Carol wrote:
Thank you for the reply. My takeaway from your comments is that what "works" is truly an aesthetic thing, purely in the eyes of the stitcher. What works for me may not be what works for you. But that's what makes all our pieces different; it's a lot like working with the high school speech team I coach. My oral interpretation of a piece a poetry is going to be different from how my students interpret it. ANYTHING subjective is going to have the same issues.
Jane replied: True. I think using the guidelines above will help folks choose stitches and I think studying other folks’ stitching will also help. But the true learning will come from working your own painted canvases and figuring out what really works well for you and what doesn’t. There are some good guidelines for choosing stitches and colors (light colors and shiny things generally come forward while dark colors that don't shine generally recede; you need to keep the various parts of a design the same scale in most instances, etc.) but often what looks good to you is what is good. This means there is some really ugly needlepoint in my eyes that wins awards in exhibits. In those cases I try to see the technical achievement in the stitching, etc. I think mostly if a piece is a coherent whole, it is well done. Maybe I wouldn't have done it that way but maybe I also will learn something from a different stitching perspective.
I am certain I could explain this better but for today, this is the best I can do!
Anyone who can articulate how they choose stitches for their designs, please speak up and help the rest of us. Carol, thanks very much for the thought-provoking question.
Written by Jane/Chilly Hollow Blogging at http://chillyhollownp.blogspot.com and at http://chstitchguides.blogspot.com
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