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Posts Tagged ‘colour’

I’m posting this image for WIP Wednesday! It’s a small piece (20″ x 30″) that I am calling “Fifty Shades of Purple”. The 5.5″ block is string-pieced from scraps. Inspiration and instructions came from a book borrowed from the public library: “A Modern Twist” by Natalie Barnes.

purple quilt top

50 Shades of Purple

I am on a perpetual mission, as I am sure many quilters are, to use up fabric scraps. Unfortunately, this project barely made a dent in my scrap stash. But a girl can try, right?

As I was putting this together, I realized that I may finally be overcoming my obsession with the colour purple. The modern or contemporary quilt aesthetic has infiltrated my consciousness, and there are so many fresh colours to play with. Just wait till you see the next piece I am working on – no purple at all!

 

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red and white cotton fabrics

Ever since June, when I learned about the 2017 Challenge for next summer’s Quilts at the Creek, I’ve been pondering what to make. The theme for the show is Canada’s 150th birthday, and Northcott has generously donated a whack of red and white fabric to get things started off.

There’s no question – I want to create a special quilt, but making a decision on the design approach is holding me back!

My head is swimming with ideas! How will I be able to settle on just one … the right one? It has to be a design that I will a) enjoy working on for many months, b) allow me to use coordinating fabrics from my stash, and c) be symbolic in its own way to represent my Canadian experience (having lived in Canada all my life).

Shall I go modern or traditional? Or somewhere in between?

Lots of ideas here:

http://quiltinspiration.blogspot.ca/2011/10/free-pattern-day-red-and-white-quilts.html

And of course on Pinterest (e.g., https://www.pinterest.com/cjshanny/red-and-white-quilts/).

logo for Canada's 150th birthday

And check out the winning sesquicentennial logo design. Could be adapted to quilt piecing, don’t you think?

Stay tuned …

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About six years ago, I was fortunate to discover a small group of women in my community whose interest and obsession with making textile art equals my own. Each year since then we’ve managed to find a place in the neighbourhood to mount a display of our creations.

A few times it was a room in a church, several times a funny little vacant space on the side of a building (called “Side Space Gallery”), once in a café, and this year, in a yoga studio. The expansive white wall that spans the length of the studio was just begging to be lit up with our colourful creations.

Grounded_300x400

Grounded

We negotiated with the studio owner to have specific hours (around her classes) where people could come and see the exhibit, each weekend throughout the month of November.

A_Patch_200x267

A Patch of Stillness

This Saturday, we’ll be holding the opening reception for our show at the Studio for Movement.

A week ago, we met to “hang” the show. None of us knew what each other had created, so it was a bit like Christmas morning when we spread everything out on the floor to get an idea of what the collection looked like. Amazingly, it all came together beautifully. It’s astonishing how some of us, working independently, used similar colour palettes and themes in our work. This made it fairly easy to create groupings that complemented each other.

I worked pretty hard to get two new pieces finished (each participating artist is invited to submit two pieces) and was still stitching on the labels the day we hung the show!

A third piece I had brought along (Open Arms, aka Driven to Abstraction) turned out to be just the right size for one of the walls, so that means I have three pieces in the show!

Getting together with my artist friends to plan and execute these exhibits, on a shoestring, has proven to be a great catalyst for all of us to learn, laugh, experiment and share our art with the community.E_invite_2013

If you’re in the Toronto area, I invite you to come by and be inspired!

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Isn’t it fun, once in a while, not to have everything planned out before you start a new project? That’s the way it was with the 3-part workshop I signed up for with Dwayne Wanner. He has developed a loosely structured set of guidelines to shepherd you through his “Abstract Expressionist Quilt Project”.

I was fortunate to be able to find a weekend course being held at the Etobicoke Quilters Guild, where my sister is a member. I am endlessly frustrated by my own guild’s insistence on scheduling workshops during the workweek.

Part one of the workshop consisted of exploring the styles of abstract expressionist painters such as Jackson Pollock, Jean-Paul Riopelle, Paul Klee and the Painters Eleven. Dwayne encouraged us to look at these paintings and visualize them made with fabric. Using both the Internet and library books, I studied the technique in the weeks leading up to the first session.

Then it was time to make our colour choices. Dwayne encouraged us to experiment the split-complementary scheme, which includes strong contrast that is toned down by using the colours that are adjacent the colour that is complementary to the main colour. Have I lost you yet?

For someone who usually relies on instinct for her colour choices, it was a challenge for me to consult the colour wheel and make selections based on that, but I went to my stash and tried my best. For this project, fabrics that read as solid are best – no large prints.

Our second task was to construct what Dwayne calls an “inventory” of blocks. What fun combining the fabrics into blocks and strips, knowing in advance that they would be sliced, diced and put together later, but not being able to envision the end result.

Floating squares, skinny strips, wonky strips, etc. all came together, as Dwayne exhorted us to imagine the artist splashing paint randomly on a large canvas.

Slicing a curved line in advance of sewing two sections together

Slicing a curved line in advance of sewing two sections together

One interesting trick I learned was how to match up two sections, by laying them on top of each other (both face up), just overlapping enough to cut through with the rotary cutter, in a slightly curved line. [photo]

Then, after discarding the cut pieces, you flip one piece over so that right sides are together, and sew them together. Sounds simple but I don’t think I would have thought of that myself.

Dwayne’s approach is best described, I think, as freestyle. “Pins are for sissies,” he says. I must say things move faster when you aren’t concerned with measuring and matching things precisely. And the resulting creation is truly one-of-a-kind.

Most of the quilts produced in this class, therefore, resulted in an irregular shape, and so the question was asked – how are we going to finish the edges? Dwayne explained various methods, one being the “pillow-case” method. But I chose the option to make “facing”. You make binding as per usual, but turn all of it to the back, rather than just half of it. Pretty simple and effective, when the edge of your piece is uneven.

While our sewing machines hummed, Dwayne supplied an eclectic assortment of background music, ranging from opera to the Gypsy Kings, to keep our creative juices flowing. And, I suspect, to cut down on the chitchat. He had us on a schedule, which contributed to the appeal of this workshop. All the students were confident that they would actually finish something at the end of the three sessions.

Driven to Abstraction -

Driven to Abstraction

A few months later, I am still processing some of the ideas and techniques that I practiced in Dwayne’s class. My piece, “Driven to Abstraction”, is certainly one of the most adventurous and unusual wall hangings I have made. And quite a contrast to the next quilt I will be writing about!

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In case you’re not up to speed on the lingo, WIP stands for work-in-progress. I’ve been having fun creating the elements required for the Dwayne Wanner workshop I’m enrolled in. This coming Saturday, we’ll be bringing these elements along with our sewing machines and putting them together into 10 or 12 blocks that will form the wall hanging (approximately 4 feet square, although Dwayne does not encourage the standard, square product). It’s far more likely to have an irregular shape.

Image

“very skinny strips” – one of the elements for my abstract expressionist wall hanging

There are six different elements, using a range of techniques, and it will be a lot of fun deciding how to put them all together.

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colour combo inspiration

quilt colour combination inspires jewelry

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I just finished two small quilts that were distracting me from some more extensive projects that I have on the go. Pleasant distractions, I must say!

In Transit II

In Transit II
32″ x 14″

The first is a commission that resulted from my donation to the United Way fundraiser (silent auction) at my workplace last December. My colleague Jennifer told me that she missed out at the last minute when someone else out-bid her for my “In Transit” quilt.

She asked whether I would make one for her. I hesitated a bit, because this was during the lead-up to Christmas, and I wasn’t ready to take on anything with a deadline attached to it. But she said I could have all the time I wanted, so I agreed. I zeroed in on the theme for “In Transit”, city transportation, because I work for Metrolinx, the regional transportation agency for Ontario.

Most of the fabrics depict the different transportation modes and city scenes. I let those fabrics dictate the colour choices, pulling complimentary colours from my stash.

Closeup of In Transit II

Closeup of In Transit II

I went out looking specifically for one additional fabric, because Jennifer is an avid cyclist. I walked into one of my local quilt stores and found this fabric – Cruzin by Barbara Jones of QuiltSoup for Henry Glass. It didn’t really matter that it was the ONLY bicycle-themed fabric they had, because the colours fit perfectly into my scheme!

My  quilt label

My quilt label

Jennifer was thrilled with In Transit II, and she was even impressed with my choice of backing fabric, which we both think evokes a cityscape at night.

My second finish is a “cobblestones” quilt, which I attribute to my discovery of Wanda Hanson’s Exuberant Color website. It’s made entirely from batik scraps (except for the backing). There are even two fabrics that are clothing scraps (one from a pair of pants I shortened, and some leftovers from a blouse I made a about two decades ago). I have titled it “Undertones”.

Undertones

Undertones
26.5″ x 21.5″

For this one, I was able to piece together scraps of batting too, further evidence that I am a frugal quilter.

I puzzled for a while over how I wanted to quilt it, and ended up tapping into my “organic process” – that is, just listening to my intuition and using circles and unwinding spirals to compliment the nature-themed batiks.

With these pieces finished and labeled, I have returned to my Amish Pinwheel summer coverlet project. I have six blocks done (it takes me about an hour for each one, including cutting the fabrics).

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