WIP: The Starry Night (6)

It’s been a while since I posted an update. I didn’t work on this much for a stretch, then I was so close I decided to wait until I finished the first page. Which I just did.

I’m officially done worrying about the weird colors. I’m thrilled with how this is coming out. You can enlarge to see the weirdness close up.

(photo: original work)

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6 comments

  1. Gorgeous! It never ceases to amaze me how cross stitching patterns can seem so totally weird when you’re up close working on them and then look amazing once they’re done. This one is a case in point Maia – you say it looks weird, I say it looks stunning! These designers really must know what they’re doing – I have this same feeling with every piece I work on……talking of which…. it’s all gone quiet on the stitching front for me…….must pick up my WIP again SOON!

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    • It is weird from stitching distance; there are several shades of green and a good dose of metallic silver in the sky. So far, there are three stitches of black in the cypress. I’m actually hoping it will go a little faster now that I’m sure it’s going to come out right and I don’t feel like I have to keep stopping to triple-check every color. I’m excited to start the village now, to see how it comes out, but that’s going to be the last thing; I do get to do the big double spiral in the sky on the next page, though.

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    • I’m super-pleased with this, and I wish I knew where it came from so I could recommend it and the designer. But the chart is at least ten years old (and certainly a little older than that; it’s been in my stash a long, long time) and has no identifying marks. It has the complexity and confetti-ness of an HAED chart, but I have no idea.

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    • Massive amounts of confetti. If you define it (as I do) as no more than five stitches of a color before you have to either cut off and move to continue that color, or have to start a new one because it’s too far to count off, this has been about 80% confetti so far. I’m glad I started in the corner this time (which I usually don’t); having such an identifiable section of the painting in front of me reassures me that all the color changes are going to be very worth it.

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