Shifting gears, moving to the next phase, changing the focus; that’s what I’ve been doing in these last couple of weeks as I transition from the fusing stage of my project to the stitching stage. I find it helpful to take a break and clear my head so that I can look at the project with fresh eyes. So, during this period, an idea that has been floating around in my brain for several years actually came alive and demanded to be brought to creation. I’ll share that with you in a few weeks. It is a total departure from this project and did allow for the fresh perspective I needed.
Before going of on this side trip, the fused fabric foundation for “We Don’t Talk” was loaded onto my longarm machine. You can see here all of the layers and how they are placed. If you’ve done your own thread painting, you may know that it is always a struggle to end with a piece that lies flat. I’m always on the quest for a better solution. In the past, I’ve used a layer of raw artist canvas. This has been marginally successful, so, this time I will use 2 layers positioned under the batting so that the grains are perpendicular to each other. I’m giving it a shot, but the tradeoff is weight. This baby is going to be heavy for it’s size.
(2 weeks go by)
Thread, thread, so much thread needed. Just as with my fabrics, I like to create selections for each element in the project, and just like with fabric, I use my trusty value scale to make good choices. However, with threads, I usually put together sets of 7-10 threads: one each of the #1 and 5 values, and then two or three each of values 2,3,4. However, given the size of the figure in this piece, I may have 3-5 threads in every value. Here is what it looks like in my studio when the threads come out to play.
Hmmm, I think I’ll start on the face first. Check back next week to see the progress.