While there have been other things to write about in my last several posts, I’ve still been busy with the stitched portrait I began a month ago. It’s time to bring you up to speed with my progress so far.
The eyes ground everything else.
As predicted, seismic changes are taking place as I feel my way along in the proverbial dark. Most notably the initial white stitching has been/is being replaced with threads of color. In some ways, it’s much easier to make a “reverse” image of white on a dark ground than it is to work “positively” on a dark area. As I wrote in a recent Instagram post, there’s a reason why people often begin with a light background.
The depth brought out with color made it a no-brainer decision to remove the rest of the white stitching.
With each step forward, I can see how heavily I am leaning on lessons learned through drawing, especially from my weekly life-drawing sessions. Watching form and pattern work together as equals is incentive to see what will happen next. And color almost seems to have become its own dimension, nursing other important lessons.
Even though the colors aren’t what you might call “natural”, I think they are what breathe life into the figure.
I am making a conscious decision to leave some areas un-stitched, letting one’s eyes and brain fill in the blanks. Doing so calls attention to the piece’s “stitch-iness”, and serves my aim to direct your eye back and forth between the image and the surface. Right now I am mulling over how to treat the background — exactly how much I will work and how much will be left alone. It should support the subject without distracting from the lovely fluctuations in color created via the dye process.
This appears at a weird angle because of the way my frame was tilted when I took the picture. The shadow of the hand helps to better define the face. If you look closely, you can see how I changed that shadow from the previous image. Also, the lips have been reworked and toned down.
So, there is still plenty to do, but it’s coming along.
Each new section covered pulls out the image more.
When drawing from life, I find I’m most interested in composing my drawings so that they include more than just the bust of the model. A more complete figure set within its background offers additional opportunities to play off some of the formal considerations I enjoy so much, whereas working with just the head and shoulders presents an entirely different set of concerns. This piece is an interesting stretch for me.
Can you see the area where I removed some stitches? Only a dozen or so stitches taken out makes such a huge difference.
I’m curious about your thoughts. In general, what is your impression of portraits of people you don’t know? Is there enough to draw you in and hold your attention? Or do you find you’re more attracted to images of people who hold specific significance for you in one way or another?
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I’m always interested in etymological tidbits. When choosing the title for this post I couldn’t resist looking up the history of the idiom “in stitches”. So much invariably comes back to Shakespeare.
in stitches laughing uncontrollably. informal
Stitch, in the sense of ‘a sudden localized jabbing pain’, such as might be caused by a needle, is recorded in Old English. It is now generally used of a muscle spasm in the side caused especially by exertion. Shakespeare seems to have been the first to describe stitches brought on by laughter; in Twelfth Night (1601) Maria invites her fellow conspirators to observe the lovelorn Malvolio with the words: ‘If you…will laugh yourselves into stitches, follow me’.
~ from thefreedictionary.com
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And, to underline the general theme of this post, check out this very silly link. It will leave you in stitches…