Tag: Design

New Donation Quilt Idea

Last year I went to the Sonoma County Fair with friends from Austria. They

2.5 inch square sashing quilt
2.5 inch square sashing quilt

have something similar in Austria, but it isn’t exactly the same. Of course, I visited the quilts and found one that I am going to try as a new design for a donation top.

I don’t know what to call this design and don’t know if it is actual pattern or not.

2.5 inch square sashing quilt - detail
2.5 inch square sashing quilt – detail

The piecing is in the sashing and the blocks are plain. The maker of this quilt, Elysha Ozanian, did a great job making the sashing really stand out. I drew out the quilt and found that instead of making the normal guild donation block, I could make half of one and that would be the pieced part of the quilt. I tried to make a block out of the plain block and the pieced sashing, but it didn’t work, so I will just build the quilt using individual units of the small plain block, the large plain block and the pieced portion using chunking.

The units comprising one plain block, 4 small plain blocks and the pieced sections are over 14 inches. I am not quite sure how big I will make my version. Maybe 4 plain blocks wide with the sashing units on the outside? I’ll have to see.

This might be another option for the guild to make as a donation quilt design.

Design Class: Color

This article is a set of notes from the color module of my design for quiltmakers class.

Your first design choice is to choose your own colors. If you buy a pattern and use the fabrics you enjoy (not the fabrics in the pattern) you have made the first step in designing your own quilts.

Words you Might Encounter

  • hue
  • value
  • intensity
  • chroma
  • tint
  • shade
  • saturation

Color Systems

  • Munsell color system: An artist and an educator, Munsell developed his color theory to bring clarity to color communication by establishing an orderly system for accurately identifying every color that exists.  Munsell based his system on what he defined as “perceived equidistance” — the human visual system’s perception of color. (Munsell color, http://munsell.com/about-munsell-color/)
    • “Professor Albert H. Munsell, an artist and art teacher, developed the basic principles of his color order system mainly for the purpose of bringing order to the study of color.  Munsell wanted the study of color to be similar to the study of music, which had order so that one could “hear” how a composition would sound by reading the notes.  Likewise, Munsell wanted one to “see” color based on its three-dimensional attributes of hue, value and chroma.” (Development of the Munsell Color order System http://munsell.com/about-munsell-color/development-of-the-munsell-color-order-system/)
    • Munsell color order system is based on a three-dimensional model depicted in the Munsell color tree. Each color has three qualities or attributes:
      1. Hue – color such as red, orange, yellow, etc.
      2. Value – the lightness or darkness of a color
      3. Chroma – the saturation or brilliance of a color
      4. Hue, value and chroma are also referred to as (HVC)
      5. Munsell Color Theory is based on a three-dimensional model in which each color is comprised of three attributes of hue (color itself), value (lightness/darkness) and chroma (color saturation or brilliance)
      6. The Munsell Color system is set up as a numerical scale with visually uniform steps for each of the three color attributes—in Munsell color notation, each color has a logical and visual relationship to all other colors. (How color notation works http://munsell.com/about-munsell-color/how-color-notation-works/)
    • “The Munsell color-order system has gained international acceptance. It is described in unabridged dictionaries and encyclopedias as well as in specialized publications on art, design, color photography, television, printing, paint, textiles and plastics. It is recognized as a standard system of color specification in standard Z138.2 of the American National Standards Institute, Japanese Industrial Standard for Color JIS Z 8721, the German Standard Color System, DIN 6164 and several British national standards.” (Development of Munsell Color Order System http://munsell.com/about-munsell-color/development-of-the-munsell-color-order-system/)
  • Ives
  • Pantone
  • RGB

Colors

  • Red
  • Orange
  • Yellow
  • Green
    • Thr3fold Journal issue #5 article “Being Green”, pg.48.
  • Blue
  • Indigo
  • Violet

See the monochromatic quilts I have made using scraps.

Notes:

  • “Up until the mid-19th century, bright colors were the preserve of the wealthy, the only people who could afford them. Yet the dyes used in even the most expensive items were so unstable that they often faded or discolored. The development of chemical dyes, like Perkin’s, enabled more shades to be created in brighter, longer lasting hues. People responded by choosing the vivid colors that had until then been denied them when clothing themselves and furnishing their homes, prompting the upper classes to choose subtler shades as a form of snobbish protest. ” (New York Times, 50 Shades of Color: How the Evolution of Palettes Changed the World, By ALICE RAWSTHORN,  Published: September 23, 2012 http://nyti.ms/RZj53N)
  • In the TQS episode 313 with Jinny Beyer, she talks about her color system, which is way of picking colors different than the systems we have talked about above. Her idea is to shade from one set of colors to another in order to keep the transitions smooth. She uses her Portable Palette tool, which uses Beyer’s fabrics. This is a good system, but you might be unduly influenced by Beyer’s color palette, which has, in my opinion, an East Coast look to it. Try to create your own portable palette with colors you have in your stash.
  • “By the 1910s, the scientific approach to management advocated by theoreticians like Frederick Winslow Taylor was becoming increasingly popular, and color was identified as a problematic area, because of its unpredictability. If a manufacturer of furniture or dresses ordered fabric and trimmings, which were both described as “scarlet,” they often turned out to be different hues. The problem worsened with the development of new types of paints and dyes after World War I, and the U.S. government encouraged various industries to standardize colors in an attempt to reduce wastage.” (New York Times, 50 Shades of Color: How the Evolution of Palettes Changed the World, By ALICE RAWSTHORN,  Published: September 23, 2012 http://nyti.ms/RZj53N)
  • Most of us love precuts, because, well, they are PRE cut, e.g. you don’t have to cut them. Keep in mind when you actually want to use them in a quilt, as opposed to using them for decoration, that pre-cuts (Jelly Rolls, Layer cakes, honey buns, etc., as well as Fat Quarter packs) are marketing tools. Pre-cuts are marketing tools. They are small, fun, look great on your shelves and are easy to purchase. They are all-in-one and don’t need much thinking when buying them.
    • When you are using these for a quilt you need to look at the colors/fabrics included in the selection. IF you need the contrast as part of the design of your quilt, make sure you have enough contrast. Many of the pre-cuts are heavy on medium colors, which we all love to buy, but can create a mushy looking quilt when you don’t want it to be mushy. Joanna Figueroa of Fig Tree Quilts has (or had) a publication called Fresh Vintage and in many of her issues, she says to take 20% of the pre selected pre-cuts out and replaces them with something else. Not only with this give you more control over your light and dark, but it will also make your quilt your own. You can see a good variety of sizes of prints in the 2025 video introducing the new Tula Pink True Colors.
  • A profile of Alicia Merret in Quilting Arts includes “Her appreciation for color theory greatly informs her work. ‘I have found that it is incredibly important to understand how colors interact with each, and how one color can look quite different depending on the colors that are next to it.’ ” (Quilting Arts Magazine, April/May 2012, Artist Profile: Alicia Merrett, pg. 33)
  • One way to figure out your own palette is to look at the world around you. Remember the glossy expensive fashion magazines we discussed before? Ms. Brackett, in Scrap Basket Sensations, writes “Be alert for color combinations that catch your eye in clothing, magazines, nature, and the quilts of others (pg.10).” This is a great way to learn about color. I keep an idea book where bits and pieces are pasted. Some are shapes I want to remember and others are color combinations that would make great quilts. Once you identify color groups you like, check the color wheel and try to identify the type of color scheme it is (primary, secondary, split complimentary, monochromatic, etc). This exercise will help you to become familiar with the different ways to use the color wheel to make successful quilts.

Homework:

Exercise #1: Create a palette

1. Choose a favorite photo.

2. Look carefully at the photo to try to identify the unique colors. You don’t need to isolate periwinkle, violet and lavender. Unless you are making a purple family quilt, just pick one from the purple family. Be sure to look at the very thin lines, if any, and include those colors.

3. Select fabrics (or paper or another craft supply) that match the colors you have selected.

4. Create a palette of 5-9 fabrics and take a photo. Share the photo.

5. Optional: make a quilt from your palette and give the group your thoughts.

–> I was inspired to create the above exercise by the Palette Chasing feature in Modern Quilts Illustrated.

 

Exercise #2

Please note that this not a weekend project and it will be easier the more fabrics you have to work with.

1. Cut a 2.5″ square from every fabric you have.

2. When you have a good number of squares sort them into color families, e.g. heap all blues together, all reds together.

3. Once you have the colors in color families, place them on the design wall in color order from dark (upper left hand corner) to light (lower right hand corner.

4. Work on rearranging the squares until there is a smooth transition between the color families.

Questions to answer:

  1. What do you notice about prints and colors?
  2. How does the ratio of one color to another in a print affect how the color ‘reads’?
  3. What colors are most prevalent in your stash? What do you think about that? What did you expect the answer to be?

 

 

 

Resources:

Color in Quilts by Janet Twinn

The Color Revolution, by Regina lee Blaszcyk http://amzn.to/S8oIqP

Janet Lynn Ford’s Color Worqx includes some photos of the Johannes Itten Color Star as well as a color theory overview.

Elizabeth Hartman’s The Practical Guide to Patchwork, pg.21-24, includes some color wheel concepts with lovely photos of fabric.

Exploring Visual Design: The Elements and Principles, Joseph Gatto, Albert Porter, Jack Selleck. Davis Publications. 2000.

Joen Wolfrom’s ColorPlay

Joen Wolfrom’s 3-in-1 Color tool

Joen Wolfrom’s book “The Visual Dance: Creating Spectacular Quilts” (C&T, 1995)

Mary’s Art Musings blog posts on the Munsell Color System: http://marysartmusings.blogspot.com/search/label/The%20Munsell%20System%20of%20color%20theory

Munsell System Bibliography http://en.wikipedia.org/wiki/Munsell_color_system#Bibliography

Psychology of Color: http://diferent-photos.blogspot.com/2013/06/what-your-favorite-colors-say-about-you.html

Quilting Arts Magazine, April/May 2012, Artist Profile: Alicia Merrett, pg.32-36

Quilting for the Rest of Us, episode 11 and episode 12 – Sandy has listed a number of resources on both of these episodes.

Quiltmaker’s Color Workshop: the FunQuilts guide to understanding color and choosing fabrics by Weeks Ringle and Bill Kerr, 2006 (Quarry Books)

Studio Color Wheel by Joen Wolfrom (C&T Publishing)

Thr3fold Journal: www.thr3foldjournal.com

The Quilt Show: Jinny Beyer 2008 Quilt Legend episode #313: http://www.thequiltshow.com/os/shows.php/episode/313 (may require a subscription)

Tiger Color: http://www.tigercolor.com/color-lab/color-theory/color-harmonies.htm

Transparency Quilts by Weeks Ringle & Bill Kerr, 2011 (C&T Publishing)

Using a Color Wheel to Select Quilting Fabrics website: http://www.homeandcareers.com/using-colorwheel%20for-quilting.htm

Design Class: Size/Scale Update

These are the notes for one of the modules in my quilt and design classes. They are posted on the blog so my students have easy access. You will get something out of them, but you would get more by taking one of my classes. Check the link for more information.

Size and Scale are an element of design

Size and Scale are related terms

Definitions:

-> N.B. Definitions overlap. I have tried to organize them, so keep an open mind.

Size

  •  “Size and scale are words used to describe the physical size that a shape or form has in comparison other shapes or lines within the design field.” (A Fiber Artist’s Guide, pg.98)
  • “The size of a work in relation to humans; the size of the elements within the work in relation to each other.” (Art+Quilt, pg.64)
  • Noun: The relative extent of something; how big something is. (Merriam-Webster online dictionary)
  • Verb: Alter or sort in terms of size or according to size: “some drills are sized in millimeters” (Merriam-Webster online dictionary).
  • Adjective: Having a specified size; sized: “marble-size chunks of hail” (Merriam-Webster online dictionary).
  • Size (Dictionary.com): the spatial dimensions, proportions, magnitude, or bulk of anything.
  • Synonyms: magnitude – extent – dimension – measure – bulk

Proportion

  • “Proportion relates to how shapes interact with each other within a design.” (Adventures in Design, pg. 74)
  • “Proportion refers to relative size, size measure against other elements or against some mental norm or standard.” (Pentak & Lauer, pg.60)
  •  the comparative relation between things or magnitudes; a proper or significant relation between things or parts; relative size or extent (Random House College Dictionary).
  • Proportion (Random House College Dictionary): the comparative relation between things or magnitudes; a proper or significant relation between things or parts; relative size or extent
  • Example: “Proportion refers to relative size, size measure against other elements or against some mental norm or standard.” (Pentak & Lauer, pg.60)
  •  

Scale

  • “‘Scale and ‘proportion’ are related terms that both basically refer to size. Scale is essentially another word for size.” (Pentak & Lauer, pg.60)
          • “Big is meaningless unless we have some standard of reference. A big dog means nothing if we do not know the size of most dogs. This is what separates the two terms,” size and scale. (Pentak & Lauer, pg.60)
        • “…the scale of the pattern, that is, its size in relationship to the size of the pieces that are cut, will determine the impact of the pattern on the overall design of the quilt.” (Quilter’s Book of Design, 2d, pg. 80)”‘Large scale’ is a way of saying big and ‘small scale’ means small.” (Pentak & Lauer, pg.60)
    •  a succession or progression of steps or degrees; a graduated series; an arrangement of things in order of importance (Random House College Dictionary).
    • Scale (Random House College Dictionary): a succession or progression of steps or degrees; a graduated series; an arrangement of things in order of importance

     

    Ratio

  • the relation between two similar magnitudes in respect to the number of times the first contains the second (Random House College Dictionary).
  • Ratio (Random House College Dictionary): the relation between two similar magnitudes in respect to the number of times the first contains the second
    • Example: “…the scale of the pattern, that is, its size in relationship to the size of the pieces that are cut, will determine the impact of the pattern on the overall design of the quilt.” (Quilter’s Book of Design, 2d, pg. 80)

Using these Tools:

    • Using Size:
      • “The principle of scale in a work of art is all about the volume of the message you wish to send to your viewer.” (Art+Quilt, pg.64)
      • “The scale of a work of art in relation to the viewer, its human scale, is often” one of the first considerations an artist makes.” (Art+Quilt, pg.64)
        • where will it be displayed? the atrium of a large office building or the foyer of a private home? (Art+Quilt, pg.64)
      • Elements in a design that are larger seem close. (Pentak & Lauer, pg.176)
      • Elements of a design that are smaller seem farther away. (Pentak & Lauer, pg.176)
      • Elements of a design that are larger seem more important, conversely elements of a design that are smaller seem less important. (Pentak & Lauer, pg.176)
        • I don’t want you to get the idea that small is unimportant. A small amount of yellow in a purple quilt can make all the difference to the overall design.
      • “Scale and proportion are closely tied to  emphasis and focal point. Large scale, especially large scale in proportion to other elements makes for an obvious visual emphasis.” (Pentak & Lauer, pg.60)
      • “Unusual or unexpected scale is arresting and attention getting. Sheer size does impress us.” (Pentak & Lauer, pg.61) Magnifying something that is usually quite small can capture your attention through sheer surprise. A butterfly wing that fills the entire frame gains significance as you see extraordinary details seldom noticed in everyday life.” (Art+Quilt, pg.65)
        • Georgia O’Keefe is an example of an artist that uses this technique. (Art+Quilt, pg.65)
      • “An unnatural contrast of scale in your quilts can also be used to achieve interesting effects. Surrealists such as Salvador Dali used wildly confused internal proportions to intentionally create uneasiness in the viewer. One element that is purposefully out of scale with other elements within the quilt will attract the viewer’s attention and become a focal point.” (Art+Quilt, pg.65)
        • if you want to exaggerate a shape, “have some visual continuity between the shapes.”(Adventures in Design, pg. 75)
      • Think about the relative sizes of pieces in a quilt. It is important to vary sizes to add interest. (Fearless Design, pg. 32)
        • think about piecing the same blocks in different sizes in order to add interest to your quilt.

 

Using Ratio

Using ratios really has to do with proportion. The Fibonacci sequence has to do with ratios of objects to one another on the design field. “One powerful way to help your design evolve to its highest potential is to select the width and height dimensions that promote the natural movement of your design….select your dimensions based on a ratio that best suits your design. Observing your design’s directional flow and focus gives you a starting point to sort through your options.” (Adventures in Design, pg. 77)

      • “1:1 ratio is a perfect ratio for designs that radiate symmetrically from a center point….if your design is 24″ high in this ratio, it will also be 24″ wide.” (Adventures in Design, pg. 77)
      • “A 1:2 ratio provides added width to a horizontal design or it extends height to a vertical design. In this ratio, the longer dimension is twice as long as the shorter dimension. If you want one dimension to be 24″ wide, the other dimension would be double that – 48″ high.” An example of this ratio is Poulnabrone Dolmen (Adventures in Design, pg. 77)
      • The 1:3 ratio provides more lengthwise extension than 1:2 ratio. “In this ratio, one dimension is three times greater than the other dimension. This gives more room for the design to expand in one direction. Thus if you want one dimension of your design to be 24″, the other dimension would be 72″.” An example is a quilt called Acid Rain by Gloria Loughman. This ratio has allowed a “dynamic sky to evolve in her quilt.” (Adventures in Design, pg. 77)
      • “A 1:4 ratio greatly exaggerates the length of a design. One dimension is four times greater than the other dimension. If you want your 24″ high design to have an extreme horizontal extension, the 1:4 ratio would give you a width of 96″.” An example is Rhododendrons over Water by Amanda Richardson of Cornwall England  (Adventures in Design, pg. 77)
      • ” The 3:4 ratio is best used when a design has only slightly more movement in one direction than the other. In a 3:4 ratio, a design that is 24″ in one direction would be 32″ high in the other direction”…. Joen Wolfrom says that “the 3:4 ratio should be saved for such occasions when your design does not need much expansion in one direction or the other.” Example is Ticondrroga Star by Larisa Key, Willimatic, CT. (Adventures in Design, pg. 77) I use this ratio quite a bit, especially for block quilts, because I think it adds interest to the layout.
      • “A 2:3 ratio allows for more extended directional movement than a 3:4 ratio does. It doesn’t exaggerate the length as much as the 1:2, 1:3, and 1:4 ratios do. ” (Adventures in Design, pg. 77) If you have 24″ high quilt, your quilt’s width would be 36″. (Adventures in Design, pg. 78) Example is Fishermen’s Widows by Anna Faustino
      • The Golden Mean or 8:13 ratio is considered to be “the most beautiful, pleasing dimension for art and architecture…It provides beautifully balanced dimensions”, because of the subtle dimensional change. “The Golden Mean is a component of the Fibonacci sequence.” (Adventures in Design, pg. 81)   If you have 24″ high quilt, your quilt’s width using the 8:13 ratio would be 39″. (Adventures in Design, pg. 78) You can find a calculator for Golden Mean ratios at: http://goldenratiocalculator.com/ and there is a chart in Adventures in Design pg.81. An example of a quilt using the Golden Mean Ratio is Pamela Mostek’s Five Apples.

Notes:

        • A designer can use relative sizes to give a feeling of space or depth. Artists have taken this basic idea and exaggerated it by increasing the size differences. It is very common to many periods and styles of art to use different scales. (Pentak & Lauer, pg.176)
        • “In past centuries visual scale was often related to thematic importance. The size of the figures was based on their symbolic importance in the subject being presented… This is called hieratic scaling.” (Pentak & Lauer, pg.60)
        • “Private spaces are perfect for small, intricately stitched works and allow for a more intimate experience with the art.” (Art+Quilt, pg.64)
        • “When your entire field of vision is occupied by a work of art you can’t help but pay attention to it. ” (Art+Quilt, pg.64) [ Georges-Pierre Seurat’s Sunday Afternoon on the Island of La Grande Jatte]
        • “The most renowned proportional number sequence is the Fibonacci sequence“…”The Fibonacci sequence begins as 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, and so on. Each successive number in this sequence is the sum of the previous two numbers. You can use small or large sections of this sequence to determine the dimensions of elements within a design.”… “The Fibonacci sequence highlights the strong relationship between mathematics, nature and art. (Adventures in Design, pg. 76)

          Fibonacci sequence from WolfieWolfgang.com
          Fibonacci sequence from WolfieWolfgang.com

The images denoting the Fibonacci sequence are fairly common. I imagine you will say “oh, of course! I have seen this!” when you see the spiral. Nautilus shells are also used as examples of the Fibonacci sequence. As we mentioned in the podcast, nature uses the Fibonacci sequence in its design field frequently. By doing a search on the term and looking at images, you will be amazed at the trees, flowers and other natural phenomena that include the Fibonacci sequence.

 

Resources:

Art + Quilt: Design Principles and Creativity Exercises by Lyric Kinard**.

Design Basics**, 5th, c.1999, David A. Lauer, Stephen Pentak

Golden Ratio Calculator: http://goldenratiocalculator.com/

Painting by Numbers: the Fibonacci sequence in art by Curtis Belmonte and Conor Pappas

 

 

 

 

**N. B. : Obviously, you should shop at local quilt shops and small businesses. However, if you are too busy or can’t find what you need there, I use Amazon affiliate links and may be paid for your purchase of an item when you click on an item’s link in my post. There is no additional cost to you for clicking or purchasing items I recommend. I appreciate your clicks and purchases as it helps support this blog.

 

In this case, some of the books I use are out of print, so visit your local independent used book store for copies.

Pantone Ideas

Pantone ideas - first iteration
Pantone ideas – first iteration

We are fast approaching the end of the Pantone Project block making aspect of the project. That means we are speeding quickly towards the design of the quilt phase. I looked for the ideas that I had generated last year and couldn’t find them so I sat down and doodled what I remembered,or thought I remembered.

I don’t have tons of spare time, so the doodles evolved over several days. The colors represent different days.

Remember, we have units based on Doreen Speckman’s system from her book, Pattern Play**. As an aside, I know most of you missed Doreen’s career in quiltmaking, but anything you can find on her is worth the effort. This book is all about designing quilts using units.

Pantone ideas - evolving
Pantone ideas – evolving

Friend Julie and I are using these units for our project, which means I used those units for my doodling. In putting together these units, I made larger designs. And that was super fun.

I started off thinking of a row quilt. I was a little stiff at the beginning, but as I worked, I started coming up with some interesting shapes using the units.

Umbrella shapes
Umbrella shapes

I am super excited about the umbrella/propeller shape, which makes me want to make more of those blocks. That is an added bonus for the doodling.

One issue I have not addressed is color. You know that each unit is a different color and we are making units from colors in the Pantone Postcard Box** as they inspire us not to any plan. I am not going to worry about that now. After all, I can always make a second quilt with the colors of my choice from the same design, if I want.

You can still play along. You will need:

Decisions to Make with your friend:

  • Size of units (blocks)
  • Type of units to make
  • Time frame for making the project
  • Time frame for sending postcards

 

 

 

 

 

 

 

**Obviously, you should shop at local fabric, knitting shops or quilt shops. However, if you can’t, please know that I use affiliate links. I may be paid for your purchase of an item when you click on an item’s link in my post. There is no additional cost to you for clicking or purchasing items I recommend. I do not recommend items I don’t like. I appreciate your clicks and purchases as it helps support this blog.

QST 16 Patch Design

I saw some quarter square triangles (QST) somewhere and started to think about them in conjunction with the guild’s 16 patches. I looked up the dimensions for making QSTs in my trusty Around the Block** book. That simple block was not included. I was trying to avoid firing up EQ8, but had to as I couldn’t get the design out of my head.

QST 16 Patch - cut off
QST 16 Patch – cut off

The first design I made is ok. You can see the design and the secondary design. However, some of the motifs are incomplete. You know how I like my designs to be finished, so I decided to try and finish off the edges.

I wanted you to be able, at least, to see the full Ohio Star motif (block) even if I couldn’t finish off all of the secondary designs.

QST 16 patch, design 2
QST 16 patch, design 2

Honestly, I didn’t think through the whole process and wasn’t really prepared for a full-on EQ8 design sessions.

I took a stab. I immediately ran into problems. You can see that doing what I wanted wasn’t straightforward. I think I could have resolved the problem by adding another row of 16 patch blocks, but I didn’t want to make the quilt larger than it was. It will be a baby (ish) quilt for the BAM Community Quilts Project.

For the moment, I decided to leave it and go back to sewing. The second design is fairly asymmetrical, which means true Modern Quilters would probably like it. I don’t dislike it; it just doesn’t achieve my goal. I’ll work on it again another day

 

 

 

 

**N. B. : Obviously, you should shop at local quilt shops and small businesses. However, if you are too busy or can’t find what you need there, I use Amazon affiliate links and may be paid for your purchase of an item when you click on an item’s link in my post. There is no additional cost to you for clicking or purchasing items I recommend. I appreciate your clicks and purchases as it helps support this blog.

Design Overview Redux

I talked about this topic back in 2011 when I was asked to do a series for a podcast called Quilting for the Rest of Us. The podcast episode might still be available if  you want to hear a younger Jaye talk about this topic. The companion post was more of a ‘here’s what we discussed’ rather than good information. It isn’t as useful in that format, if you can no longer listen to the podcast.

This post is an overview of design, which will go with a presentation I am planning for my guild. I am providing more information here so it is more useful if you can’t/didn’t attend the presentation.

Many quiltmakers, though not formally trained in art (e.g. an MFA in fine art) have intuitive art sensibilities. (Fearless Design for Every Quilter by Lorraine Torrence, pg.5)

Definitions:

What is design?

Design is a problem solving activity within all the arts, placing or creating subject matter so it is of visual significance and interesting to the artist. (The Quilter’s Book of Design, 2d, pg.xi)

If you think of the creation of an art piece as a hierarchy, content and form are above design. “Content implies subject matter, story, or information that the artwork seeks to communicate to the viewer. Form is purely visual aspect, the manipulation of various elements and principles of design. Content is what artists want to say; form is how they say it.” (Design Basics, Pentak & Lauer, pg.5) Design means to plan or organize. It is the opposite of change. The result is visual organization (Pentak & Lauer, pg.4).

Using Design

Hard and fast rules are impossible because of the varied objectives of visual art. Artistic practices and criteria have been developed from successful works. Guidelines (not rules) exist that usually will assist in the creation of a successful designs. (Pentak & Lauer, pg.5)

“Principles of design are the laws of designing anything! In other words, to have a good design, you should consider these principles for the best design possible. Elements of design on the other hand are things that are involved within making a design. The major difference between principles and elements is that principles are rules you have to follow and elements are things that will help you complete those rules for the best project outcome.” (Homework Help: Art: Visual Arts: Principles & Elements of Design)

Thoughts:

“A good design supports or changes how we live” – John E. B. Dubus blog post Sept 23, 2010.

Judy Martin wrote in her May 2012 newsletter ” My basic philosophy boils down to this: I try to do what’s right for the quilt, not what’s right for me. It might be easier to slap a plain border on and be done with it, but if the quilt looks better with a pieced border, that’s what I do. It might be easier to make it out of 5 fabrics, but if it looks better in scraps, that’s what I do. If it looks more refined with 1-inch logs rather than 2-inch, that’s what I do. If it looks more interesting as a queen rather than a 36-inch square wall quilt, that’s what I do.”

Good design requires practice and is the “result of a successful combination of design elements … and principles…”(Fearless Design for Every Quilter by Lorraine Torrence, pg.6)

Elements:

The elements form the ‘vocabulary‘ of the design (Wikipedia, design elements and principles).

The Elements of Design are the language of the visual arts (this quote/information came from a link that is no longer available). 

The elements are components or parts which can be isolated and defined in any visual design or work of art. They are the structure of the work, and can carry a wide variety of messages (Cornell’s Introduction to the Elements of Design). 

Principles:

The principles constitute the broader structural aspects of the design’s composition (Wikipedia, design elements and principles). I think off this as an architect’s conceptual drawing that gives the viewer the look and feel of the project.

The Principles are concepts used to organize or arrange the structural elements of design. Again, the way in which these principles are applied affects the expressive content, or the message of the work (Introduction to the Principles of Design).

Why Know About Design?

Knowing about design principles and elements helps refine your innate skill.

Design is a way of organizing a piece of visual work. According to the Quilter’s Book of Design, 2d by Ann Johnston, “Design is a  problem-solving activity within all the arts, placing or creating subject matter so it is of visual significance and interesting to the artist.” (pg.xi). I like this definition, because it is understandable and doable. It also isn’t scary for people who have no MFA. When I think about solving a problem with my quilt, I relax about design and try to review the skills in my design toolbox. Remember, though, that “we all have personal experiences, subjective leanings, and differences in personality that make us prefer one thing to another…” (Fearless Design for Every Quilter by Lorraine Torrence, pg.57)

Concept: I use patterns why do I need to know about design?

Color is an element of design. To make beautiful quilts, you need to know about color. If you buy a kit, there may be one color you do not like and by knowing about design, you will be able to replace it successfully.

Balance is a principle of design. If your eye sees an element of the quilt as being unbalanced, then knowing about design will help you adjust it.

Concept: I do not make art quilts, why do I need to know about design principles and elements?

Negative space in fabric: “When choosing prints for a patchwork, think about how they’ll look when cut up, e.g. the ratio of background to foreground and the scale of the individual motifs. Does that small print have so much negative (empty) space that the actual print part won’t show up on half of the pieces? Is that large print so big that the pieces cut from it will look like they’re from entirely different pieces of fabric? (Elizabeth Hartman, The Practical Guide to Patchwork, pg.24).

Borders: does slapping on 4 lengths of fabric work with the design you have chosen or would a bit of piecing enhance your excellent piecing?

Books: when looking at books and evaluating whether you want to spend money on it, you can evaluate the various elements and principles of  design included in the patterns of the book.

End Notes:

List of Elements and Principles of Design taken from a handout from a Liz Berg handout (class through CQFA)

Resources

“However I believe strongly that design is important. A good design supports or changes how we live. When I imagine the specifications of a perfect home for a family, one of the most important design criteria is that the home allows family members in all their uniqueness to thrive: physically, emotionally, intellectually and spiritually. Good design is experienced at these levels. Good design allows “a place for everything and everything in its place” including a place for people to nurture themselves, family members, and their greater community.” John Ethan Burke Dubus blog (sadly, the blog is no longer available, but the quote is still excellent)

 

 

 

 

 

 

 

 

 

 

 

 

**I use affiliate links and may be paid for your purchase of an item when you click on an item link in my post. There is no additional cost to you for clicking or purchasing items I recommend. I appreciate your clicks and purchases as it helps support this blog.

 

Successful Scrappy

Valerie made a comment about the White Strip Donation top the other day and it got me thinking about successful scrap quilts.

White Strip Donation Top: finished
White Strip Donation Top: finished

I think the strip and improv donation tops have been successful because of the consistency of color used. Primarily, these quilts are monochromatic. I say primarily, because fabrics often have different colors on top of a primary color, so other colors are included in monochromatic quilts. Also, for many of them, I have used a different color (complimentary, usually, though neutral as well) for the sashing and border.

I have used a different color as sashing or border to provide contrast in the strip quilts. The White Strip Donation Top I recently finished has a different look. I used fabrics with a  white background for all the pieces. Readers can see some of the other colors as they dominate the image (click on it to see it larger and get a better view), but the overall look is still white.

I often worry about the successful color selection of “paper bag” scrap quilts. Many find it fun to grab a piece out of a paper bag and use it without thought or consideration. I find this method of selecting fabrics to be incredibly stressful. I like to carefully select my fabrics. In that way, I feel like I have a better chance of a successful final project.  I don’t want to spend time on a quilt that ends up ugly.

Scrapitude Carnivale Finished
Scrapitude Carnivale Finished

Making the Scrapitude quilt was an exercise in faith. It was a mystery quilt so I had no idea how it would come out. Often, I wait until the end to see the finished product, but this time I stuck to the schedule. I still carefully selected my fabrics and was careful to use the same type of prints for the background-dots on white.

I love the way this quilt came out and I do enjoy looking at it. I wonder, though, when I look at it if I should have included the blacks, dark greens and some chocolate pieces? I like all the fabrics I chose.** I often think of making another version of this quilt and making the changes I wonder about.

I think carefully selecting fabrics even if you are grabbing from your scrap bin is really key to a good looking finished quilt. The quilt will look like your style. You will like it and you will enjoy working on it.

 

 

 

** I think it is absolutely key to only work with fabrics you like. Whether it is the brand, the designer or the colors, life is too short to work with fabrics that make you cringe.

White Donation Quilt Options

I have enough of the white scrap donation blocks now to make a quilt. This set of blocks has seemed to take forever, though I know it probably has not been as forever as I think.

White Donation Blocks - late October 2019
White Donation Blocks – late October 2019

In looking at this set, I am not sure I want to alternate the blocks with plain blocks. I get the sense that those plain blocks can overwhelm delicate piecing. On the other hand,a plain block, might set off the piecing. Hhhhmmm.

I am also not sure I want to add skinny sashing. It would be difficult to piece and keep straight because of the all the seams and layers in the block. I am unwilling to go on an amazing design journey with these blocks so I have decided that I have three options.

First, is alternating my pieced blocks with plain blocks. Second is a skinny sashing with (or possibly without) cornerstones and, third, is a slightly larger width sashing with  cornerstones. I’d like to have a top ready for Sew Day or the November meeting. I am leaning towards the last option.

My next problem is the sashing color. I would default to light, but that would blend in with the blocks. Perhaps some dots?

Flying Around Top of Top

Flying Around - early August 2019
Flying Around – early August 2019

The top finally got to be too much. I need to sew most of the top together in order to move the whole piece up (and hang some over the top of my design wall), so I can work on the bottom. I have been sitting on the floor, which is fine, but not so fine when the quilt doesn’t fit on the design wall. Pieces in order on the floor doesn’t work.

Background detail - Flying Around
Background detail – Flying Around

In order to move the whole piece, I had to be certain of all the piecing on the top and sew the whole top section together, perhaps including the red-violet and yellow Friendship Circles. The top middle was bugging me, however.

I finally decided that the Flying Geese were too low. They were supposed to add interest that low, but they just looked weird. Unpicking was in order. It was a hassle, but I did it. Anything for the sake of art, right?

FGs moved up, red FG moved to left
FGs moved up, red FG moved to left

The Flying Geese along edge are supposed to be a border. No, they are not a traditional border, but they are still a border because I say they are. Next, I moved the whole section of Flying Geese up higher. This move was intended to get it more in alignment with the Flying Geese border pieces above the purple and Green Friendship Circles. With this move, I had to move one of the red FGs to the other side of the group.

I don’t know why there is a missing FG between the deep purple and the yellow/pink FGs on the right. That space will have to go. It might have looked arty before. Now, it isn’t right.

That big white space under the new placement is still weird looking. I sewed a piece in. It didn’t look right. Another big space that was not the center of a Friendship Circle just looked wrong.

The answer? More FGs.

Add red FG
Add red FG
Added, moved Flying Geese
Added, moved Flying Geese

I found another red FG, which I thought would work. I think it is looking better. The red dot FG is not yet sewn in. I wanted to see if I could see how it would look before I committed myself. What I think looks strange is the two greens near each other on the right. I don’t know if I will change one of them, but it is a possibility.

I don’t think I will add more Flying Geese to the ‘white’ space. I think I will break it up with different greys and hope that helps.

 

Flying Around Arrangement

The other day I showed you most of a photo of Flying Around. After posting that, I started in on the last two Friendship Circles.

Flying Around detail
Flying Around detail

The placement of these will be tricky for a number of reasons. First, they will be on the floor (see the bottom most red Friendship star? It is right at the bottom of my design wall) as I place them unless I sew together the top and move everything up. I have been wanting to do that, but am waiting because I am not sure I am happy with the top middle of the piece. That big piece of grey at the top is of concern to me. I wonder if it pushes the Flying Geese down too much.

I want the Geese around the edge to act as a border without being a separate entity, but I am not sure that particular section achieves that goal.

Next, I don’t want the ratio of width to length to be too strange. If the piece gets to be too long, it might look too long and skinny. Of course, I am often hampered by the width of my design wall and this is the case with this piece. Sigh. I don’t want to take apart the whole piece and make it wider, so I have to measure and try and estimate how long it will be.

I also need the Flying Geese to wrap around each of the Friendship Circles and there isn’t quite enough space for them to do that with the placement of the red HSTs. You can see that dark Goose near the second Friendship Star; notice how crowded that area appears. Of course, I could move the red Friendship Circle over to the left, but I also don’t want it to be directly below the red-violet circle. I want them to appear randomly placed. The width is really a problem for me.

As you can see, there is still work to do on this piece. I started it sometime in April, I think, so it has been on the wall for a long time. I would like it to be finished, but I also want it to be right.

Evolution of Strip Tops?

If you have read for any length of time, you have seen the various color strip donation tops I have been working on.

Green Strips Donation Quilt quilted
Purple Strips donation top
Red Strip Donation Top- Finished
Orange Strip Donation Top
Red Strip Donation Top #2

[Show slideshow]
I am really liking the way they are coming out, the slight variations I have explored and the way the shift in colors makes the top look different. Also, Tim’s quilting adds a whole additional dimension.

Julie Sefton's Inspi(Red) quilt
Julie Sefton’s Inspi(Red) quilt

My mind was slightly blown the other day when I looked a a post from Quilt Diva Julie. she covers a lot in her posts and I was just about to click away when I saw her quilt, Inspi(red). I love the little sparks of color that show up against the red. This quilt gives me another idea for these color scrap quilts on which I have been working.

Julie was kind enough to give me permission to post her quilt here. She writes “INSPI(RED) is the red quilt on the blog today with inserts that are the trimmings from the center strips of Luminous.   Inspi(red) is my own interpretation of a pattern named Bright Birch Trees by Amanda Jean Nyberg (Crazy Mom Quilts)”.

N.B. Crazy Mom Quilts is no longer being updated and some of the links no longer work, including the link to the Bright Birch Trees pattern. 🙁 If you are patient you can see the Bright Birch Trees image, which uses a variety of different colored backgrounds.

Thin Orange Strips
Thin Orange Strips

I never really know how images out on the web will hit me. I am so grateful that people are still posting on blogs and talking about their work. This quilt made me think of the thin strips of piecing that come out of the strips quilts after I trim. I can add them to larger pieces to make them useful, but they are little gems on their own and get lost, to a certain extent in the improv piecing of the larger donation tops where I mostly use them. Julie’s quilt makes me think of add them to larger blocks as a featured element in the block.

I don’t have enough in scraps to make the blocks as she has done, but I do have yardage that would be well used by people in need.

I don’t think I have enough orange to make a whole quilt in this design after I finish the Improv version. I’ll have to see. I have a lot of blue and pink scraps so those colors might be my test bed.

Apparently, I now have about a million more ideas for donation quilts. It is so great to have that outlet as I can try as many quilts as I want without my house being floor to ceiling with unused quilts!

Stay tuned!

Finally Some Value

Sonja gave a short presentation on Composition at the CQFA meeting on Feb. 2. Sonja is a really good artist and works very hard to get better.  In 15-20 minutes, I learned so much about composition that my head was reeling. I talked about it with a number of people that I know. I was really excited.

First she talked about 8 Common Armatures. I had no idea what this means, but she showed us examples of the different armatures, which are arrangements of art on a page. The 8 are:

  • S curve
  • L
  • Diagonal
  • Triangle
  • Radial
  • Fulcrum
    • O-Frame focal point
    • O-Path around
  • Horizontals and verticals
  • Cruciform

Each of the above armatures can have subcategories. I talked a little bit about this in my Design Series post on Balance.

She also told us to work with intention. I took that to mean don’t just slap anything up on the quilt. She said to identify a center of interest and emphasize it, then she told us how.

Most of the class was taken up with Value. This started out to be a problem for me. For some time I have been irritated when people have said “Value does all the work and color gets all the glory.” Mostly, this saying has irritated me because nobody who said it could tell me why. I have ignored that saying since the first time I heard it.

Actually, I haven’t, but I was doing it intuitively and just using contrast. Contrast has a lot more to it than only value. You can review it in the design series episode on contrast.

First, we have to define value and contrast:

Definition of Value: Graduations of light and dark.  All colors have an inherent value.

Definition of Contrast: Difference in light and dark.  Or light vs dark. (See The Sharpened Artist).

The difference is a mind bender, but there is a difference.

Now we can get on to my epiphany.

In this presentation she talked about value patterns. She showed a diagram of 14 different examples of values in a composition. Each diagram shows 3 rectangles on a larger rectangular surface (presumably the paper or canvas or quilt). Each rectangle is either black, medium gray, light gray or white. In show different arrangements of these rectangles. Sonja showed us a page in Strengthen Your Paintings with Dynamic Composition. You can see what I am talking about a little bit in the arrangement of rectangles in the example on Jacob Bromeo’s site. You can see how the darker rectangles come forward.

There is a lot more I could say about this class. I have some books from the Library. I have some articles to read. I have some blogs posts to update.

Sonja recommended the following books. I got some of them from the library and am powering my way through them.

Resources:

Sonja does watercolors as well as make quilts. The above list is from her watercolor class, so there are things you have to ignore. The material on composition and value cross over from watercolor to quilts and are relevant.

MQG Creative Webinar

Periodically, I am actually able to take advantage of some of the benefits of my MQG membership. Last week, I watched a webinar with Malka Dubrawsky on using prints called Creative Webinar: Printed and Patched: Designing with Patterned Fabric with Malka Dubrawsky.

My overall first impression was that there is an assumption that modern quiltmakers don’t use prints. I see a lot of MQG people buy lots of FQ collections. Wasn’t there some crazy hullabaloo over Heather Ross and some castle/princess collection a few years? Blueberry Park is pretty popular as well.

I tried to take this weird impression and set it off to the side so I could gain some knowledge from the webinar.

Malka said that prints have graphic information. There seemed to be another assumption that we are used to using small scale prints because they read as colors. She talked about using larger scale prints as graphic messaging. Dubrawsky said that using a variety, both large and small scale prints, creates interest.

She divided the presentation up into points:

  • spaces
  • movement
  • color/color contrast
  • common print
  • random

I think that I may have missed one or two points, but I got some good information out of these, so the webinar was worth my time.

When Malka talked about spaces she was talking about dividing up the quilt’s surface into different spaces. She, then, talked about using prints in those spaces. You can also organize blocks as spaces or into spaces to use prints.

Movement went right past me.

She used Color / Color Contrast as a different type of organizing tool, which I thought was interesting. One example was dividing up a quilt into warm/cool.  Again the idea was about organizing fabrics on the surface of the quilt so you can use printed fabrics. I don’t find this to be necessary in my work, but I thought the concept was interesting and it might be worth trying.

She encouraged makers to create rules for ourselves to use prints so they make sense across the surface. I do this with my quilts in general.

I had no idea what Dubawsky meant by Common Print. She was referring to using different colorways of the same prints all together. I have always loved this concept. I often like having all the prints in all the colors. Remember my Half Moon Modern drama? Malka says that it allows for easier color and shape focus.

She said that using prints can produce ‘hidden treasures’ that don’t show up when you use solids. Prints create another point of interest, more to look at.

Random: hard to make work, but can work. This was difficult for the presenter to explain and I can understand why. She threw out:

“Simple shapes, colors go together, big spaces. Active background electrify prints rather than toning them down. Focus is on color rather than design.”

Overall message is that makers need to organize your fabrics and design so that they work on the surface. She said that design is really important and I was thrilled.

She encourages people to make their own FQ packs.

Yay! She uses batiks all the time. She calls them modern batiks – modern, bold, graphic designs. Malka also said that she doesn’t really like the older style, watercolor-y batiks. I got the impression that it was the motifs on the surface of the fabric rather than the batik process she didn’t like.

To start: Pick (buy or create) a fabric collection you really love – she buys entire FQ bundle- and then play around with different ways of organizing fabrics. Small/large prints or warm/cool colors. Use a simple geometric design. Challenge yourself. I also got the impression that she was saying to be brave.

Her new designs will be available on Feb 1 on her website as PDFs. Printed patterns will be available Feb 20. She is also doing kits.

A recording of this webinar is on the MQG site for your viewing pleasure, if you are a member.

 

Four Low Volume Backgrounds

I have always liked to use a variety of fabrics to add interest. This means that I like scrap quilts, but I also like to use a variety of fabrics in the same colors in my quilts.

I learned this technique from Mary Mashuta. Many of you modern quiltmakers probably think she is old time and her techniques are not a useful addition to your modern arsenal. Mary is a really good teacher. She trained as a teacher and taught at SF High Schools for years before she left to become a quilt teacher. Her ideas are easily translatable to different fabrics and styles. I took a class from her about “pushed neutrals,” which had to do with making a background from a variety of neutrals rather than just using one fabric. I extrapolated that idea out to include non-neutrals as well, which evolved into using a variety of fabrics in the same colors for backgrounds. I have since used this technique for foregrounds as well.

Kay V, a longtime reader, made a comment that made me think about my low volume background for En Provence. As you know, the background is a variety of text fabrics. These are, mostly, the same fabrics I used for the Carpenter’s Wheel.

 

Jennifers Quilt
Jennifers Quilt

Jennifer’s Quilt is a quilt I made for my acupuncturist who really helped me get back on the road to health. When she died, I got the quilt back. Bittersweet. I would rather have her and never see the quilt again.

It is the first quilt, I think, I made using a variety of black and white fabrics for the background. Some of the pieces are a little heavy and I probably wouldn’t use them again. I also used the same technique for the foreground – the pinks, blues and limes are all a variety of fabrics in the same tones/shades. The blues have more contrast than the pinks and limes.

Flowering Snowball Finished
Flowering Snowball Finished

Flowering Snowball was primarily supposed to be a handwork project – something to take around with me when I needed a to-go project. At that point, I didn’t think as much about the background. In general this is not as successful an exercise in using different fabrics for the background. Some of the prints read grey rather than white. Others have too heavy a hand in the print department.

Carpenter's Wheel top finished
Carpenter’s Wheel top finished

I got better with the Carpenter’s Wheel. I was focusing on using text prints and, thus, tried hard to make the background work. The scale of the different fabrics all vary, but the overall effect works.

En Provence - October 8, 2017
En Provence – October 8, 2017

From close up, the background of En Provence looks somewhat chaotic. The foreground fabrics can handle the chaos, however, because there is no bleeding of color into the background. I like the little bit of chaos as it seems to move my eye around the quilt.

As an added bonus, this technique does not require one to have a zillion yards of one fabric to use as a background. 😉

Ta Dots & Stripes HSTs

I seem to have a lot of HSTs around. The other day I talked about the Mostly Manor HST quilt. I found the bag of Ta Dots & Stripes HSTs recently and laid them out to see what I could do with them.

First, they didn’t turn out as expected. The stripes are a lot darker than I anticipated and kind of dominate the quilt.

Second, there aren’t as many as I thought, so this will most probably be a lap quilt.

Third there aren’t enough colors of dots to make this really interesting. I don’t remember if Ta Dots come in more colors. If not, they should, but these are all the colors I have.

Ta Dots & Stripes HST Quilt Layout
Ta Dots & Stripes HST Quilt Layout

I laid them out anyway in order see what I could do with them. I laid them out in lines and straight HSTs.

This layout is similar to the one that my SIL did with the Mostly Manor HSTs. It concentrates the colored triangles together and makes them stand out a bit more. The stripes still fairly dominate the whole piece.

Ta Dots & Stripes HST Quilt Layout n.2
Ta Dots & Stripes HST Quilt Layout n.2

The other layout was inspired by a quilt on the Quilts and More Summer 2017 issue. It is straight HSTs in kind of a color order all pointing in the same direction. I thought it would be a possibility for this quilt.

It is ok, but the contrast is still difficult.