May 9, 2014

No black lines

Starting the split stitch in dark gray 

Making progress on the split stitch  

Have been working more on the mouth area, which has the most painted section on both the organdy and linen panels. But toggling back and forth between the linen panel and the organdy panel to see how they are working together has been cumbersome, since the organdy is on the lap stand and the linen is on a separate wooden stretcher.

Adding in the lighter gray 

Full view of the mouth section on the organdy 

The organdy panel stretched on the lap stand 

Making the coral stitch in yellow 

There is a school of thought that giving yourself some restrictions when working will yield better, more interesting, results. In college I spent a semester studying painting and art history in Prague and one of my fellow students made this sign for our painting studio: "No black lines." {To him, outlining any form or edge in a painting using black lines was just lazy.} We all laughed when he first hung it up but it stayed up the entire semester and it worked – no one used black lines in their paintings. His proclamation inspired us to think around black lines and figure out other ways to get similar effects in our work.

Maybe my inability to constantly look at the two panels together while I'm working is akin to the "no black lines" rule. It's forcing me to work in a different, less comfortable, way.

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