Temari ball rose garden
July 26, 2011
C8, 26cm circumference; perle cotton #5
Today’s comes from the book, Cosmo 3 (colour photo page 4, no pattern). I assume the pattern has been published in another of Ozaki’s books. It required a bit of a careful look because it is right at the spine-edge of the two pages. There is a C10 version of this on the same page, with corresponding pattern instruction in back, so for those used to switching between C8 and C10 versions of the same pattern, this is no big deal.
It’s been a while since I did a Rose Garden. Here are previous attempts:
Left to right: 25.5cm circumf, perle cotton #8; 23.5cm circumf, perle cotton #5; 22.5cm circumf; 24.5cm circumf. Not sure why I keep reaching for the turquoise green-blue when i think Rose Garden…
Colour-wise, today’s relies on a sequence of colours lying next to each other on the colour wheel: red, yellow, orange, green. A similar approach would be yellow-orange-blue-blue/violet, etc. They are all pure and bright colours, so “shine” on an all-black mari background. What is interesting though is that the green is not a bright green like the others, but a turquoise blue-green (in this case DMC 992). As is usual for me and in the traditional Japanese teaching style, I stuck quite closely to the colours of the model.
There are three components to the design, something I’m aware of with the current summer ‘strike-out’ challenge over at my Yahoo! Group where we extract one component from a design and replace it with another that works equally well.
Component 1 is the turquoise green. I ended up using a lot more thread for this than anticipated. I thought I’d over-estimated the measurements (roughly one-quarter up along the marking thread from centre-of-triangle to pole or 1 cm), but it ended up okay judging by the amount of black negative space around the rose. With a more complex rose, especially on a larger ball for example, one could make the leaves smaller. In terms of geometry though, the outer yellow edge of my flower falls exactly half-way along the axis mid-square to mid-triangle, so there is some geometric ‘purity’ at work here.
Component 2 is the triwings. I used the same red on the edging as in the centre of the rose, for the sake of continuity. I did however use a lighter yellow than found in the rose, mainly to allow the rose yellow to stand out a bit more. Surrounded by the red and green, it ends up looking “darker” naturally, almost an orange, but I wanted the slightest of contrasts in terms of colour between the rose and its background. Any excuse to add a few extra hues – I think they provide depth to a temari!
Component 3 is the rose garden on each of the six faces. Without a pattern with specific numbers of rounds to follow, I settled on roughly six rounds per petal. Perhaps with four and starting further out from the poles, the tips of the triwings would have (ideally) shown through a bit more – which is integral to the mystery of the ball, really. At this point, I was relieved I’d used a turquoise blue (more than green) perle cotton #8 as my jiwari marking thread because this provided the necessary continuity between the centre of the flower and the background colours (which is what the triwings would have done anyway). Key at this point is that the final white layer measures up as an equal-sided square, i.e. meets the triwing points exactly. Next time I do this, I will be more conscious of these measurements as integral to the final look of the ball!
I was happy with this. Certainly the bright colours are attractive. What I might do next time is use three (very subtle) shades of green for the ‘leaves’ and I’ll certainly start the rose garden ‘further out’ in order to show the tips of the triwings.
Time to push the envelope and graduate to a complex-10 division ‘rose garden’!