It's a combo of hand dyeing, goldwork, beads and painted dots. I have a nice Japanese frame ready for it when I get to it.
And here's the Big Doorway Piece, more work done on it. The trailing couched gold thread, of which there will be much more, around the other two motifs, will enclose drifts of beads and stitching.
I can only do this for a short time, because the size is very tiring for my ribcage, oddly enough. Reaching forward and back and guiding the thread front and back is more strenuous than you might think. So a short period at a time works.
This is the interior petals of the flower, which will be done partly in stumpwork like this, partly with surface embroidery.
In the interests of transparency, very appropriate since I'm working on organza, the two open areas are you might say abandoned. I tried them but the thread didn't work out, tried another thread, still wasn't right, so I switched to a floss which is working much better.
I've also moved on from drawing the petals and keeping the wire in the boundary, the usual stumpwork technique, to doing it more freehand, shaping the wire as I go, and it's better for my style than doggedly following a pattern. Why are you not surprised at this.
And this morning I found a gallon of white semi gloss enamel at the dumpster, so it's now up in the studio, and I think my paint requirements for the room have been met. I need a bit of spackle and after that I can get under way.
good for you, on the paint, and the embroidery--nothing like a free gallon of white semi gloss paint to set one up for days, yes indeed. and the embroidery seems to be going very well, this has been more fun to watch as it grows, sort of like watching baby chicks hatch and grow...
ReplyDeleteI don't know if intentional, but the first one makes me think you are spelling "love" and that the small globe hints at the world, thus "love in the world."
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