Thing was, once I had a 40 x 52" piece of paper, I wasn't sure what to do with it; my floor tile is textured enough that I can't work right on the floor, and I couldn't think of a good way to hang the paper on the wall without damaging the wall (tape) or putting too much stress on individual points in the paper (nails, tacks, pins, etc.)
So for starters, and to get it off the floor, I cleared off most of my sewing table and put it there. And as it turns out, I actually kind of love climbing right up on the table and sitting on the drawing as I work on it. So that's settled.
I made a couple of reference marks on the large paper - at the half and quarter points in each direction - and drew a grid over the last sketch, just for general placement.
I started with the heads, moving Cellist a bit to the right, relative to his/her position in Sketch #2, and also making sure that Cellist's head was big enough, since that figure's seated position was beginning to make him/her look like the child of the other two musicians. I wonder if some gray hair might further help with that issue?
After the heads, I added the instruments, and then the hands playing them, which I just indicated with detail-less circles.
I put in Clarinetist's beard and ponytail and Violinist's hair, flowing into the musical staff, and then embellished that area a bit more.
And then I stopped.
Since we're actually moving toward a relatively abstract quilt, it may not in fact be necessary to fill in all the details, like whose elbow is in whose way and who is wearing what sort of clothing.
We will continue to add to the design and refine it of course (now, for instance, is the time to pay attention to the accuracy of the instruments and their positions), and we'll have to find additional ways to divide up the background area - even if Violinist's dress is not explicitly shown, we'll still have red in that area, for instance.
But for now, I really kind of love this "bare necessities" version of the design.
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