooked a second one.  Phew.

The beginning?  Time to begin cleaning up the mess the production of this rug generated.  And to begin a new rug.  I have just the one, ready to put on the frame.

Here is the "mystery" from yesterday--solved.  Joanna Quincey of Zenjo taught a quick class on Teabag Tangling  Now you know what I was doing with that mess of teabags in my previous post. 

(PDS:  thanks so much for collecting for me, since I don't like or drink tea!  I have enough to keep me going for a while.) 

Jo is a terrific and inventive teacher.  Here are my first tangled teabags.

Massively fun to try out!  Thanks, Jo.

Here is the "before and after" on my first Ecoline Watercolor Map Tangled tile.  I'm curious to look at them side by side.  Is the tangled tile an improvement, not as good, or is it about the same in its appeal?  I had my doubts about tangling on it as I loved the plain tile.

I like them both but think I'm favoring the tangled one.  Which surprises me.

Thanks, Annie Taylor CZT for great tile prep instructions and fun class!  I loved the room you gave students to use whatever tangles we wished, while making good suggestions.  And for your linguistic talents at teaching simultaneously in English AND Spanish!  Wow.

"If you've heard this story before, don't stop me, because I'd like to hear it again." --Groucho Marx

After taking the class with Nancy Domnauer, during which we prepped and completed the tangling on three tiles (I only showed two of those), I spent just a few minutes the following day to produce the two UN-tangled tiles above.  I'm learning as I go.  People get obsessed with MapTangling, and I can absolutely see why.  It's a surprise every time; results are always unexpected and ever-changing.

Just like our day-to-day lives. 

But with MapTangling, results are likely to be beautiful every time, even if tangling on them can turn out to be tricky and challenging.  That's half the fun. 

Now, if I could only learn to be as calm in daily life when presented with a challenge as I am while doing this.

Here's a tiny tile I did just before bed last night.  It took about ten minutes.  This was done on a Bijou tile (2"x2") which I'd prepped a background on earlier in the day.  This is simply more linework from one of Jo Quincy's lovely soothing videos, just what I needed before trying to sleep after a wild couple of days in my life.  Once again I combined a video from Jo with my own "take" on it, by using MapTangling.  Ahhhhhhhhh.

To finish up, here's an iPhone-app "distressed" version.  I can never resist those iPhone apps.

I noticed my British friend and teacher extraordinaire,  Jo, has a YouTube channel (why didn't I know this before?) and I took a look today.  She did a lovely job demo-ing one of my old favorite tangles, Betweed.  I've loved this tangle forever and used to use it all the time.  Why did I stop?  Like a lot of things, it just passed out of my consciousness at some point and I haven't done it in years.  What a welcome reminder.

I had time to experiment this afternoon and decided to use her video to do this monotangle version of it.  Soooooooo relaxing.  But rather than do it plain, as she did, I used a tile I had previously prepped for MapTangling, and used that as a technique.  Well then I couldn't leave well-enough alone so I did some shadow work in a couple of the negative space surrounding the motif.  This was totally fun.  I liked the depth and subtlety.

Ah, but I thought I might run it through an app on my iPhone to see how it would look.  Holy crow!  It went from subtle to glaring.  You had better wear your darkest sunglasses for this version below (altered by the iPhone app).

Once I start playing with the iPhone to alter a photo, it turns into a project all on its own.  Using another iPhone app, I came up with all of these:

There is something to be said for each of them.  Besides, it's so much fun being able to play with alternatives.  It's even more fun greeting an old friend--this tangle--one I haven't seen for awhile. 

I imagine we will all feel that way once the pandemic is over and we are able to see each other in person again.  We can Zoom, and that's helpful, but to be able to spend time with old friends and hug each other again...priceless.

Yes, it really looks this way. 

This exquisite photograph of the Grand Canyon at Sunset was taken on the Martin Luther King Holiday, 2021, by Michael Quinn, a fabulous National Park Service photographer who has lived at the Canyon forever. 

I think it speaks to his heart.

It certainly speaks to mine.

This is the result of a truly wonderful class with Stefanie vanLeeuwen this afternoon <@tanglestudiostefanie>.  There were students from Canada, the USA, Holland, Germany, the Carribean, and Spain.  We had such a good time and I certainly learned a lot.  I'll be trying this method again with other forms and colors. 

Every person in the class produced something very beautiful--the sign of an excellent teacher.  Stefanie had everything extremely organized well in advance. 

I chuckle when I contrast the sense of control I have with colored pencils to the lack of control I have with watercolor; see yesterday's post for more on that.

Art is truly endless learning. 

"Regard everything as an experiment," said artist Corita Kent.  Words of wisdom.

Or should that be, Rusty AND Tricky?  I did some watercolor yesterday and today and wow, was the it ever hard to handle.  What a mess!  The result is fun but not particularly good--I say that not to put myself down, only to say I can definitely get better with practice.  It's been about 3 years since I've done any watercolor practice, and it shows.  Did this one in a class by Sam Taylor (@Zenlapse on IG).

I'd gotten a new set of "tropical" colors and couldn't wait to try them out, so I tried them out on this warty fish:

It's just amazing how that darned water can get away from me.  Or I would assume something was dry, only to discover it wasn't...so then I'd have one color running into the other.  Or I put my hand down to draw something and would feel that sickening wet feeling under my hand--I'd forgotten that part was still sopping wet and now I'd smeared it.  Yikes!  Hilarious, however.

Watercolor requires patience and plenty of mindfulness.  Looks like it's time for me to cultivate both. 

I think I'll try doing another fish.

For years I've heard about Map Tangling and while I had some idea what it was (see below), and had really admired it, I didn't have time to figure out how to create it.  Today I took a class with Nancy Domnauer.  Great fun!  She's an excellent teacher.

Here you can see my first attempts.  We spent time preparing the tiles with watercolor (that's where the Map Tangling technique really applies) and then completing two monotangle tiles. 

There appear to be at least two ways to prep a tile by Map Tangling.  Nancy's class focuses on one.  I think there is at least one other.  I will be playing with this technique for sure--I know I can get better at it with practice.

a
As shown here and above, "Map Tangling" is when a watercolor wash is applied to a tile in such a way that the colored portion is left with ragged edges., and could be interspersed with lots of white space or just have white space surrounding it.  Only the colored space is then tangled.  The watercolor background frequently resembles the map of a continent or country--hence the name.

The process reminded me of gelli-printing.  There was lots of pressing going on before the tiles were done, and all results were inevitably surprises.

"Research is what I'm doing when I don't know what I'm doing."
— Werner von Braun

Every year at this time I find myself looking backwards.  And forwards.  Today I was doing some cleaning in my art room, and I found these 12-month-old-tiles below.  Bittersweet, indeed.

In mid-December 2019, I was just back from a wonderful weekend with a good friend at Kripalu, drawing tangles with Martha Huggins (on the left) and Molly Hollibaugh (right) of the Zentangle® family.  If this year had been normal, I'm sure I'd have done the same.  But we all know it was not a normal year. 

So here is a short review of some of the work we did in December 2019, with the fond hope that we will be able to do something similar in 2021.  Looking at these tiles brought back so many good memories for me.

And although I'm not a Christmas celebrator, I just happened to get some non-Christmas presents this year (the timing just worked out that they arrived at Christmastime).  Here are two that I'm thrilled by but haven't had time to try out yet. 

A friend is a gift you give yourself.
Robert Louis Stevenson

It never stops, the learning.  Here I'm trying to learn a Zentangle® technique called TranZending--a form of layering one pattern over another.  I've never really gotten the hang of this before, but am happy with how it turned out.  I watched one of ZenLinea's videos and followed along.  What I learned:  for one thing, even tho she suggests some very very faint white colored pencil guidelines to start, and I did make them faint, the wax in the colored pencil still acts as a "resist" and doesn't really get colored over later on.  Which is fine -- even promising -- if it's a design element.  But here it wasn't meant to be a design element.  Now I know.

I may try this one again.  Lots to learn, and I'd like to try the guidelines in graphite and see what happens.  Once I figure this out, I can apply to my own future tangle designs.
Here are the beginning and mid-stages of this piece:

Bubble Gum Pink Anything is always a turnoff for me.  However, I discovered a blank but watercolor-washed tile that qualified as  that shade or something really close.  Someone else had done the wash, and it was in a pack of pre-colored blank tiles I bought from a vendor at a Zentangle® event a decade ago or so. 

I wondered what, if anything, I could do with it when I ran into it yesterday.  The color was hurting my eyes (as you'll read below, the photo actually drained out most of the eyeball-popping bright pink).

Since I am so rusty and trying to get my drawing mojo back, I'm studying instructions from other teachers whom I respect, and Zen Linea certainly qualifies.  So I went to SkillShare and logged onto one of her videos and tried this on the Bubble Gum Pink tile.

Interesting to note that in the light available when I took this photo, the "Bubble Gum" quality of the pink really calmed down.  Trust me:  in person, the pink is MUCH louder than it looks here.  And the violet color is much more subtle.  So interesting how color can photograph.

But here's the fun part.  At the end of the video I was using, there was a list of projects previous students had done.  Not only was I shocked to see I had done this video before, but I had done in exactly one year ago today. 

I had no memory of ever having done it before.  Not only did I do it then, I did a second, alternative version the next day.  So this version is my third.  Pretty comical.

Here is the start of a mandala, just the beginning linework. 

I drew this last night while studying one of Romi Marks' videos.  I screwed up the center--but luckily, there are "no mistakes!" in Zentangle® and so I just kept going and did my own thing in the center.  And I like the way that came out.  I also changed a few things in the next layer.

This is one major thing I learned about drawing since I've begun to draw regularly.  In fact once I began drawing in the Zentangle® tradition it was resoundingly, repeatedly, and overtly reinforced.:  There are no mistakes--keep going and see what you can make of what is in front of you.  90-95% of the time, not only can you work through whatever is there but you can actually surprise yourself with a good result. 

It's the same in meditation.  And, I believe, in much of life in general.  What about that other 5-10%?  Anywhere from "meh, or disappointing," to a genuine catastrophe.  But still, those odds sound pretty good to me.

So I persevered and began adding color.  Big difference!  Encouraged, I drew the outside of the tile and stopped there for a bit, having worn myself out for the day:

And here below is the finished tile.  I'm glad I stuck with it.

Above you see one classic type of pretzel knot.  On the left, when you think of it, is another type.  Those are washed and dried worsted weight yarn skeins from my wildly successful bargain hunting the other day--twisted into the kind of gentle "knotty looping" that is useful when storing yarn.

I drew the tangled piece as a bookmark for a friend having a birthday next week.  It's inspired by one of Sadelle Wiltshire's very nice freehand-knotting videos and this is what fell out of my pen.  Perhaps I should do a Celtic Knot punchneedle piece with that yarn.  These knots are very relaxing to draw. 
And given the knotty problems facing us all right now, with the pandemic and a planet dealing the climate change, political messes and human rights issues, I seem to have knots on the brain.

With a bit more time now, I'm back into mindful drawing techniques.  This is based on one of Sadelle Wiltshire's classes.  More of this to come.  Very easy, very mindful.  And very small, hence the title of today's post.

I don't normally enjoy putting rugs on the wall--I prefer to walk on them.  But the colors in this one are so subtle I finally decided the wall would be safer.  It's all scrap wool that I had lying around.

I've also run out of room for rugs at the moment and may have to put a few more of my patiently-waiting rolled-up rugs on walls around the house.

Less than 3 minutes was all it took to hang this, once I had some assistance.  A very small amount of time (title of today's post), and something I've wanted to do for weeks.

Today I made it (with mask on my face of course) to a new shop called Swanson's Fabrics in Western Massachusetts.  I'd heard about it but hadn't gone until today.  It was large enough to feel safe inside.  Part of the time it was just me and the owner, and there were never more than 2-3 others at any one time, all distanced.
But oh, the treasures!  Kathryn Swanson, the owner, has more than fabrics; she also has yarns, threads, sewing notions, and braiding equipment. 

NOTE:  All her fabrics are $4/yard.  No matter what they are made of.  Seriously!  Cottons, upholstery and lots of other fabrics, and even wool yardage (the wools go out the door nearly as soon as they arrive--I grabbed 1.5 yards of the light colored wool you see above on the right, for $6 total).

And I'm pretty certain she mail-orders, so feel free to contact her and ask.

All of her fabrics, yarns, and notions are rescued from people's basements or from fabric stores or yarn stores that have gone out of business.  You could go one day and find nothing, and go back the next day and find tons of wonderful new rescued goods.

When you click the link to her website above, be sure to go to her "About" tab and read her mission statement.  I'm in awe.

I also got seventeen 100-gram skeins of off-white, 100% wool yarns, very high quality if a bit grubby from being stored for quite a while.  I'm pretty sure they were originally from Sweden.  Some are worsted weight and some are DK.  I can overdye them all.  Very exciting.  I cleared her out of these, however, so you'll have to find your own treasures some other day.

This was a Big Find, and therefore doesn't fit the title of today's post.  But I didn't think any of you would mind...

My goodness, isn't that a busy page!  Yikes.  But the Inktober challenge is meant to be an annual sampling of a wide variety of tangles, so unless I do each one on its own tile, it's always going to be an "eye-crossing" visual experience.  And this one is certainly no exception.

The process is really fun, though.  I get to sample things I might not have considered otherwise. 

A few of these have become new loves; a few really left me cold. 
A few that I've always had trouble drawing just smoothed right out and were easy. 
And a few that I know very well somehow turned into hot messes on the page as I ran into unexpected trouble with them!

Sort of like the experience of a daily meditation practice.  Or to quote Forrest Gump, "...you never know what you're going to get."

Meanwhile, our fall foliage season is rapidly winding down, but for some reason, this sugar maple didn't get that memo and is just getting started.  Sooooo pretty.

 
I am in love with the London Drawing Group, a trio of women dedicated to doing and teaching art.  When I saw this workshop on Matisse's cutouts--only £7 or about eleven bucks, and only 1 hour--I thought, what a great way to stimulate creativity.  So I signed up and had an absolute blast.  We made a number of cutouts in only 60 minutes, only a few of which I used for this photo.  Here's the black and white version from my phone before I ran it through the Painnt app posted above this paragraph:

But I wasn't alone in attending.  There were people from all over the globe.  Two of them were good friends from my rug hooking groups--I had contacted them to tip them off in advance to the workshop and they both signed up.  We all knew it would have immediate uses for rug design.  And it certainly did.

Here is the work of one of my buddies, Kathleen K., who also attended.  Rather than cutting paper, she cut her shapes directly from wool fabric.  I love her results.  She gave me permission to post this:

And below is the contribution from Lynda F, another rug hooking buddy who also gave me permission to use her photo:

"I wouldn't mind turning into a vermilion goldfish."
-Henri Matisse

I hope to fill up this page further, while still leaving enough white space.  Here are tangles from the first 11 days of Inktober 2020, using only a black Micron 01 and graphite.  I will likely need a second page to complete the 31 days without making things look horribly overcrowded.  This page is already far too busy but I don't care--the experience is such fun.

Most of these tangles are new to me, so this is really more in order of a "scratch sheet," for practice, rather than anything finished.  Inktober is a terrific way to get back in the game.  I've got a long way to go but I have to say that this kind of practice is a big help--and anyway, my primary motivation is always the relaxation that comes along with tangling, rather than the results.