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We love how much fun Annie H. Hudnet had creating her improv quilt, Jazz Riffs. A pianist and former dancer, she combined her two loves into this playful quilt.

Jazz Riffs by Annie H. Hudnut was featured in the Improvisation category, sponsored by Gotham Quilts, at QuiltCon 2020.

Photos by Mary Kay Davis

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Seasons of Life by Sandra Mollon with Kris Spray had a back that could have won awards, but now you see why it won from the front. (See the back by clicking here.) It won Best Movable Machine Workmanship at Spring Paducah 2019. This 83" x 83" wonder has Hand Appliqué, Beading, Broiderie Perse, Couching, Hand Dyeing, Embellishments, Hand Embroidery, Silk Ribbon Embroidery, Inking, and Tsukineko Inks.

Seasons of Life was also the Outstanding Large Quilt winner at the Road to California show, January 2019. 

Watch Sandra in Show 2609.

SeasonsofLifebySandraMollon - 36 Pieces Non-Rotating

SeasonsofLifebySandraMollon - 100 Pieces Non-Rotating

SeasonsofLifebySandraMollon. -289 Pieces Non-Rotating

SeasonsofLifebySandraMollon - 36 Pieces Rotating

SeasonsofLifebySandraMollon - 100 Pieces Rotating

SeasonsofLifebySandraMollon - 289 Pieces Rotating

Original Photo From Sandra Mollon's Website

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We continue our selection of quilts exhibited in 2019 at the Houston International Quilt Festival as part of their 45th Anniversary, the Sapphire Anniversary. The Sapphire Celebration exhibit is described as:

"Quilters have long used the color blue to symbolize trust, loyalty, wisdom, confidence, intelligence, faith, truth, and heaven. Sapphire is also the chosen gem to celebrate 45th anniversaries—which International Quilt Festival is doing this year (2019)! These new and antique blue and white quilts will be suspended from the ceiling in a spectacular and unforgettable display."

To be a part of the exhibit, quilts had to fit the following criteria:

  • Entries may be Traditional, Modern or Art.
  • Entries must have been made between 1974 and 2019.
  • The minimum size is 50” x 50”

Please enjoy the eleventh quilt from the exhibition by an unknown maker.

Title of Quilt: Touching Stars

Quilter's Name: Unknown Maker

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Alex and Ricky continue their trip in Sisters, Oregon and visit the home of June Jaeger. June is known for her fusible appliqué process which she uses to create pictorial quilts. In this show, she demonstrates that process and also shows you how to paint a Cascade Table Runner.

Need more techniques? Anna Bates is on hand to explain Sashiko and demonstrates how to trace the designs and make the stitches. 

Watch June and Anna in Show 2610, when it debuts Sunday, May 3, 2020.

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Daisy P. Aschehoug wasn't inspired by her quilt design until she began rearranging and repeating the main motif. She then called upon her other passions of curved piecing, a sense of order in composition, and color to pull the quilt together. 

Daisy's quilt, Columns and Vines won Third PlaceNegative Space, sponsored by Coats & Clark, at QuiltCon 2020.

Photos by Mary Kay Davis

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Subject: Successful fabric combinations. This is for all quilters but is made as a help as a Pre-class for the Sew Along, Sequoia Sampler, starting Monday May 4. Alex is LIVE Friday at 10am PST, 1pm EST, and 6pm London time.

Buy the Instant PDF Download Sequoia pattern here  

 

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Aegean Memories by Karen Eckmeier was created using her raw-edge fabric collage process as described in her book, Happy Villages. The fabrics are lightly glue basted and then machine stitched with a layer of tulle. The quilt was created in 2010 and measures 43" x 43."

You can learn about Karen at her website, The Quilted Lizard. You can watch Karen build a Happy Village in Show 1109: Fabulous Fabric Landscapes...By Accident!

Click here to see the quilt.

Aegean Memories - 36 Pieces Non-Rotating

Aegean Memories - 100 Pieces Non-Rotating

Aegean Memories - 289 Pieces Non-Rotating

Aegean Memories - 100 Pieces Rotating

Aegean Memories - 289 Pieces Rotating

5171_jigsaw_planet_my_puzzles_album_1_aegean_memories_289_pieces_rotating_embed_puzzle.jpg

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Three Easy Steps To Save This Lesson As A Pdf:
-Make sure you are logged in.
-Click on the small triangle next to the tool wheel in the upper right hand corner of the page (you'll find it above the Like button).
-Select the pdf. option. Wait a few minutes. It's a large file due to the number of images.
-Your file should appear with the title of the lesson.

Creating the illusion of depth and spatial reality in your work is not difficult, if you know and understand the magic that key players can perform. Think of depth in a quilt as the ingredient that makes a grilled cheese sandwich so delicious. What's not to love? The sandwich is crispy, chewy, creamy, and salty all in the first bite. The basic ingredients are white bread, a cheese that melts easily, and butter or margarine. This works and probably makes for a good sandwich. But, what if you swapped out the bread for a sourdough? What if you included a mixture of different types of cheeses? How about adding a piece or two of bacon to the mix? Now the sandwich is more interesting on a whole new level. It is still a grilled cheese, but something that stands out from 'the usual'.

By incorporating a variety of different key elements to create depth and space, your quilts will be both interesting and appealing to viewers. Let's use the familiar Hexie quilt shape to look at how you can create space on a quilt surface.
 

Overlapping - When the blue Hexie is placed over the green, that portion of the green Hexie will not visible.


Image by TheQuiltShow.com

Placement - If you place the green Hexie higher within the picture plane it will appear to be further away.


Image by TheQuiltShow.com
 

Size - If you place three different size Hexies in a line (from large to small), the smaller Hexies will appear further away.


Image by TheQuiltShow.com

 

Detail - As the Hexies get smaller in size and are placed further away, the amount of detail (in each) should also be less and less.


Image by TheQuiltShow.com

 

Color and Value - Hexies that are smaller and farther away should appear cooler (lighter) in color. Hexies that are closer should appear warmer (darker) in color.


Image by TheQuiltShow.com

 

Now that you have seen and understand the graphic illustrations, let's look at examples in actual quilts:

Maynard by David Taylor  Rainy Day People by Terry Aske
Placement - Maynard by David Taylor (Show 406 & Show 808)             Overlapping - Rainy Day People by Terry Aske

 

Pathways by Lyric Kinard Kauai, Hawaii by Judith Baker Montano
  Size - Pathways by Lyric Kinard (Show 1311 & Show 1710)     Detail - Kauai, Hawaii by Judith Baker Montano (Show 201, Show 507, and Show 1212)

 

Century Plant by Jane Sassaman Sayonara, Koji Wada by Sara Kelly
Color and Value - Century Plant by Jane Sassaman [Left] (Show 301)    Sayonara, Koji Wada by Sara Kelly (Right)
 

Creating Space

By Ann P. Shaw (Show 2006)

A typical traditional quilt block will feature a main pattern (such as the maple leaf pictured here) and the areas surrounding the pattern. Artists refer to the main subject (in this case the maple leaf) as “positive space” and the areas surrounding the main subject as “negative space” (in this case the background fabric).  The balance between positive and negative space in quilt blocks varies. As you can see, more than half the space in this Maple Leaf block contains the leaf shape, clearly distinguished by the fabric selected. However, a quilt block like Log Cabin typically features only the strips of the log cabin pattern with no background fabric at all.  In this case, the entire block is the subject. Traditional quilt blocks also tend to be symmetrical and are framed by a border fabric. This creates a visually stable design.

The Maple Leaf block with its surrounding border is also what artists call a “closed composition”. All of the elements of a closed composition are contained neatly within a border or frame. When viewed, your eye is immediately drawn to the main subject that is often centered. Most traditional quilt blocks make use of this idea of closed composition, either as individual blocks or sets of blocks arranged to form larger patterns. It is this quality of stable, consistent, static patterns that lend a visually pleasing and calm quality to traditional quilts.

What happens when we start to create space in a quilt? By creating space I mean what happens when we increase the amount of negative space and place the subject off center? My quilt “Curious Duck” is a good example of what is called an “open composition”. In this case the asymmetrical placement of the duck and the angled placement of the blue ovals in the background lend a dynamic quality to the quilt. Notice there is a border only on the right side and bottom of the quilt, and Mr. Duck is playfully poking his beak beyond the background into the border. There is an implied movement in this quilt, almost as if the duck has waddled his way from the center, wondering what’s beyond the edge of the quilt. And look at the amount of negative space – it makes the duck seem much smaller relative the overall size of the quilt. The vibrant colors of the duck, the large scale and angled placement of the background print, the exaggerated amount of negative space, the asymmetrical placement of the duck in the lower corner, and the use of only two borders that are pieced as part of the overall design give this quilt a dynamic quality.

Open composition in quilts uses asymmetry, color and line placement to keep your eye moving from one element to the next.  Sometimes the subject will extend into the borders or even beyond the edge of the quilt.   In contrast to the calm, framed beauty of a closed composition quilt, an open composition quilt is visually active, inviting you to image what is beyond the edge of the quilt.

To create space in a quilt, try the following:   

·      Place the subject the quilt asymmetrically in the space.

·      Expand the amount of negative space in the design to change the proportions of subject and background.

·      Use color and pattern to create sharp contrasts between the subject and the background.

·      Use asymmetrical, partial or no borders.

 

Practice Exercise: Winter Tree Landscape

by Kathy Barbro

This winter tree landscape makes use of a simple idea, namely that torn paper looks a lot like the bark edges of a tree, but needs to be done neatly for maximum impact.

Materials:

  • Multi media paper (Two Sheets)
  • Tempera paint (Blue, Black, Brown, White) I like the cakes
  • Scissors
  • Glue Sticks
  • Pencil

1. Paint a full sheet of paper with the black or brown paint.  For maximum contrast, use black. Set this paper aside to dry.
2. On the second sheet of paper, lightly draw a snow line and moon in pencil.
3. Paint the sky blue around the moon and above the snow. Set this paper aside to dry.
4. Tear the painted black paper vertically so that you have a number of 11" strips of paper. Vary the thickness of the paper strips.
5. Arrange 4 or 5 of the black strips on the blue and white background. To create a little perspective, keep the wider strips long and near the front, and the skinnier strips short and near the back. Cut away any extended portions of the strips.
6. Glue strips in place with the glue stick.
7. Dilute the black paint to make a light gray. Paint in shadows in the snow that point away from the moon at each tree base.
8. Liberally add dots of thick white tempera to create falling snow to the scene.

Click here for more topics related to The Art of Quilt Design program.

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This week we found out that our beloved quilt show in Sisters was being postponed till 2021.
 
 
This is not the only quilt show to be cancelled due to the COVID-19 Pandemic. So, how do we adjust or recreate our quilting mojo?! I can't wait to see what Valori Wells will come up with along with her small army of quilters. The hints of a virtual quilt show are fascinating to me. In order for the quilting world to survive and grow it needs to reach more of us quilters! Which means we need to think outside the box, especially for the next year!
 
I have noticed and enjoyed that more designers are moving out of their comfort zones and using Instagram and Facebook to reach their fan base on a more personal level. As an everyday quilter I not only fall in love with a pattern, but if I feel something for the designer I am sold. For me it is a package deal...how about for you? Do you only look at the pattern or do you want to know something about who designed a certain pattern?
 
I am reevaluating my quilting life and it not only includes UFOs but the desire to expand my quilting repertoire, and since workshops/classes are going to be interrupted why not check out the many "how to" videos on The Quilt Show and YouTube. What better time to pass on our experience and knowledge to other members of our families. The one things about quilting is that it provides such a wide variety of techniques that the word bored does not exist in any of its patterns! We can then be reassured that there will be future generations that will treasure our own creations.
 
Hope you are safe, healthy, and stitching...and enjoying a little fresh air.
 
 
Stay tuned and travel along with us on Quilt Roadies.

Click here for Anna's blog.

 

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Sophie Zaugg was inspired by a geometric street art mural to create her quilt Bubble Gum. She wanted to use the negative space in her quilt as it was used in the mural and also wanted it to mimic the concrete wall.

Bubble Gum by Sophie Zaugg won Second PlaceNegative Space, sponsored by Coats & Clark, at QuiltCon 2020.

Photos by Mary Kay Davis


Top 10 Reasons to Join the Quilt Show!

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Learn about
Apliquick appliqué tools!

Watch Show 1912
with Rosa Rojas (free!)

Apliquick Rods

 

Apliquick - 3 Holes Microserrated Scissors

 

Apliquick Ergonomic Tweezers