Each of these three temari designs have a dynamic element to their design.
Sometimes a creative block occurs for a particular project and it gets put on hold for a while. Temari #111 is such a project. It was on hold so long that I forgot I had it until I came upon it while sorting and reorganizing sewing supplies.
Only the purple triangles were stitched at the time it was abandoned. They looked like floating picture frames with no purpose. Not very interesting or dynamic.
In the picture above, you can see there are two needles at rest, stuck in the ball while I take the picture. There are two needles because the squares are stitched in alternate light blue and dark blue rounds.
So, I added the square picture frames as connectors to tie the triangles together and to emphasize the spin of the design. I had started thinking of them as picture frames because they looked empty as if they needed to display something to give them meaning.
Temari #111 is a C8 division. Think of cube or tetrahedron polyhedrons. The squares are on the faces of a cube or the points of a tetrahedron. The triangles are on the faces of a tetrahedron or the points of a cube.
The 6 blue squares are on the poles. The orange trefoils (I forget the Japanese temari term) are on the center of the triangles with their points at the center of each side of the triangle markings. You can see the black thread marking the ball as I forgot to remove it. The purple triangles are also centered on the marked triangles, but turned so that their points are about halfway between side and point of marked triangle.
Temari #111 is dynamic in that it has bold design elements and a design that creates a strong illusion of motion.
Although temari #112 is a relatively simple design of only two elements, the division is a C10 which is a bit more difficult and time consuming than a C8.
Originally, I had planned for the triangles to have multiple rows of stitches, but it became too dominating, so unstitched what little I had done and scaled back to one row.
Without color, Temari #112 would be a very static design. To prevent the allover pattern from becoming completely static, a variegated thread was used for the triangles. The underlying triangles help move the eye from one pentagon flower to another with the use of changing color relationships.
Temari #113 is another C8. It was marked for a C8 with thread matching the ball wrap, then additional division lines were added in light blue to define the faces of a Great rhombicuboctahedron (also known as truncated cuboctahedron), which has octagon, hexagon and square faces.
Double thread lines were wrapped with another thread to create a thicker thread line to define the shapes. The octagon design was stitched first since they were to be the focal points of the temari design. Something seemed to be missing until the little french knots were added to the points of the single thread design element.
Lately, the lattice design that is referred to as asanoha (translating to hemp leaf) in Japanese design, has been showing up in my temari. It is a lovely triaxial embroidery pattern that makes a wonderful filler. I could not resist using it in the hexagon spaces on this temari.
The little squares needed a fill that would visually connect the octagons and hexagons without demanding much attention, adding to the overall design without detracting from the other two elements.
Here again, variegated thread does help break up the otherwise static design. Although the lattice design in the hexagons use almost solid colors, changing scale of design detail helps prevent the overall design from appearing flat.
The threads for all three temari are some of my hand dyed threads.
Dynamic design is something I work towards in most of my artwork. Here, design element placement was used in temari #111 to create an illusion of movement of shapes. In temari #112 and #113, change in scale played a small role in contributing to a dynamic design by preventing the surface from appearing flat. I know, not possible on a curved surface, but the concept if on a 2D surface would be better illustrated. Also, in temari #112 and #113, variegated color threads were used to create changing relationships between design elements, causing the eye to explore the surface.
I hope you enjoyed an inside view of some of the thought processes that goes on when I design temari as much as I enjoyed making them.