I’ve always felt bad about not seeing this project through, especially since I invited you all along for its creative journey. (Along with all of the other projects I’ve had to set aside!) Arthritis has taught me since then that some stitching is better than none at all, so let’s try this again!
As with many projects that I begin, put away, then come back to later, I find that there are things that bother me that didn’t before. This one is no exception.
The color scheme: I was having trouble making the colors work to my liking. So, I added periwinkles, and I’m liking it better. The colors still have an autumn-y feel overall, but look more balanced (to my eye) now with the pop of a cool color amidst the predominantly warm palette. (The color family in the middle of the image is actually a reddish-purple, but I just can’t get it to photograph true to color.) But, as we all know by now, things can always change again as I actually begin stitching.
The border needs to be moved out toward the edges so that there’s no overlapping. And, it needs to be narrowed so it’s not competing with the subject. And the more I look at it, and re-sketch, I’m not sure that the diamonds work for this particular design. The rest of the design is so flow-y and the diamonds… well… aren’t. I’m thinking twining and Celtic-y, but (note to self) SIMPLE!! probably done in shades of gold using stem stitch. Along these lines:
The foliage needs some re-working. I’ve simplified the large leaf edges, and added some open spaces within the leaves to break up all that GREEN… it seemed rather overpowering. In the open spaces I’m planning to do some sort of filling stitch. Experimentation is definitely called for.
And finally, I’m leaning away from doing this design totally in wools. I know that great delicacy can be achieved with wool, but at my current level of crewel expertise, I don’t think I’m up to that degree of ‘exactitude’ (for lack of a better term). For me personally, I think I’d be happier with more textural contrast. We shall see!
Transferring the drawing to fabric is next: via light table. After that, I’ll stretch the fabric on a frame of some sort. Mary Corbet explains methods of transfer and fabric mounting very thoroughly (and much better than I could!) on her blog/website.