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THIS WEEK YOU WILL NEED THE FOLLOWING - BLACK BIROS / FINELINERS / A3 PAPER

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THIS WEEK YOU WILL NEED THE FOLLOWING - BLACK BIROS / FINELINERS / A3 PAPER

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THIS WEEK YOU WILL NEED THE FOLLOWING - KALEIDOPAINT APP OR WEBSITE / CREATE REPEATS / UPLOAD ONTO PADLET

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THIS WEEK YOU WILL NEED THE FOLLOWING - KALEIDOPAINT APP OR WEBSITE / CREATE REPEATS / UPLOAD ONTO PADLET

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THIS WEEK YOU WILL NEED THE FOLLOWING - A3 PAPER / PENS/ BIROS / BLACK AND WHITE MEDIA 

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THIS WEEK YOU WILL NEED THE FOLLOWING - A3 PAPER / PENS/ BIROS / BLACK AND WHITE MEDIA 

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THIS WEEK YOU WILL NEED THE FOLLOWING - CAMERA PHONE / /IMAGES OF GEOMETRIC SHAPES / UPLOADED ONTO PADLET.

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THIS WEEK YOU WILL NEED THE FOLLOWING - CAMERA PHONE / /IMAGES OF GEOMETRIC SHAPES / UPLOADED ONTO PADLET.

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TASK 9 - CUT AND LAYER SHAPES USING COLOURED PAPER - CREATE 2/3 SAMPLES INSPIRED BY AUGUSTE HERBIN.

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TASK 9 - CUT AND LAYER SHAPES USING COLOURED PAPER - CREATE 2/3 SAMPLES INSPIRED BY AUGUSTE HERBIN.

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TASK 4 - CREATE A RANGE OF BLACK BIRO / FINE LINER DRAWINGS IN THE STYLE OF HELEN WELLS USING A4/A3 PAPER

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TASK 4 - CREATE A RANGE OF BLACK BIRO / FINE LINER DRAWINGS IN THE STYLE OF HELEN WELLS USING A4/A3 PAPER

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TASK 5 - BUY A MAP AND TRACE AROUND THE LINES USING TRACING PAPWR A RANGE OF BLACK AND WHITE MEDIA 

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TASK 5 - BUY A MAP AND TRACE AROUND THE LINES USING TRACING PAPWR A RANGE OF BLACK AND WHITE MEDIA 

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TASK 3 - CREATE LOTS AND LOTS OF KALEIDOSCOPIC PATTERNS USING KALEIDOPAINT APP OR GO ON THE WEBSITE.

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TASK 3 - CREATE LOTS AND LOTS OF KALEIDOSCOPIC PATTERNS USING KALEIDOPAINT APP OR GO ON THE WEBSITE.

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TASK 2 - CREATE LINE DRAWINGS IN STYLE OF DAREL CAREY USING BLACK AND WHITE MEDIA ON A4/A3 PAPER

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TASK 2 - CREATE LINE DRAWINGS IN STYLE OF DAREL CAREY USING BLACK AND WHITE MEDIA ON A4/A3 PAPER

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I'm delighted that my drawings have been incorporated into the design of a new Fitness Lounge in an Italian Airport.

The BLQ Wellness Centre at Bologna's Marconi Airport, the very first gym in a European airport, is developed in collaboration with Technogym. The architect who designed the centre and commissioned my artwork is Silvia Giannini.

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THE DRAWING'S ON THE WALL - HELEN WELLS ARTIST

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I'm delighted that my drawings have been incorporated into the design of a new Fitness Lounge in an Italian Airport. The BLQ Wellness Centre at Bologna's Marconi Airport, the very first gym in a European airport, is developed in collaboration with Technogym. The architect who designed the centre a

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TASK 8 - USING PENCILS CREATE ZENTANGLES 

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TASK 8 - USING PENCILS CREATE ZENTANGLES 

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TASK 7 - CREATE A RANGE OF MARK MARKING TEXTURES 

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TASK 7 - CREATE A RANGE OF MARK MARKING TEXTURES 

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TASK 1 - PHOTOGRAPH ALL GEOMETRIC INFLUENCES YOU CAN SEE AROUND YOU IN YOUR HOME OR ON YOUR WALKS. 

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TASK 1 - PHOTOGRAPH ALL GEOMETRIC INFLUENCES YOU CAN SEE AROUND YOU IN YOUR HOME OR ON YOUR WALKS. 

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TASK 5 - CREATE DRAWINGS IN THE STYLE OF EVA BELLANGER ON A3 PAPER USING BLACK AND WHITE MEDIUMS COMBING DIFFERENT ELEMENTS OF MARK MAKING.

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TASK 5 - CREATE DRAWINGS IN THE STYLE OF EVA BELLANGER ON A3 PAPER USING BLACK AND WHITE MEDIUMS COMBING DIFFERENT ELEMENTS OF MARK MAKING.

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TASK 6 - DRAW SHAPES INSIDE SHAPES AND PLAY AROUND WITH MARK MAKING TEXTURES IN BLACK AND WHITE MEDIA ON A3/A4 PAPER

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TASK 6 - DRAW SHAPES INSIDE SHAPES AND PLAY AROUND WITH MARK MAKING TEXTURES IN BLACK AND WHITE MEDIA ON A3/A4 PAPER

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TASK 10 - CREATE PAINTINGS INSPIRED BY MAX BILL USING ACRYLIC PAINT

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TASK 10 - CREATE PAINTINGS INSPIRED BY MAX BILL USING ACRYLIC PAINT

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TASK 17 - CREATE A A5 JOURNAL OF WATERCOLOUR AND BIRO CLASHING AND COMBING STUDIES IN THE STYLE OF ANA ZANIC. PLAY AROUND WITH BLEEDING COLOURS AND BEING FREE WHILST COMBING LINES.

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TASK 17 - CREATE A A5 JOURNAL OF WATERCOLOUR AND BIRO CLASHING AND COMBING STUDIES IN THE STYLE OF ANA ZANIC. PLAY AROUND WITH BLEEDING COLOURS AND BEING FREE WHILST COMBING LINES.

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TASK 12 - DRAW CIRCLES IN THE STYLE OF KANDINSKY USING COLOUR PENCILS OR OIL PASTELS.

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TASK 12 - DRAW CIRCLES IN THE STYLE OF KANDINSKY USING COLOUR PENCILS OR OIL PASTELS.

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TASK 16 - BUY A ROLL OF PLAIN WALL PAPER AND PLAY AROUND WITH SPLATTING AND BLEEDING COLOURS AND MARKS ON A LARGE SCALE IN THE STYLE OF JACKSON POLLOCK. HAVE A LOOK AROUND THE HOUSE WHAT LIQUIDS COULD YOU USE TO CREATE A MARK COMBINE THESE ALSO! 

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TASK 16 - BUY A ROLL OF PLAIN WALL PAPER AND PLAY AROUND WITH SPLATTING AND BLEEDING COLOURS AND MARKS ON A LARGE SCALE IN THE STYLE OF JACKSON POLLOCK. HAVE A LOOK AROUND THE HOUSE WHAT LIQUIDS COULD YOU USE TO CREATE A MARK COMBINE THESE ALSO! 

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TASK 11 - CREATE STUDIES USING BLACK/WHITE/YELLOW/RED/BLUE IN THE STYLE OF MONDRIAN - YOU CAN USE A RANGE OF MATERIALS AS LONG AS THEY ARE IN KEEPING WITH THE COLOURS.

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TASK 11 - CREATE STUDIES USING BLACK/WHITE/YELLOW/RED/BLUE IN THE STYLE OF MONDRIAN - YOU CAN USE A RANGE OF MATERIALS AS LONG AS THEY ARE IN KEEPING WITH THE COLOURS.

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TASK 15 - GET A BLACK MARKER OR SHARPIE AND COPY THIS DEMO FIRST THEM RECREATE THIS TUTORIAL DEMO IN 4 DIFFERENT WAYS

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TASK 15 - GET A BLACK MARKER OR SHARPIE AND COPY THIS DEMO FIRST THEM RECREATE THIS TUTORIAL DEMO IN 4 DIFFERENT WAYS

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TASK 13 - GATHER UTENSILS AT HOME AND MIX UP COFFEE AND PLAY AROUND WITH CREATING TEXTURES ON PAPER SURFACES 

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TASK 13 - GATHER UTENSILS AT HOME AND MIX UP COFFEE AND PLAY AROUND WITH CREATING TEXTURES ON PAPER SURFACES 

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Dimensional Art from Natural Patterns - Darel Carey

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Dimensional optical art and installations by Darel Carey. The organic process of art and its connection to nature and natural patterns. The emergence of properties from consistent simplicity to beautiful complexity.

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The Evolution of a Line: Dimensionalization Time-lapse by Darel Carey

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How to paint like Jackson Pollock – One: Number 31, 1950 – with Corey D'Augustine | IN THE STUDIO

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WHEN YOUR MARKS DRY OLAY AROUND WITH OUTLINING THEM!

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WHEN YOUR MARKS DRY OLAY AROUND WITH OUTLINING THEM!

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A Zentangle drawing is an abstract drawing created using repetitive patterns according to the trademarked Zentangle Method. True Zentangle drawings are always created on 3.5 inch (8.9 cm) square tiles, and they are always done in black ink on white paper with grey pencil shading. The invention of the Zentangle® was intended to make the act of drawing pleasurable, meditative and accessible to all. See Step 1 to learn how to start creating your own Zentangle drawing.

1. Start with the right supplies. The Zentangle Method encourages using fine printmaking paper to use as a foundation for Zentangles. It should be plain white, unlined paper. Cut your paper into a 3.5" square piece.

Handmade or textured paper is fine, as long as it doesn't have patterns.

You can use colored paper if you want, but wouldn't be considered a true Zentangle according to the Zentangle Method.

2. Draw a border. Use a pencil to draw a light square border around the edges of your paper. The pattern you make will be drawn inside the perimeters of the border. Do not use a ruler or any sort of straight edge to draw your border. Just sketch it lightly near the edges of the paper.

It's completely fine if your hand wavers while you draw the border. The border will be a unique, original constraint inside which your pattern will emerge. If it has wavy lines or looks uneven, your finished Zentangle will be that much more original.

Do not press down too hard with the pencil as you freehand the border. It is not meant to be visible once you finish creating your Zentangle in pen.

3. Draw a string. Take your pencil and draw a "string" inside the border. According to the Zentangle Method, a string is a curved line or squiggle that will lend structure to your design. The pattern you create will emerge according to the contours of your string. It should a lightly-sketched, simple, abstract form that elegantly divides the border into sections.

Again, don't press down too hard with your pencil as you draw the string. It will not be visible once your Zentangle is finished. It is meant to serve as a guide for your pattern.

Some people find it hard to determine how to draw the string. Remember that the philosophy behind a Zentangle is that it should feel pleasurable, celebratory and natural. Draw whatever comes out when you touch your pencil to the paper - there's no wrong way to do it.

If you want ideas for creating different strings, there are string patterns available online.

4. Start creating a tangle. A "tangle" is a pattern drawn in pen along the contours of a string. One Zentangle may have just one tangle, or a combination of different tangles. Use your pen to begin drawing whatever pattern comes to you - again, there's no right or wrong move inside a Zentangle. As you work, keep the following in mind:

Tangles should be composed of very simple shapes. A line, a dot, a circle, a squiggle, or an oval are all acceptable.

Penciled shading can be added to the tangles to create more depth and visual interest. This is not mandatory, but you're free to do so if you'd like.

5. Don't erase mistakes. You can't erase mistakes you make in pen. That's part of the reason tangles are created in pen, not pencil, aside from any shading you might want to add. There's no going back.

Every tangle is built stroke by stroke. Pay attention to each stroke you make, and build your pattern in a deliberate fashion.

Focus intently on your work. Just as you would while meditating, free your mind of worries and problems. Remember that the act of creating a Zentangle should feel ceremonial.

6. Keep going until you're finished. You'll know when it's time to put down your pen. Keep your Zentangle in a safe place, or frame it and display it for long-term enjoyment.

7. Add color(Optional). Once your tile is finished, you can add color to your art. However, please note that this is not part of the official Zentangle instructions.

1. Learn the basic definition of a Zentangle. A Zentangle drawing is an abstract, patterned drawing created according to the tenets of the Zentangle Method. Using the standard format of a 3.5-inch square tile (means piece of square paper), the artist creates a structured pattern according to his or her whim following a basic set of guidelines. No technology, special materials, or educational background are necessary to become a Zentangle artist. Here are a few characteristics of a Zentangle:

The tile should not have an "up" or a "down" - it is without orientation.

It should not be representative of any certain recognizable object; rather, it should be abstract.

The drawing should be completed in black ink on white paper with gray pencil shading.

A Zentangle is meant to be portable, so that it can be created at any time the mood strikes.

2. See how Zentangle is different from other art. The Zentangle Method is very different from regular drawing, painting and other art forms. It is meant to be a form of artistic meditation that anyone can do. The act of creating the Zentangle is just as important as the final outcome, which is appreciated for its unique beauty. Zentangle creations adhere to the following philosophical tenets:

Its creation is unplanned. When you begin creating a Zentangle, you're encouraged not to have an end goal in mind. Rather, allow the pattern to reveal itself as you draw.

Its creation of a Zentangle drawing is deliberate, yet unexpected. Each stroke should be made deliberately, rather than hesitantly. Instead of erasing stray marks, the artist should use them as the foundation for an unexpected pattern.

Its creation is celebratory. Like meditation, the Zentangle Method is meant to feel freeing and healing. It's a way to celebrate the beauty of life.

A Zentangle is timeless. No technology or special tools are used. Zentangles should connect those who make them to the timeless human endeavor of putting pen to paper.

3. Understand the difference between a Zentangle and a doodle. Many people create doodles - sometimes beautiful ones - in the margins of notebooks and on scrap paper. Doodles are usually created during times when the person making them is having trouble paying attention to something else that's going on, like a lecture or a phone call. Though the best doodles can look similar to Zentangles, they're actually very different. Here's how:

The Zentangle Method helps you create a feeling of relaxed focus. Unlike doodling, the person creating a Zentangle is giving it his or her full, undivided attention. A Zentangle cannot be created while on the phone or to let yourself be distracted during a lecture, because attention is an inherent part of this art form.

The Zentangle Method is a ceremony. Since a Zentangle deserves the artist's utmost attention. It should be created in a quiet place where focus and reverence can be achieved. The paper and pens used should be of highest quality, since a Zentangle is a work of art that can be enjoyed for a long time to come.

4. Learn about the founding artists. The Zentangle Method was invented by Rick Roberts and Maria Thomas, when they discovered that the act of drawing abstract patterns with the constraint of a few basic rules was extremely meditative.

In order to teach the Zentangle Method, one must be certified as a Zentangle Teacher.

There are over one hundred tangles (these are patterns) (re-)created by Zentangle. If you want to recreate one of the originals, there are tutorials online and books and kits available for purchase. Works that are reminiscent of the drawing method Zentangle but don't adhere to the official guidelines are referred to as Zentangle-inspired art.

Add New Question

What if you don't know what to draw?

The idea is to let your pencil flow; the drawing isn't supposed be something you know how to do or something that you plan out: just go with it. Start with a line, a stroke, or even a simple shape and work your way from there. Don't worry about the end result!

What kind of paper is recommended?

Fine printmaking paper in white is ideal, but you can play around with the different paper types.

How do you know what lines to draw or patterns?

It's not so much about knowing what to draw in advance as it is about being moved artistically through working on the drawing itself. However, it you're stumped, check out online images of other people's Zentangle designs for inspiration. Have faith in your ability: get started on drawing lines and patterns and see what comes forth!

See more answers

This article was co-authored by Kelly Medford. Kelly Medford is an American painter based in Rome, Italy. She studied classical painting, drawing and printmaking both in the U.S. and in Italy. She works primarily en plein air on the streets of Rome, and also travels for private international collectors on commission. She founded Sketching Rome Tours in 2012 where she teaches sketchbook journaling to visitors of Rome. Kelly is a graduate of the Florence Academy of Art. This article has been viewed 1,510,363 times.

To make a Zentangle, start by drawing a light square border around the edges of your paper with a pencil. Next, lightly sketch a simple string, or a curved line or squiggle, which will lend structure to your design and elegantly divide the border into sections. Then, start creating your tangles with a pen by drawing whatever patterns come to you. Remember to create your tangles with very simple shapes! To learn more about the Zentangle method and how it differs from doodling, read on!

Thanks to all authors for creating a page that has been read 1,510,363 times.

"That helped a lot. Even though I'm not confident of the type of zentangle I'm doing, I'm starting to get better, and better." ..." more

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How to Make a Zentangle: 11 Steps (with Pictures) - wikiHow

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A Zentangle drawing is an abstract drawing created using repetitive patterns according to the trademarked Zentangle Method. True Zentangle drawings are always created on square tiles, and they are always done in black ink on white paper...

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Adult coloring books have taken the world by storm over the past few years, and with good cause!

Considering how much stress the average person deals with on a daily basis - with work, school, relationships, parenting, and general "adulting" - it's wonderful to find a simple creative endeavor that brings about so much joy and peace.

If you're one of those people who finds delight in losing yourself in coloring those patterned books, then Zentangles may be your next creative obsession.

Instead of just filling in someone else's drawings with color, you have the opportunity to draw your own!

What Are Zentangles?

In a nutshell, Zentangles are a type of "doodle art." Made up of repeating or structured patterns and textures, they increase your focus while ramping up your creative abilities.

Maria Thomas, a calligrapher, and her partner Rick Roberts, created the official Zentangle® Method together.

Rick noticed that Maria would idly doodle patterns while she was working on a piece, and asked her about them.

She replied that she would lose herself in those drawings, and felt a sense of "freedom, well-being, and complete focus" while doing so.

From their website:

Maria described feelings of selflessness, timelessness, effortlessness and a rich immersion in what she was doing - all classic aspects of a flow state.

Having studied meditation for years, Rick recognized this as a form of meditative immersion, and together, the two of them designed a method to help other people experience a similar sense of calm and peace while creating their own beautiful works of art.

Do They Take A Lot Of Time To Make?

They can take as long or as little time as you'd like.

Some people prefer to work on small tiles (like 3×3 inches square) so they're not too daunted by the scale, and can complete a Zentangle in a single sitting.

That sense of accomplishment is very satisfying, and multiple tiles can be arranged together to create a larger image, if desired.

Others like to create big pieces that take days or weeks to complete. It really depends on your own personal preferences.

Similarly, it's up to you whether you create monochromatic images, or if you color them in with colored pencils or markers later.

What Are The Benefits To Creating Zentangles?

People are normally so accustomed to multitasking that they don't realize just how much peace can be found by being completely engrossed in a single, creative task.

The drawings evolve naturally, organically, so there's no stress about pattern placement, regular intervals, etc. It's all just free flow, wherever the creative muse takes you.

In addition to the calm that can be found by being totally present, many people have had moments of clarity or various epiphanies while creating them.

When the mind has a few moments to calm down and exist in a state of creativity, all the worries and stresses of day-to-day life quiet down briefly, allowing the subconscious to speak up.

Some people love the Zentangles they create so much that they frame them and hang them over their desks at work, or in other places where they'll be seen regularly. Just looking at a pattern that was created in a state of calm can often bring back that feeling.

You may also like (article continues below):

What Tools Do I Need?

You can either download a Zentangle template online (such as one of the ones we've created for you - see below), or create your own.

We recommend beginning with a template so you can get used to the practice, and then you can make your own, in whatever forms you like.

You'll also need pens, pencils, markers, or any other medium you'd like to work with.

It's recommended that you try a number of different writing or art utensils to see which ones you like best.

Technical pens like Micron or Staedtler are great, and you can also try out brush markers, calligraphy pens... anything goes, really.

So, for a checklist:

Paper (or some ready-to-use artist titles)

Pens, pencils, markers

A block of time in which you can immerse freely in this creative endeavor

What If I Make A Mistake?

You can't! That's the beauty of these art pieces: there's no such thing as doing something wrong.

There are no rules, just guidance that you can follow, if so desired.

Some people are intimidated by anything related to drawing, because they might not have much confidence in their own drawing skills.

Please, please don't let this intimidate or deter you.

Zentangles are meant to be abstract doodles that allow you to explore mindfulness and creativity. Anyone can do them. They're just repeated patterns, textures, and flowy lines that come together to create beautiful works of art.

They're proof that anyone can be an artist: you just have to let your intuitive, natural creativity come forth in your own way, without expectations, rules, or other people's judgment.

I Don't Like What I Made. Can I Do It Over?

Well, of course you can.

As mentioned above, there's no such thing as a mistake: only opportunities for learning and growth.

You don't like how one Zentangle turned out? Okay, take a moment to ask yourself what you disliked about it, and also what you did like about it.

This is your opportunity to determine whether you prefer more geometric or organic forms in your drawings.

Do you prefer sharp angles? Or fluid lines?

Do you prefer to work with a template, or let your own creative whims guide your hands?

Do you like the simplicity of 2D? Or do you like to add shading?

What about color?

These little canvases are made for you to explore your creativity, and the possibilities are endless, honestly.

Try not to allow yourself to be constrained by a vision of what you'd like your Zentangle to end up as.

The entire point of these drawings isn't the end result, but rather the creative process: the experience itself.

Being wholly engrossed in the moment, letting your worries and stresses fall away as you make something beautiful.

You Are An Artist

People are all born creative, but many lose their love of creativity fairly early in life.

This can happen in childhood, in high school, or really at any point in time, and usually kicks in when there's a sudden criticism about one's art.

This criticism can come from a peer, a parent, a teacher, or even one's own negative self-talk and frustration.

Suddenly, any type of creativity is associated with a fear of failure and/or rejection, and so this beautiful outlet is dampened.

Zentangles are such a wonderful way to re-ignite your creative spark. There are no expectations, not even directions!

You can spin the tiles around as you draw (that's actually the easiest way to draw the patterns), and even the guidelines in printable templates are just suggestions.

This is creative play at its purest and most enjoyable. Let's dive in, shall we?

To help you on your way, here is a video I recorded where I talk a little more about the process of creating a Zentangle ( click here to open in YouTube):

Click here and here for a couple of high-res photos of the end result to inspire you and give you some ideas of the patterns you might try.

And as mentioned earlier, we have created a number of different templates for you to download and print out to use as a starting point for your own Zentangle practice.

This is what some of them look like:

Click this link to download them as a PDF that you can print (no sign up necessary!)

You're welcome to use these, or else just dive in and create your own!

Have fun!

This page contains affiliate links. I receive a small commission if you choose to purchase anything after clicking on them.

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Zentangles: What They Are And How To Make Your Own

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Adult coloring books have taken the world by storm over the past few years, and with good cause! Considering how much stress the average person deals with on a daily basis - with work, school, relationships, parenting, and general "adulting" - it's wonderful to find a simple creative endeavor that brings about so much joy and peace.

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For most people in this fast paced society, it's hard to find ways to ease and soothe yourself for real, not in front of a tv or a computer. We all have that friend that preaches yoga and meditation and tells us that if we would just start it would change our lives. And maybe it would. But somehow sitting and trying not to think isn't your ideal way to spend your free time. I'm pretty sure I couldn't even if I did try. But Maria Thomas discovered another way to achieve the same state of deep peace and focus.

As a calligrapher, Maria Thomas often draws patterns to fill the pages between her elegant letters. After describing how relaxed she felt doing this to her partner, Rick Roberts (who just so happens to previously have been a Buddhist monk) he saw it for what it was, a state of meditation. Putting their brains together they coined the term Zentagle as a name for the product they wanted to get to the world. Check out their website.

The term Zentangle itself is actually quite clever. Zen, literally meaning meditation, is tied to a particular branch of Buddhism (Zen Buddhism). This branch emphasizes the way in which life is lived and the peace that you should carry through it. They often practice meditation and other types of calming and centering activities to try and find that inner peace. Due to the similar qualities that the Zentangles bring out, the word "Zen" seemed an apt fit.

The second half of the name requires much less research as tangles obviously refers to the interlacing patterns you create.

One of the beauties of Zentangle Art is that it requires basically no skill or excessive effort. Though focus is required, it is the most peaceful kind of focus, requiring you to only look to the next line to create a zentangle pattern emerging from somewhere inside. Through it all you not only reduce your own anxiety and stress but you create beautiful zentangle art in the process.

Instructions on how to draw Zentangle Patterns step by step:

Zentangle Pattern: Amphora

Zentangle Pattern: Bloom

Zentangle Pattern: Pebbles& Bubbles

Zentangle Pattern: Tipple

Tipple

Zentangle Pattern: Huggins

Zentangle Pattern: Cadent

Cadent Variations

Zentangle Pattern: Sanibelle

Zentangle Pattern: Mumsy

Zentangle Pattern: Angel Fish

Zentangle Pattern: Yincut

Zentangle Pattern: Flux

Zentangle Pattern: Heartswell

Zentangle Pattern: Whirl

Zentangle Pattern: Weave

Zentangle Pattern: Walp

Zentangle Pattern: Flow

Zentangle Pattern

Zentangle Pattern: Featherfall

Zentangle Patterns: Octonet

Zentangle Patterns: Curly Bracket Feather

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30+ Easy Zentangle Patterns to Give You Great Ideas For Your Own Zentangle Art

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For most people in this fast paced society, it's hard to find ways to ease and soothe yourself for real, not in front of a tv or a computer. We all have that friend that preaches yoga and meditation and tells us that if we would just start it would change our lives.

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Excellent Quality

Our products are handled with care and are made for you when you place your order. We fabricate and print them with the best quality materials we can get!

Fast Shipping

You can expect fast shipping to whatever part of the world you're in. You'll even have the option to upgrade and get your stuff even faster.

Great Selection

We have many different products to choose from. If you can't find exactly what you're looking for we're always available to do a custom design.

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Our products are handled with care and are made for you when you place your order. We fabricate and print them with the best quality materials we can get! You can expect fast shipping to whatever part of the world you're in. You'll even have the option to upgrade and get your stuff even faster.

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Our Peek Inside... series takes a look inside peoples' personal journals to celebrate their creativity and inspire others. Message us at facebook@hartleyandmarks.com if you have a project that you would like to be featured.
This month we asked the very talented Rebecca Blair of Rebecca Blair ART to give us a look inside one of her journals. She shared the following with us:

I use my journal (a Ventagilo Rosso) for current research, artwork and notes for university where I study graphic design. I really love the texture of the paper to both write and draw on.

I've always enjoyed creating pieces of graphic art with lots of detail and integrating text and image together to produce something new and different. I usually draw or write something everyday or so within my journal, experimenting with layout, scale, contrast and form. Most of my illustrations are very geometric and abstract but that is simply what I enjoy doing the most.

I've found working within one notebook very useful to the development to my art style. This is because of the consistent size limitations provided by the journal. I have to really think about what I'm doing to make my work effective.

I incorporate a lot of song lyrics into my work along with notes on any topic that I'm interested in at the time.

About Paperblanks®: We have been producing superb writing journals for twenty years. We are book people, and we believe that the written word matters and that our blank books have a critical role to play in the art and continued practice of writing itself. For more about Paperblanks®, go to our website at paperblanks.com.

I especially love the work of London based illustrator Katie Scott. Her use of colour is beautiful and her attention to detail is so inspiring to me.

If you're interested in seeing more of Rebecca's work you can check out her Tumblr blog Rebecca Blair ART or follow her on Twitter with the username @Becka_Blair.

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A Peek Inside Rebecca's Abstract Art Journal

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Our Peek Inside... series takes a look inside peoples' personal journals to celebrate their creativity and inspire others. Message us at facebook@hartleyandmarks.com if you have a project that you would like to be featured . This month we asked the very talented Rebecca Blair of Rebecca Blair ART to give us a look inside one of her journals.

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Alphabet Plastique II, c. 1950

The style of art created by French painter Auguste Herbin (1882-1960) ranged greatly throughout his career; evolving from Impressionism to Cubism and lastly geometric abstraction. In 1909 he moved into the famous Bateau-Lavoir Studios in Paris, where he shared walls with Picasso and Braques. Sadly, in 1953 Auguste was inflicted with one of the worst ailments that an artist could suffer, lateral paralysis, forcing him to re-learn to paint with his left hand. The title Le Fin (The End) was given to Herbin's last piece, dying unexpected after its completion in 1960 the works had to be "signed" with a stamp of the artist's signature (see below).

Still Life with Oranges, 1911. via Christie's

Head, 1918. via Museo Thyssen-Bornemisza

1931. via Millon & Associés

Combat Clair-Obscur, 1939. via Kunsten, Denmark

Composition sur le Mots, Poires, Pommes, Pêches, 1942. via Von Bartha

Blanc, 1947. via Erling Neby Collection, Henie Onstad Art Center

Herbin's last work- Le Fin, 1960. via Gilden's Arts, UK

Auguste Herbin, circa 1959 (1882-1960)

Images of Le Bateau-Lavoir Studios in Paris where Herbin had a studio space next to Braque and Picasso.

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Alphabet Plastique II, c. 1950 The style of art created by French painter Auguste Herbin (1882-1960) ranged greatly throughout his career; evolving from Impressionism to Cubism and lastly geometric abstraction. In 1909 he moved into the famous Bateau-Lavoir Studios in Paris, where he shared walls with Picasso and Braques.

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Max Bill was a Swiss artist and designer who founded the Concrete Art movement. His interpretations of Constructivism through painting and sculpture, integrated the study of both geometry and mathematics into his art practice. "I am of the opinion that it is possible to develop an art largely on the basis of mathematical thinking," Bill once reflected. Born on December 22, 1908 in Winterthur, Switzerland he studied at the Kunstgewerbeschule in Zurich from 1924-1927, then with Wassily Kandinsky and Paul Klee at the Bauhaus school in Dessau for the next two years. Later the co-founder of the Ulm School of Arts and Crafts, he served as the head of architecture and product design there during the 1950s, and later as part of the Swiss Parliament from 1967 to 1971. Bill died on December 9, 1994 in Berlin at the age of 85.Today, he is perhaps best remembered today for his chronoscopes (wrist watches) which are manufactured by the Junghans company in Germany. His works are also held in the collections of a number of institutions, including The Museum of Modern Art in New York, the Art Institute of Chicago, and the National Gallery of Art in Washington, D.C., among others.

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Max Bill was a Swiss artist and designer who founded the Concrete Art movement. View Max Bill's 1,971 artworks on artnet. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. See available prints and multiples, paintings, and design for sale and learn about the artist.

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Why Art Is Important-The Abstract Art Portal

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Why Art Is Important : Top 5 Max Bill Paintings | The Abstract Art Portal

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The Classical Art of Max Bill 1965 -1974 Geometric Concrete Art & Environmental Design

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Deconstructing Mondrian: The Story Behind an Iconic Design

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Pieter Cornelis Mondriaan (Dutch: [ˈpi:tərkɔrˈneːlɪsˈmɔndrijaːn]), after 1906 known as Piet Mondrian (, also , Dutch: painter and [pitˈmɔndrijɑn]; 7 March 1872 - 1 February 1944), was a Dutch art theoretician who is regarded as one of the greatest artists of the 20th century. He is known for being one of the pioneers of 20th-century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements.

Mondrian's art was highly utopian and was concerned with a search for universal values and aesthetics. He proclaimed in 1914: "Art is higher than reality and has no direct relation to reality. To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual. We find ourselves in the presence of an abstract art. Art should be above reality, otherwise it would have no value for man."

He was a contributor to the art movement and group, which he co-founded with Theo van Doesburg. He evolved a non-representational form which he termed Neoplasticism. This was the new 'pure plastic art' which he believed was necessary in order to create 'universal beauty'. To express this, Mondrian eventually decided to limit his formal vocabulary to the three primary colors (red, blue, and yellow), the three primary values (black, white, and gray), and the two primary directions (horizontal and vertical). Mondrian's arrival in Paris from the Netherlands in 1911 marked the beginning of a period of profound change. He encountered experiments in Cubism and with the intent of integrating himself within the Parisian avant-garde removed an 'a' from the Dutch spelling of his name (Mondriaan).

Mondrian's work had an enormous influence on 20th-century art, influencing not only the course of abstract painting and numerous major styles and art movements (e.g. Color Field painting, Abstract Expressionism and Minimalism), but also fields outside the domain of painting, such as design, architecture and fashion. Design historian Stephen Bayley said: "Mondrian has come to mean Modernism. His name and his work sum up the High Modernist ideal. I don't like the word 'iconic', so let's say that he's become totemic - a totem for everything Modernism set out to be."

Mondrian's birthplace in Amersfoort, Netherlands, now The Mondriaan House, a museum.

Mondrian was born in Amersfoort, province of Utrecht in the Netherlands, the second of his parents' children. He was descended from Christian Dirkzoon Monderyan who lived in The Hague as early as 1670. The family moved to Winterswijk when his father, Pieter Cornelius Mondriaan, was appointed head teacher at a local primary school. Mondrian was introduced to art from an early age. His father was a qualified drawing teacher, and, with his uncle, Frits Mondriaan (a pupil of Willem Maris of the Hague School of artists), the younger Piet often painted and drew along the river Gein.

After a strict Protestant upbringing, in 1892, Mondrian entered the Academy for Fine Art in Amsterdam. He was already qualified as a teacher. He began his career as a teacher in primary education, but he also practiced painting. Most of his work from this period is naturalistic or Impressionistic, consisting largely of landscapes. These pastoral images of his native country depict windmills, fields, and rivers, initially in the Dutch Impressionist manner of the Hague School and then in a variety of styles and techniques that attest to his search for a personal style. These paintings are representational, and they illustrate the influence that various artistic movements had on Mondrian, including pointillism and the vivid colors of Fauvism. In 1893 he had his first exhibition.

Willow Grove: Impression of Light and Shadow, c. 1905, oil on canvas, 35 × 45 cm, Dallas Museum of Art

Piet Mondrian, Evening; Red Tree (Avond; De rode boom), 1908-1910, oil on canvas, 70 × 99 cm, Gemeentemuseum Den Haag

On display in the Kunstmuseum Den Haag are a number of paintings from this period, including such Post-Impressionist works as The Red Mill and Trees in Moonrise. Another painting, Evening ( Avond) (1908), depicting a tree in a field at dusk, even augurs future developments by using a palette consisting almost entirely of red, yellow, and blue. Although Avond is only limitedly abstract, it is the earliest Mondrian painting to emphasize primary colors.

Mondrian's earliest paintings showing a degree of abstraction are a series of canvases from 1905 to 1908 that depict dim scenes of indistinct trees and houses reflected in still water. Although the result leads the viewer to begin focusing on the forms over the content, these paintings are still firmly rooted in nature, and it is only the knowledge of Mondrian's later achievements that leads one to search in these works for the roots of his future abstraction.

Mondrian's art was intimately related to his spiritual and philosophical studies. In 1908, he became interested in the theosophical movement launched by Helena Petrovna Blavatsky in the late 19th century, and in 1909 he joined the Dutch branch of the Theosophical Society. The work of Blavatsky and a parallel spiritual movement, Rudolf Steiner's Anthroposophy, significantly affected the further development of his aesthetic. Blavatsky believed that it was possible to attain a more profound knowledge of nature than that provided by empirical means, and much of Mondrian's work for the rest of his life was inspired by his search for that spiritual knowledge. In 1918, he wrote "I got everything from the Secret Doctrine", referring to a book written by Blavatsky. In 1921, in a letter to Steiner, Mondrian argued that his neoplasticism was "the art of the foreseeable future for all true Anthroposophists and Theosophists". He remained a committed Theosophist in subsequent years, although he also believed that his own artistic current, neoplasticism, would eventually become part of a larger, ecumenical spirituality.

Mondrian and his later work were deeply influenced by the 1911 Moderne Kunstkring exhibition of Cubism in Amsterdam. His search for simplification is shown in two versions of Still Life with Ginger Pot ( Stilleven met Gemberpot). The 1911 version, is Cubist; in the 1912 version, the objects are reduced to a round shape with triangles and rectangles.

Gray Tree, 1911, Kunstmuseum Den Haag, an early experimentation with Cubism[11]

In 1911, Mondrian moved to Paris and changed his name, dropping an "a" from "Mondriaan", to emphasize his departure from the Netherlands, and his integration within the Parisian avant-garde. While in Paris, the influence of the Cubist style of Pablo Picasso and Georges Braque appeared almost immediately in Mondrian's work. Paintings such as The Sea (1912) and his various studies of trees from that year still contain a measure of representation, but, increasingly, they are dominated by geometric shapes and interlocking planes. While Mondrian was eager to absorb the Cubist influence into his work, it seems clear that he saw Cubism as a "port of call" on his artistic journey, rather than as a destination. Piet Mondrian's Cubist period lasted from 1912 to 1917.

Unlike the Cubists, Mondrian still attempted to reconcile his painting with his spiritual pursuits, and in 1913 he began to fuse his art and his theosophical studies into a theory that signaled his final break from representational painting. While Mondrian was visiting the Netherlands in 1914, World War I began, forcing him to remain there for the duration of the conflict. During this period, he stayed at the Laren artists' colony, where he met Bart van der Leck and Theo van Doesburg, who were both undergoing their own personal journeys toward abstraction. Van der Leck's use of only primary colors in his art greatly influenced Mondrian. After a meeting with Van der Leck in 1916, Mondrian wrote, "My technique which was more or less Cubist, and therefore more or less pictorial, came under the influence of his precise method." With Van Doesburg, Mondrian founded ( The Style), a journal of the De Stijl Group, in which he first published essays defining his theory, which he called neoplasticism.

Mondrian published " De Nieuwe Beelding in de schilderkunst" ("The New Visualisation in Painting"), in twelve installments during 1917 and 1918. This was his first major attempt to express his artistic theory in writing. Mondrian's best and most-often quoted expression of this theory, however, comes from a letter he wrote to H. P. Bremmer in 1914:

I construct lines and color combinations on a flat surface, in order to express general beauty with the utmost awareness. Nature (or, that which I see) inspires me, puts me, as with any painter, in an emotional state so that an urge comes about to make something, but I want to come as close as possible to the truth and abstract everything from that, until I reach the foundation (still just an external foundation!) of things... I believe it is possible that, through horizontal and vertical lines constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm, these basic forms of beauty, supplemented if necessary by other direct lines or curves, can become a work of art, as strong as it is true.

Over the next two decades, Mondrian methodically developed his signature style embracing the Classical, Platonic, Euclidean worldview where he simply focused on his, now iconic, horizontal and vertical black lines forming squares and rectangles filled with primary hues.

Tableau I, 1921, Kunstmuseum Den Haag

Piet Mondrian and Pétro (Nelly) van Doesburg in Mondrian's Paris studio, 1923

When World War I ended in 1918, Mondrian returned to France, where he would remain until 1938. Immersed in post-war Paris culture of artistic innovation, he flourished and fully embraced the art of pure abstraction for the rest of his life. Mondrian began producing grid-based paintings in late 1919, and in 1920, the style for which he came to be renowned began to appear.

Mondrian believed that "pure abstract art becomes completely emancipated, free of naturalistic appearances. It is no longer natural harmony but creates equivalent relationships. The realization of equivalent relationships is of the highest importance for life.

In the early paintings of this style, the lines delineating the rectangular forms are relatively thin, and they are gray, not black. The lines also tend to fade as they approach the edge of the painting, rather than stopping abruptly. The forms themselves, smaller and more numerous than in later paintings, are filled with primary colors, black, or gray, and nearly all of them are colored; only a few are left white.

During late 1920 and 1921, Mondrian's paintings arrive at what is to casual observers their definitive and mature form. Thick black lines now separate the forms, which are larger and fewer in number, and more of the forms are left white. This was not the culmination of his artistic evolution, however. Although the refinements became subtler, Mondrian's work continued to evolve during his years in Paris.

In the 1921 paintings, many, though not all, of the black lines stop short at a seemingly arbitrary distance from the edge of the canvas, although the divisions between the rectangular forms remain intact. Here, too, the rectangular forms remain mostly colored. As the years passed and Mondrian's work evolved further, he began extending all of the lines to the edges of the canvas, and he began to use fewer and fewer colored forms, favoring white instead.

These tendencies are particularly obvious in the "lozenge" works that Mondrian began producing with regularity in the mid-1920s. The "lozenge" paintings are square canvases tilted 45 degrees, so that they have a diamond shape. Typical of these is Schilderij No. 1: Lozenge With Two Lines and Blue (1926). One of the most minimal of Mondrian's canvases, this painting consists only of two black, perpendicular lines and a small blue triangular form. The lines extend all the way to the edges of the canvas, almost giving the impression that the painting is a fragment of a larger work.

Although one's view of the painting is hampered by the glass protecting it, and by the toll that age and handling have obviously taken on the canvas, a close examination of this painting begins to reveal something of the artist's method. The painting is not composed of perfectly flat planes of color, as one might expect. Subtle brush strokes are evident throughout. The artist appears to have used different techniques for the various elements. The black lines are the flattest elements, with the least depth. The colored forms have the most obvious brush strokes, all running in one direction. Most interesting, however, are the white forms, which clearly have been painted in layers, using brush strokes running in different directions. This generates a greater sense of depth in the white forms so that they appear to overwhelm the lines and the colors, which indeed they were doing, as Mondrian's paintings of this period came to be increasingly dominated by white space.

In 1926, Katherine Dreier, co-founder of New York City's Society of Independent Artists (along with Marcel Duchamp and Man Ray), visited Piet Mondrian's studio in Paris and acquired one of his diamond compositions, Painting I. This was then shown during an exhibition organized by the Society of Independent Artists in the Brooklyn Museum--the first major exhibition of modern art in America since the Armory Show. She stated in the catalog that "Holland has produced three great painters who, though a logical expression of their own country, rose above it through the vigor of their personality - the first was Rembrandt, the second was Van Gogh, and the third is Mondrian."

As the years progressed, lines began to take precedence over forms in Mondrian's paintings. In the 1930s, he began to use thinner lines and double lines more frequently, punctuated with a few small colored forms, if any at all. Double lines particularly excited Mondrian, for he believed they offered his paintings a new dynamism which he was eager to explore. The introduction of the double line in his work was influenced by the work of his friend and contemporary Marlow Moss.[page needed ]

From 1934 to 1935, three of Mondrian's paintings were exhibited as part of the "Abstract and Concrete" exhibitions in the UK at Oxford, London, and Liverpool.

Composition No. 10 (1939-1942), oil on canvas, private collection. Fellow De Stijl artist Theo van Doesburg suggested a link between non-representational works of art and ideals of peace and spirituality.

In September 1938, Mondrian left Paris in the face of advancing fascism and moved to London. After the Netherlands was invaded and Paris fell in 1940, he left London for Manhattan in New York City, where he would remain until his death. Some of Mondrian's later works are difficult to place in terms of his artistic development because there were quite a few canvases that he began in Paris or London and only completed months or years later in Manhattan. The finished works from this later period are visually busy, with more lines than any of his work since the 1920s, placed in an overlapping arrangement that is almost cartographical in appearance. He spent many long hours painting on his own until his hands blistered, and he sometimes cried or made himself sick.[citation needed ]

Mondrian produced Lozenge Composition With Four Yellow Lines (1933), a simple painting that innovated thick, colored lines instead of black ones. After that one painting, this practice remained dormant in Mondrian's work until he arrived in Manhattan, at which time he began to embrace it with abandon. In some examples of this new direction, such as Composition (1938) / Place de la Concorde (1943), he appears to have taken unfinished black-line paintings from Paris and completed them in New York by adding short perpendicular lines of different colors, running between the longer black lines, or from a black line to the edge of the canvas. The newly colored areas are thick, almost bridging the gap between lines and forms, and it is startling to see color in a Mondrian painting that is unbounded by black. Other works mix long lines of red amidst the familiar black lines, creating a new sense of depth by the addition of a colored layer on top of the black one. His painting Composition No. 10, 1939-1942, characterized by primary colors, white ground and black grid lines clearly defined Mondrian's radical but classical approach to the rectangle.[citation needed ]

New York City (1942), Paris, Centre Pompidou.

On 23 September 1940 Mondrian left Europe for New York aboard the Cunard White Star Line ship RMS Samaria (1920), departing from Liverpool. The new canvases that Mondrian began in Manhattan are even more startling, and indicate the beginning of a new idiom that was cut short by the artist's death. New York City (1942) is a complex lattice of red, blue, and yellow lines, occasionally interlacing to create a greater sense of depth than his previous works. An unfinished 1941 version of this work, titled New York City I, uses strips of painted paper tape, which the artist could rearrange at will to experiment with different designs. In October 2022 it was revealed that the work, which was first displayed at the Museum of Modern Art (MoMA) in New York in 1945, had been displayed upside down, since at least 1980, at the Kunstsammlung Nordrhein-Westfalen in Germany, where it is now held. The gallery explained that it would continue to display it the wrong way up to avoid damaging it.

His painting Broadway Boogie-Woogie (1942-43) at the Museum of Modern Art was highly influential in the school of abstract geometric painting. The piece is made up of a number of shimmering squares of bright color that leap from the canvas, then appear to shimmer, drawing the viewer into those neon lights. In this painting and the unfinished Victory Boogie Woogie (1942-1944), Mondrian replaced former solid lines with lines created from small adjoining rectangles of color, created in part by using small pieces of paper tape in various colors. Larger unbounded rectangles of color punctuate the design, some with smaller concentric rectangles inside them. While Mondrian's works of the 1920s and 1930s tend to have an almost scientific austerity about them, these are bright, lively paintings, reflecting the upbeat music that inspired them and the city in which they were made.

In these final works, the forms have indeed usurped the role of the lines, opening another new door for Mondrian's development as an abstractionist. The Boogie-Woogie paintings were clearly more of a revolutionary change than an evolutionary one, representing the most profound development in Mondrian's work since his abandonment of representational art in 1913.

In 2008 the Dutch television program Andere Tijden found the only known movie footage with Mondrian. The discovery of the film footage was announced at the end of a two-year research program on the Victory Boogie Woogie. The research found that the painting was in very good condition and that Mondrian painted the composition in one session. It also was found that the composition was changed radically by Mondrian shortly before his death by using small pieces of colored tape.

When the 47-year-old Piet Mondrian left the Netherlands for unfettered Paris for the second and last time in 1919, he set about at once to make his studio a nurturing environment for paintings he had in mind that would increasingly express the principles of neoplasticism about which he had been writing for two years. To hide the studio's structural flaws quickly and inexpensively, he tacked up large rectangular placards, each in a single color or neutral hue. Smaller colored paper squares and rectangles, composed together, accented the walls. Then came an intense period of painting. Again he addressed the walls, repositioning the colored cutouts, adding to their number, altering the dynamics of color and space, producing new tensions and equilibrium. Before long, he had established a creative schedule in which a period of painting took turns with a period of experimentally regrouping the smaller papers on the walls, a process that directly fed the next period of painting. It was a pattern he followed for the rest of his life, through wartime moves from Paris to London's Hampstead in 1938 and 1940, across the Atlantic to Manhattan.

At the age of 71 in the fall of 1943, Mondrian moved into his second and final Manhattan studio at 15 East 59th Street, and set about to recreate the environment he had learned over the years was most congenial to his modest way of life and most stimulating to his art. He painted the high walls the same off-white he used on his easel and on the seats, tables and storage cases he designed and fashioned meticulously from discarded orange and apple-crates. He glossed the top of a white metal stool in the same brilliant primary red he applied to the cardboard sheath he made for the radio-phonograph that spilled forth his beloved jazz from well-traveled records. Visitors to this last studio seldom saw more than one or two new canvases, but found, often to their astonishment, that eight large compositions of colored bits of paper he had tacked and re-tacked to the walls in ever-changing relationships constituted together an environment that, paradoxically and simultaneously, was both kinetic and serene, stimulating and restful. It was the best space, Mondrian said, that he had inhabited. He was there for only a few months, as he died in February 1944.

After his death, Mondrian's friend and sponsor in Manhattan, artist Harry Holtzman, and another painter friend, Fritz Glarner, carefully documented the studio on film and in still photographs before opening it to the public for a six-week exhibition. Before dismantling the studio, Holtzman (who was also Mondrian's heir) traced the wall compositions precisely, prepared exact portable facsimiles of the space each had occupied, and affixed to each the original surviving cut-out components. These portable Mondrian compositions have become known as "The Wall Works". Since Mondrian's death, they have been exhibited twice at Manhattan's Museum of Modern Art (1983 and 1995-96), once in SoHo at the Carpenter + Hochman Gallery (1984), once each at the Galerie Tokoro in Tokyo, Japan (1993), the XXII Biennial of Sao Paulo (1994), the University of Michigan (1995), and - the first time shown in Europe - at the Akademie der Künste (Academy of The Arts), in Berlin (22 February - 22 April 2007). His work was also shown in a retrospective exhibition at the Whitechapel Gallery in London, which ran from August - September 1955.

Mondrian's flowers

While Mondrian's theories of abstraction have been his enduring legacy, he was also a painter of flowers. He began to paint flowers at the turn of the century, creating portraits of individual blooms that blended his strict artistic training and powers of observation to his spiritual and romantic yearnings. Mondrian continued to paint flowers in a secretive manner into the 1920's, claiming to friends that he did so for commercial reasons alone. The flower paintings were created under the taboo that was cast upon traditional genre and representational painting by an entire age swept up by the triumph of abstraction. Nevertheless, the Mondrian flowers contribute to a broader view of the life and work of Mondrian - a view that diverges sharply from the traditional reading of his artistic evolution.

Piet Mondrian died of pneumonia on 1 February 1944 and was interred at the Cypress Hills Cemetery in Brooklyn, New York.

On 3 February 1944 a memorial was held for Mondrian at the Universal Chapel on Lexington Avenue and 52nd Street in Manhattan. The service was attended by nearly 200 people including Alexander Archipenko, Marc Chagall, Marcel Duchamp, Fernand Léger, Alexander Calder and Robert Motherwell.

The Mondrian / Holtzman Trust functions as Mondrian's official estate, and "aims to promote awareness of Mondrian's artwork and to ensure the integrity of his work".

Mondrian was described by critic Robert Hughes, in his 1980 book The Shock of the New, as "one of the supreme artists of the 20th century." Likewise in his television documentaries of The Shock of the New, Hughes referred to Mondrian considered again as "one of the greatest artists of the 20th century (...) who was one of the last painters who believed that the conditions of human life could be changed by making pictures". Dutch art historian Carel Blotkamp, an authority on De Stijl, reaffirmed the same belief that he was "one of the great artists of the twentieth century".

In 2022 design historian Stephen Bayley wrote: "Mondrian has come to mean Modernism. His name and his work sum up the High Modernist ideal. I don't like the word 'iconic', so let's say that he's become totemic - a totem for everything Modernism set out to be."

On 14 November 2022, Mondrian's Composition No. II was sold at Sotheby's Auction for US $51 million, which beat a previous record of US $50.6 million for his work. Composition No. II features a 20-inch by 20-inch canvas with a large red square in the upper right corner, a small blue square in the bottom left corner, and a yellow block with all outlined by black.

In October 2020, Mondrian's heirs filed a lawsuit in a U.S. court against the Kaiser Wilhelm Museum in Krefeld, Germany, for the return of four paintings by Mondrian.

In December 2021, Mondrian's heirs sued the Philadelphia Museum of Art for the return of Mondrian's Composition with Blue (1928) which had been seized by the Nazis, and passed through the art dealers Karl Buchholz and Curt Valentin before being gifted to the museum by Albert E. Gallatin.

Mondrian dresses by Yves Saint Laurent shown with a Mondrian painting in 1966.

The National Museum of Serbia was the first museum to include one of Mondrian's paintings in its permanent exhibition.[43]

Along with Klee and Kandinsky, Mondrian was one of the main inspirations to the early pointillist musical aesthetic of serialist composer Pierre Boulez,[page needed ] although his interest in Mondrian was restricted to the works of 1914-15. By May 1949 Boulez said he was "suspicious of Mondrian", and by December 1951 expressed a dislike for his paintings (regarding them as "the most denuded of mystery that have ever been in the world"), and a strong preference for Klee.

In the 1930s, the French fashion designer Lola Prusac, who worked at that time for Hermès in Paris, designed a range of luggage and bags inspired by the latest works of Mondrian: inlays of red, blue, and yellow leather squares.[47]

Fashion designer Yves Saint Laurent's Fall 1965 Mondrian collection featured shift dresses in blocks of primary color with black bordering, inspired by Mondrian.[48] The collection proved so popular that it inspired a range of imitations that encompassed garments from coats to boots.

The 1970-1974 American television serial The Partridge Family featured a musical family who purchase an (already-old at the time) 1957 Chevrolet Superior Coach Series 6800 school bus for use as their tour bus, and then repaint it in a colored geometric pattern heavily inspired by Mondrian's grid-based paintings. The reason for this choice of pattern is never discussed in the TV series.

The La Vie Claire cycling team's bicycles and clothing designs were inspired by Mondrian's work throughout the 1980s. The French ski and bicycle equipment manufacturer Look, which also sponsored the team, used a Mondrian-inspired logo for a while. The style was revived in 2008 for a limited edition frame.[49]

1980s R&B group Force MDs created a music video for their hit "Love is a House", superimposing themselves performing inside of digitally drawn squares inspired by Composition II.[50]

Piet is an esoteric programming language named after Piet Mondrian in which programs look like abstract art.[51]

Mondrian is a software for interactive data visualization named after him.

Mondrian is a functional scripting language designed by Microsoft Research for the .NET platform.[52]

Mondrian is a web-based code review system written in Python and used within Google.

Mondrian is an open source OLAP (online analytical processing) server written in Java.

Mondrian is an extension of the Conformal Prediction machine learning framework.

An episode of the BBC TV drama Hustle entitled "Picture Perfect" is about the team attempting to create and sell a Mondrian forgery. To do so, they must steal a real Mondrian (Composition with Red, Yellow, Blue, and Black, 1921) from an art gallery.

In 2001-2003 British artist Keith Milow made a series of paintings based on the so-called Transatlantic Paintings (1935-1940) by Mondrian.[53]

The Mondrian is a 20-story high-rise in the Cityplace neighborhood of Oak Lawn, Dallas, Texas, US. Construction started on the structure in 2003 and the building was completed in 2005.

In 2008, Nike released a pair of Dunk Low SB shoes inspired by Mondrian's neo-plastic paintings.[54]

The front cover to Australian rock band Silverchair's fifth and final album Young Modern (2007) is a tribute to Piet Mondrian's Composition II in Red, Blue, and Yellow.

The cover art of American psychedelic pop indie rock band The Apples in Stereo's second album, Tone Soul Evolution (1997), was inspired by Piet Mondrian.

The mathematics book An Introduction to Sparse Stochastic Processes[55] by M. Unser and P. Tafti uses a representation of a stochastic process called the Mondrian process for its cover, which is named because of its resemblance to Piet Mondrian artworks.

The Hague City Council honored Mondrian by adorning walls of City Hall with reproductions of his works and describing it as "the largest Mondrian painting in the world."[56] The event celebrated the 100th year of the Stijl movement which Mondrian helped to found.[57]

The Jersey Surf Drum & Bugle Corps performed a show based on Piet Mondrian in their 2018 production titled [mondo mondrian].[58]

In collaboration with the Thyssen-Bornemisza Museum in Madrid, Swatch created a watch called the "Red Shiny Line (SUOZ297)" which pays tribute to Mondrian's "New York City, 3".[59] This was followed in 2022 by the watch "RED, BLUE AND WHITE, BY PIET MONDRIAN (SUOZ344)" which celebrates the painting Composition in Red, Blue and White II as part of a collaboration between Swatch and Centre Pompidou.[60]

The building facades and design details of Chun Yeung Estate, a public housing estate in Fo Tan, Hong Kong, was inspired by geometric elements from Mondrian's work according to the Housing Department's architectural project team.[61]

In 2021, LH Games released a video game inspired by the works of Piet Mondrian entitled Mondrian Squares.[62]

In 2022, Tecno, in Partnership with Museum of Fine Arts, released a Special Edition of their Camon 19 Pro smartphone, incorporating his paintings into its design.[63]

From 6 June to 5 October 2014, the Tate Liverpool displayed the largest UK collection of Mondrian's works, in commemoration of the 70th anniversary of his death. Mondrian and his Studios included a life-size reconstruction of his Paris studio. Charles Darwent, in The Guardian, wrote: "With its black floor and white walls hung with moveable panels of red, yellow and blue, the studio at Rue du Départ was not just a place for making Mondrians. It was a Mondrian - and a generator of Mondrians." He has been described as "the world's greatest abstract geometrist".

Apollonio, Umbro (1970). Piet Mondrian, Milano: Fabri 1976. (in Italian)

Bax, Marty (2001). Complete Mondrian. Aldershot (Hampshire) and Burlington (Vermont): Lund Humphries. ISBN 0-85331-803-4 (cloth) ISBN 0-85331-822-0 (pbk).

Blotkamp, Carel (1994). Mondrian: The Art of Destruction. London: Reaction Books Ltd.

Boulez, Pierre; Cage, John (1993). Nattiez, Jean-Jacques (ed.). The Boulez-Cage Correspondence. Translated by Samuels, Robert. Cambridge [England]: Cambridge University Press. ISBN 0-521-40144-5.

Busignani, Alberto (1968). Mondrian: The Life and Work of the Artist, Illustrated by 80 Colour Plates. Translated by Beamish, Caroline. Thames & Hudson.

Cooper, Harry (1997). Dialectics of Painting: Mondrian's Diamond Series, 1918-44 (Thesis). Harvard.

Larousse and Co., Inc. (1976). Mondrian, Piet. In Dictionary of Painters (p. 285). New York: Larousse and Co., Inc.

Hajdu, István (1987). Piet Mondrian. Pantheon. Budapest: Corvina Kiadó. ISBN 963-13-2265-3. (in Hungarian)

Faerna, José María (ed.) (1997). Mondrian Great Modern Masters. New York: Cameo/Abrams. ISBN 0-8109-4687-4.

Gooding, Mel (2001). Abstract Art. Movements in Modern Art. London: Tate Publishing; Cambridge and New York: Cambridge University Press. ISBN 1-85437-302-1 (Tate); ISBN 0-521-80928-2 (Cambridge, cloth); ISBN 0-521-00631-7 (Cambridge, pbk).

Guerrand, Jean R. (1988). Souvenirs cousus sellier: un demi-siècle chez Hermès [Saddle stitched memories: half a century at Hermès]. Paris: Oliver Orban. ISBN 2-85565-377-0.

Hughes, Robert (1980). "Trouble in Utopia". The Shock of the New. British Broadcasting Corporation. ISBN 0-563-17780-2.

Introvigne, Massimo (2014). "From Mondrian to Charmion von Wiegand: Neoplasticism, Theosophy and Buddhism". In Noble, Judith; Shepherd, Dominic; Ansell, Robert (eds.). Black Mirror 0: Territory. Fulgur Esoterica.

Janssen, Hans (2008). Mondriaan in het Gemeentemuseum Den Haag. [The Hague]: Gemeentemuseum Den Haag. ISBN 978-90-400-8443-0

Locher, Hans (1994) Piet Mondrian: Colour, Structure, and Symbolism: An Essay. Bern: Verlag Gachnang & Springer. ISBN 978-3-906127-44-6

Mondrian, Piet (1986). The New Art - The New Life: The Collected Writings of Piet Mondrian, edited by Harry Holtzman and Martin S. James. Documents of 20th-Century Art. Boston: G. K. Hall and Co. ISBN 0-8057-9957-5. Reprinted 1987, London: Thames and Hudson. ISBN 0-500-60011-2. Reprinted 1993, New York: Da Capo Press. ISBN 0-306-80508-1.

Schapiro, Meyer (1995). Mondrian: On the Humanity of Abstract Painting. New York: George Braziller. ISBN 0-8076-1369-X (cloth) ISBN 0-8076-1370-3 (pbk).

Seuphor, Michel (1956). Piet Mondrian: Life and Work. New York: H. N. Abrams. p. 117.

Welsh, Robert P., Joop J. Joosten, and Henk Scheepmaker (1998). Piet Mondrian: Catalogue Raisonné, translated by Jacques Bosser. Blaricum: V+K Publishing/Inmerc.

Wiegand, Charmion (1943). "The Meaning of Mondrian". The Journal of Aesthetics and Art Criticism. 2 (8 (Autumn, 1943)). Blackwell Publishing on behalf of The American Society for Aesthetics: 62-70. doi:10.2307/425946. JSTOR 425946.

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Pieter Cornelis Mondriaan (Dutch: [ˈpi:tərkɔrˈneːlɪsˈmɔndrijaːn]), after 1906 known as Piet Mondrian (, also , Dutch: painter and [pitˈmɔndrijɑn]; 7 March 1872 - 1 February 1944), was a Dutch art theoretician who is regarded as one of the greatest artists of the 20th century.

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15 Zentangle Patterns | Part 2 | Tutorial

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Art Lessons: Kandinsky Circle Art  Lesson for Elementary Students

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Tape Art Installation by Darel Carey - Dimensionalizing the Foyer: Topographical Space

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THE THEME GEOMETRIC REALLY ENABLES YOU TO EXPLORE THE ROLE/PURPOSE AND RESPONSIBILITIES OF SHAPE WITHIN ART & DESIGN. 

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THE THEME GEOMETRIC REALLY ENABLES YOU TO EXPLORE THE ROLE/PURPOSE AND RESPONSIBILITIES OF SHAPE WITHIN ART & DESIGN. 

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ON THIS PADLET PAGE YOU WILL BE SET A RANGE OF CREATIVE TASKS THAT YOU NEED TO WORK ON DURING YOUR REMAINING SESSIONS OF YEAR 1 FASHION AS WELL AS DURING SUMMER.

THIS IS A IMPORTANT PROJECT/ THEME YOU WILL BE WORKING ON AT THE START OF THE SECOND YEAR OF COLLEGE. PARTS OF THIS PROJECT WILL FORM INTO YOUR PORTFOLIO.

CREATE A NEW PADLET PAGE AND UPLOAD YOUR WORK ONTO IT ! ENSURE YOU SHARE THIS AND ENABLE COMMENTS SO WE CAN GIVE YOU FEEBACK!

SURBJIT

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TASK 14 - GET A BIRO AND CROSS HATCH PLAYING AROUND WITH VALUE/LIGHT AND DARK IN THE STYLE OF DEREK LERNER

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TASK 14 - GET A BIRO AND CROSS HATCH PLAYING AROUND WITH VALUE/LIGHT AND DARK IN THE STYLE OF DEREK LERNER

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3D Geometric Shapes Drawing / Line Illusion Pattern / Daily Art Therapy / Day 0152

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How To Draw Geometric Square Design ! 3d Drawing Design ! Optical illusion ! 3d Drawing trick

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KEEP ALL YOUR SAMPLES AND DRAWINGS WE WILL BE WORKING ON PUTTING THESE INTO A A3 SKETCHBOOK IN SEPTEMBER WHEN YOU WORK ON THE THEME GEOMETRIC WITH MYSELF AND SALLY WHEN WE ARE BACK IN COLLEGE. 

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KEEP ALL YOUR SAMPLES AND DRAWINGS WE WILL BE WORKING ON PUTTING THESE INTO A A3 SKETCHBOOK IN SEPTEMBER WHEN YOU WORK ON THE THEME GEOMETRIC WITH MYSELF AND SALLY WHEN WE ARE BACK IN COLLEGE. 

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UPLOAD ALL WORK SET BY ALL STAFF ON TO YOUR PADLET PAGES. 

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UPLOAD ALL WORK SET BY ALL STAFF ON TO YOUR PADLET PAGES. 

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Mondrian dresses by Yves Saint Laurent shown with a Mondrian painting in 1966.

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Mondrian dresses by Yves Saint Laurent shown with a Mondrian painting in 1966.

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"I have no fears about making changes, destroying the image, etc., because the painting has a life of its own."

Jackson Pollock

In 1947 Jackson Pollock arrived at a new mode of working that brought him international fame. His method consisted of flinging and dripping thinned enamel paint onto an unstretched canvas laid on the floor of his studio. This direct, physical engagement with his materials welcomed gravity, velocity, and improvisation into the artistic process, and allowed line and color to stand alone, functioning entirely independently of form. His works, which came to be known as "drip paintings," present less a picture than a record of the fluid properties of paint itself. Describing his action-based process, Pollock says, "When I am in my painting, I'm not aware of what I'm doing. ...I have no fears about making changes, destroying the image, etc., because the painting has a life of its own."

Though self-reflexive in nature, they readily inspire larger interpretations; the explosive, allover expanses of Number 1A, 1948 (1948) and One: Number 31, 1950 (1950) can be seen as registering a moment in time marked by both the thrill of space exploration and the threat of global atomic destruction. During the Cold War, Pollock's paintings and those of his Abstract Expressionist peers, including Mark Rothko, Franz Kline, and Willem de Kooning, were promoted, in exhibitions toured abroad by MoMA's International Council, as emblems of the freedoms fostered under liberal democracy.

Pollock came to New York in 1930, as a young art student from Los Angeles. While taking classes at the Art Students League, he pursued a close mentorship with painter Thomas Hart Benton and immersed himself in Surrealism and the subconscious; the mural painting of Mexican socialists David Alfaro Siqueiros and José Clemente Orozco; and the work of Pablo Picasso, including his Girl before a Mirror and Les Demoiselles d'Avignon. For several years, he worked for the Federal Arts Project of the Works Progress Administration (WPA). Pollock enjoyed recognition beginning in the early 1940s, with the support of critic Clement Greenberg and collector-gallerists Betty Parsons and Peggy Guggenheim. Under Alfred H. Barr, Jr.'s directorship, MoMA became the first museum to acquire a painting by Pollock, The She-Wolf (1943), out of the artist's first solo show that year at Guggenheim's Art of This Century gallery. In 1956, at the age of 44, the artist died behind the wheel of his car. His wife, painter Lee Krasner, would do much to further his legacy after his death, including donating major works to MoMA's unparalleled Pollock collection.

The profound influence of Pollock's approach-at once emphatically literal and radically open to the world-may be found in the words of his fellow artists. The experimental Gutai group, which formed in Japan in the mid-1950s, cited his work as a crucial encouragement to "impar[t] life to matter" and pursue "pure creativity." In 1958, Happenings impresario Allan Kaprow wrote in Art News in honor of the late artist: "[Pollock] left us at the point where we must become preoccupied with and even dazzled by the space and objects of our everyday life...these, I am sure, will be the alchemies of the 1960s." Nine years later, Minimalist sculptor Donald Judd would write in Arts Magazine, "It's clear that Pollock created the large scale, wholeness and simplicity that have become common to almost all good work."

Annie Ochmanek, Curatorial Assistant, Department of Painting and Sculpture, 2016

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