I've discovered that not waiting can be a bad thing: the needle picks up the paint and the thread dredges through that small, tiny little drop. You can't imagine how much paint can get carried from one stitch to another and another and another.
In other words, it makes a mess. Take the stitches out, right?
That requires touching the paint and spreading it around via the seam ripper. Bigger mess, that. Okay, so let it dry. Ha! removing stitches that have been stitched and painted on...let's just say it ain't easy and it sure ain't fun!
Honestly, the best option is to stay out of the paint while it's wet. And since it's rough on the needle once it's dry, it's probably a good idea to stay out of the paint altogether. Such a difficult idea to stick with.
But handling the paint and the needle just right means creating a three-dimensional effect, which I really like. On this painting, the largest cotton boll has a high relief that protrudes from the background plane, but it also has a sunken relief caused by the quilting process.
My goal is to learn more about how to create a variety of reliefs and to learn how light plays on the piece as a result of the quilting and relief work.
I experimented with the quilting by creating interlocking circles and then echo quilting the shapes that these circles created. I also experimented by playing with size. This one is 12" X 20" and my sweet husband made the frame for me.
At first I didn't like the piece. I thought the background and the painted sections blended too much. But now that it's finished, it seems to be growing on me. I honestly believe that seeing through my camera lens is what changed my mind. Somehow it has a different look and mood.
Definitely it has improved my mood!
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