By Karen Eckmeier
Observe the secrets and techniques of making a cloth panorama by chance utilizing this topstitch/layering approach. those quilted scenes are strangely easy to create! The booklet comprises over 30 new inspiring landscapes to lead you alongside the way in which. You'll seize the sensation of a scene in basic layers. Create a panorama in accordance with a favourite photograph or colour palette. undertake an analogous effortless layering strategy to create attractive curved borders. For ease and enjoyable, Karen's topstitched layers beat out desktop applique and curved piecing through a mile.
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Additional resources for Accidental Landscapes
90 40 H AUPTMAN OverviewH In another example of Redon’s water pictures, Oannes (fig. 18), the artist focuses on the half-man, half–sea serpent who, emerging out of water, brought civilization to earth. Oannes, a key character in Gustave Flaubert’s The Temptation of Saint Anthony—a book rich in descriptions of underwater spectacle—appears in many guises in Redon’s three portfolios dedicated to this book (plates 49–52 and 74–77). When he takes up this subject in color, Redon focuses more completely on the theme of chaos and change.
Onstage, the players 36 H AUPTMAN OverviewH Fig. 15. Max Klinger. Abduction, plate IX from the portfolio A Glove. 1881. Etching and aquatint on chine appliqué. 1 x 27 cm). The Museum of Modern Art, New York. Purchase, 1950 in each drama are caught in a sort of limbo: they float or hang suspended in air or water. In Sad Ascent (fig. 13, plate IX), for example, Redon depicts a night sky in which, above a moonlit city (which also resembles a boat), floats a hot air balloon in the form of a head. Tucked into the basket of the balloon is a second, smaller winged head.
Moreover, the environments in which these monsters float or grow—barren landscapes, calm oceans—fade comfortably into the distance. In many of his interiors, Redon makes use of a gridded floor to indicate the room’s space and dimension, a clue to his commitment to a traditional perspectival structure. This use of perspective and three-dimensionality brings his strange visions directly to the viewer, thus providing credibility for his monsters and enhancing the viewer’s experience of the fantastic.