It’s Hot Down Here!

In Southern Utah the temperatures run in the triple digits for much of July and August. Although my husband and I escape for a week at a time to Colorado, we have to keep the lawn and garden alive, so when are at home we get out early and hibernate in the afternoon. 

 There is an upside to this season; studio time. I have been very productive this past two months. I have completed five larger quilts and am close to finishing my latest quilt of a pond in the Denver Botanic Gardens.

In addition to large quilts I am working on samples for two classes I am teaching in town. I love these little quilts. They remind me how important it is to understand design concepts and to be able to create a pleasing composition. The more samples I make, the more ideas I generate.


I was making a few still life arrangements when I found that folding small squares of prefused fabric I could cut freehand very whimsical petals and fuse these flowers to a grill matt from Costco. (Yes I happened to get 4 grill matts on sale and decided to try them instead of my small release sheet.) I ended up with a variety of these fun flowers to add to my still life.

Normally I would begin a composition a horizon like or something indicating the edge of a surface (like a table). This is a way to organize the composition and give the viewer a sense of space. After looking at Picasso’s cubist still life “Guitars”  I experimented with eliminating that horizon line and cutting up the background. The result was a more decorative composition.

Landscape 1

While creating some small landscape quilts I started looking at my collection of images on my Pinterest board “Art Quilt Landscapes”. One of my pins made me think of a visual problem:

What happens when you exclusively  use fabric with a stripe of strong directional pattern?

This is an easy way to create the illusion of space because the direction of the stripes lead the viewer’s eye into the composition.

I extended this idea of stripes by fusing together different fabrics The fabric below the horizon line were diagonal heading to a single vanishing point. Above the horizon line I took thin prefused fabrics and fused them into curvy lines across the sky. I add a few Van Gogh star shapes.

Looking at fine art, collecting ideas from other art quilters and using an understanding of design concepts produces a never ending stream of projects to create. It also helps to be sure to play and have fun! 

Until next time.......
Margaret

What’s wrong with this picture?

Image Source:
carolinefrechette.com

Do you ever look at a quilt you might put away that just doesn’t look finished? A quilt that didn’t make it into a show?  Maybe it’s a quilt that is sitting in your studio right now and you don’t know what to do next?

Yesterday I attended a SAQA pod meeting. It’s a group of art quilters from Southern Nevada and Utah who meet on alternate months. As a group we decided to focus on critique. Each meeting several members bring work in progress. 

We divide the hour into equal portions and allow members to provide feedback to a question the artist asks the group.Questions could be open ended; “Is this quilt finished?” or  specific “How should I quilt these shapes?” We end the feedback with the artist stating some take away ideas. A comment(s) that they can use to improve their work.

As a facilitator of this group I encourage members to follow a formal process I used when I was teaching and while getting my masters in art. This method has become second nature to me. I find it invaluable. 

Principles of Design

The first step in the process is to take a minute in silence to look carefully. This might mean getting up close or standing back. Next the observer wants to look for the elements of design used in the composition.  When giving feedback you can reference these elements. “The red organic shape in the upper left corner...”

Next you want to ask yourself how these elements are organized using the principles of design as your organizing idea.”The red organic shape in the corner is the focal point.” Understanding and using the design vocabulary is important to providing feedback that can be used by the artist to improve a composition or to correct a design flaw. 

The last to steps are interpretation and judgment. In my master's program interpretation often identified the work by genre or subject and with a reference to another artist or art movement." The red and grey organic shapes look like a dry riverbed. It reminds me of the carefully arranged stones in a zen garden."

Judgement is the point where the observer gives constructive and  specific suggestions or a clearly articulated summary. “The red shape creates a strong point of emphasis. I would add 3 - 5 smaller and less intense red shapes to create movement through the composition.”


In the future I will be posting some examples of this process on my YouTube channel and will have a workshop outline on my website.


Until next time.....
Margaret

My YouTube Channel

July Post Channel

 

 

Teaching gives the gift of deeper understanding of a subject to the teacher.

As a person who spent her career in the classroom, I had been hesitant to start on that path again. People often ask me “Do you teach?” My reply has been that I am focused on my own work in my studio.

Recently I got the itch to share my knowledge. 

As an art teacher there is a hard rule: Don’t ever present a project to a class without having made that project. I often made numerous sample projects over summer breaks or after school until I could make them in a fraction of the time I would  allot to my students.

I knew I had a project locked down when I could write down the lesson with a description of the supplies, setup and steps in less than 15 minutes. It was ingrained in my brain. Another sign of readiness was being able to easily modify the project for different ages, time constraints, limitations in space or supplies came easily. 

Now that I am retired, I have enjoyed leading a friendship group at my local quilt guild. In that group I shared some basic principles of art, some techniques and little art history. This has been a real joy.  One of the members of this group asked me to share some information about how I printed photographs onto cloth.

She is only of many people who see one of my quilts and ask “How do you do that?” Now I have an answer to that question: Check out my YouTube channel. 

YouTube is an amazing platform helps meet the needs of a variety of learners. Because a presentation is easily shared and can be viewed multiple times it’s a tool that anyone can use as a reference. It is also arranged in format that is good for the brain.


Research says our brains like to take a break after 20 minutes of instruction. Good teachers understand that pace and incorporate something different before piling on more information. Ask the class to get up even for a minute, write down a note, share your understanding with partner, etc...


When I was teaching middle school I always limited my instruction to the first 10 minutes of class. So when I created this presentation on how to get a photo from a phone printed on cloth I aimed for 10 minutes of instruction. 

The video is now up on YouTube and I plan to create several more. It has been fun to figure out this process. I hope in the future that I will see more art quilters using photographs. 

Until next time.......

Apply and Adapt

In my May post I described the wonderful week I had at the "Empty Spools Retreat". In this post,  I am going to share with you how I applied what I learned and adapted that leaning to my own work.

Sometimes people  are so impressed with a teacher or a quilt; they too fully embrace everything they learned in the workshop and make  a “duplicate” or at least a quilt that can easily identified with a specific artist. 

Although this often a necessary step on the road to creating your own unique style, it is best to apply what you learned and adapt that learning to fit your needs.


The class was given by Valerie Goodwin. One of the reasons I was drawn to the class was that her desired learning outcome for participants open ended.  

She described a process of using design thinking.


 

Map of a road through pebble beach. This was my final project which has an ocean waves, a road and homes under construction
Map of a road through pebble beach. This was my final project which has an ocean waves, a road and homes under construction

"An art quilter’s most valuable asset is his or her creativity — and it needs to be reinforced through an understanding of design thinking. In this workshop you’ll find creative thinking exercises. Beginning with an exercise related to the seven principles of design --work instinctively with color – explore creativity through experimentation."          course description

The products created in the workshop would  combine several techniques. The product was related to maps, but it was clear that the opportunity for creating your own spin on the idea was supported:

You will create paper map-like collage compositions through a series of quick "hands-on" exercises and subsequently make fabric constructions. The goal of this class is to allow you to create little spontaneous works that can become the basis for a final small quilted art map. You will develop these pieces using freehand scissor cutting, layering of varied fabrics, and other techniques to create an interesting work of art.

We started with simple paper compositions that would be an example of the each element and principle of design. Next we created postcard size compositions.These sketches required participants to build a composition on a woven substrate using a technique not unlike quilt as you go. Next we painted some areas, fused organza and finished with both hand and machine stitching. The compositions were loosely based on a map.

Post card sized maps.

In the final project we had a larger substrate. My final composition ended up being 22 x 16. We used the same process but that process to our own “maps”. Most participants created projects in the style of their instructor. Mine was a more abstract composition.

Valerie supported my decision to cut holes through the layers and to create three distinct zones which stretched the length of the composition. I think it came out pretty well.

More importantly when I approached my next quilt, I had an increased awareness of the power of design thinking.

“Sky Lanterns” is the result of apply and adapt. I used fused organza on the lanterns which lets some of the background color show through. When I created the image I focused on design concepts like movement, contrast and balance. I have no interest in creating maps but I do have a passion for creating art.


 

Until next time.....
Margaret

Invest in your Art: Empty Spools Retreat

I spent last week at “Empty Spools”, a quilt retreat located in Asilomar. Asilomar is a California State Park located just north of Pebble Beach. It is stunningly beautiful. The retreat lasts for five weeks and offers workshops in traditional and art quilting.

Participants often return year after year with friends who make this more than learning experience; it becomes a tradition. I went with a seasoned participant who knew the routine and helped me find my way around the various buildings on the property . We have already decided to take the leap again next year.

Logo

Taking the time and investing the money to go to a retreat like Empty Spools has helped me to sustain my creative process. The class I selected was Map Play. As you may know, I focus on creating portraits and have dipped my toe into landscape. You might wonder why I took a class that focused on something outside my area of interest. There are two reasons I chose this class: the instructor and to learn a process I can apply to my own work.

The instructor was Valerie Goodwin. Valerie is a Professor of architecture teaching in Florida. According to the description of the class, the focus would be on understanding and using design concepts. She presents the class with a visual problem to solve. This kind of instruction allows students to experience a process of visual decision making that can be applied in their own studio.

Valerie described how a map is abstraction of a place that provides the reader with information. She showed examples of maps that show undeveloped plots of land in a urban setting, a map of a power grid, a map of burial ground discovered when a building was being excavated and many more. Each map tells it’s own story.

In my simple map quilt, I created a highly abstract map of drive through the Pebble Beach Community. The composition had three zones which stretched the length of the surface. I focused on my memory of the drive and isolated what I saw; homes, the road, fences and  the coast.

The visual problem was to make a map that included two opposing concepts: expansive/enclosed, order/chaos .......

The road would divide my opposing concepts. On one side of the road was the ocean. The other side were buildings in stages of construction. The view was from above. What struck me during the process of making the composition was how easily it flowed.

  • Using systematic thinking helped. First Decision: What place was I going to map? Next Decision: What information did I want to provide? Big Idea: What were the opposing concepts found within this map?

During the work period I thought about how we could only see the coastal waves when there was hole in a construction fence because the established properties where enclosed by walls and barriers. This struck me as being important. It was a metaphor about the wealthy being able to control their lives in a way that is impossible for most people.

I took a risk and cut some holes in the surface. Valerie was very interested in this idea and suggested I add a few more holes to balance the composition. I was pleased with the result and was happy to have a skilled teacher guide me in making design choices.


In the my June blog I will share with you the techniques I learned in this workshop and how applied them to my own work.

Until next time....
Margaret