As you may know, if you've done these forms of goldwork, the or nue aka shaded goldwork, seen here just started, see the dragonfly motif recurring (!)
and the stitching over string seen here, a fleur de lis motif, string mostly in place, goldwork couching just started,
are very slow methodical processes.
The wilderness is a bit more sudden. And after two days of workshop and one day at home on the goldwork, I urgently needed to switch to the wilderness.
I stitched down the lizard into his new home, and after a bit more stitching of grasses and plants, some of which is already done, after I made the pic, the dragonfly will take up residence, too. And after that another bunch of ideas I have in mind but not on needle yet. I must say I'm glad he's in place, really tired of whipping him in and out of his little baggie.
On the subject of design, you'll see that the lizard touches on three plants. The dragonfly will probably do likewise, and may touch on the last plant the lizard touches, so as to lock the design together.
But I will be very particular about the angle at which the dfly goes in, to activate the space between her and the lizard. You note that the lizard draws your eye left to right and up a bit, because that's how he's looking, ready to notice the dfly, which will, in a way, cut that off, so you don't slide right off the side. Your eye needs places where it will be stopped. These diagonals provided by the stumpwork animals, will provide the relief from all the verticals of the grasses and flowers.
Later this afternoon, I'm off to see an art exhibit, someone else's work, yay, change from doing it myself, and will duly report.
Reading what you wrote about having a stopping point in a piece of work so your eye doesn't slide off the side reminded me about a speaker that I heard once who said the exact same thing. She advocated always putting a dark edging on quilts so that the eye had a stopping point.
ReplyDeleteOh, how I love it all.
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