It’s time to move onto another part of this work.
The first figure is started, (though in placement on the work, it will be the second figure…) BUT i shall have to rip out that entire foot as it is WAAAAAAAAAAAAAAAAAAAAAAAAAAAAY too heavily worked. That’s where i started, and of course as i worked through, found the rhythm and look, and started enjoying myself, that bulky, excessive, cumbrous, pulchritudinous spog really started bothering me.
I could do the lazy thing as some artists are wont to do, when they can’t draw the appendages at the end of the arms and legs.and hide it behind something. You know, all those figures standing in piles of hay, apparently holding *something* behind their backs…..
Nah. Rip it out, though it’s going to be a pain in the Bazotski to rework so the whole thing doesn’t fall apart. A delicate clat is going to be needed.
albedo too 
Well, you know best what your intention is. But if it were me I might leave it until more of the piece is worked and see if the foot is still a problem. Maybe there was a subconscious reason for working the foot so heavily. I kind of like the contrast between the elaborate stitching and the plainer areas, it makes me ask, “What is it about that foot, what does it mean? Foot connects with ground, is there a need to be grounded?” and on and on as my silly mind is wont to do.
Not to muddle the issue. You’re the boss.
LikeLiked by 1 person
NOT silly at all! I *did* think of the grounding aspect, but this figure is meant to be more fragile and vanishing. It might have worked if it’s on the other figure, but not gonna happen 🙂
LikeLike