Dawn FFFC-31

I learned a lot from this challenge. My intent was to create luminosity by contrasting a light background showing through layers of trees. The problem came with the background I chose being too grey. Forgotten was the main concept that this luminosity was to be achieved by using color saturation. Scrambling to make this work I added some pure yellow by thread painting a glow behind one of the trees. It salvaged the piece but really didn’t fully accomplish the intent of this challenge. If time permits I am hoping to do a second piece that really glows. I did learn to keep working through my mistakes to get a finished work, and believe me when I tell you that there were a lot of mistakes on this one. If you don’t make some mistakes you never learn.

Thanks Susan, this was an excellent challenge! Comments are welcome.

Reworked piece:

I added the highlights along the tree trunks and branched, and this is the result "New Dawn". I'm sorry that the color is not quite true.

While cropping my photo I decided to play with the hue and the saturation and the next photo is what I should have made... I am calling it "New Dawn on Steroids"... It really demonstrates the effect of saturated color and luminosity. What fun.

Sunset

I'm not sure that this meets the challenge. I know there are saturated colors and tones, but I don't quite understand the "planes" part of the challenge. I tried to get the feeling of a photograph that I took, and added Inuksuk to continue the series. I think he's waving at the geese...or maybe the sandhill cranes returning to the Platte River at sunset as they fatten up on corn for their long trip north. The size of the piece is 10" x 8".

Challenge 31 - Double Arch

I don't have an art background, so hope I interpreted Challenge 31 right, with my Double Arch. This is from a photo taken in Utah's canyonlands. The sky is hand painted and is my highly saturated or pure color. The other fabrics are purchased batiks, the muddy-green being the shadow, and the others showing light falling on the arches.
It was fun making this, and brought back memoires of trips there when the kids were little. I welcome comments, and learn from them. Thanks, LindaMac in Wyo
P.S. This is not on the web site yet, as I didn't find a folder for Challenge 31.

Challenge 31 - Planes/Masses with Saturated/Muted colors

Challenge #31 - Friday, March 27 , 2009 Hostess - Susan Brittingham

Working in Series: Continue in your series, start a new series, or whatever makes you feel comfortable

Color Concept: Highly Saturated colors combined with diluted or muted colors (TONES)
(high intensity color and muted color)

Color is always seen in relationship to the other colors surrounding it. When we place a highly saturated color next to a muted color, the saturated color tends to look even more vibrant than it would next to other pure colors. This interaction creates the illusion of luminosity.

We think of saturated colors as “pure” colors at their most intense concentrations. Highly saturated colors are undiluted by white, black or gray. They are vibrant.

Diluted or muted colors are neither pure nor intense but are grayed or toned. Tones are diluted by the addition of a combination of black and white (gray). These less saturated colors are closer to neutrals. Shades and tints are also less saturated than pure hues.

It is easy to use colors of similar intensity together, more challenging to mix low intensity colors with high intensity colors. http://studiochalkboard.evansville.edu/c-saturate.html
http://www.pomona.edu/academics/courserelated/classprojects/Visual-lit/saturation/saturation.html

JMW Turner is a master of Luminosity ttp://www.nga.gov/exhibitions/2007/turner/index.shtm
My favorite example of luminosity in a quilt is Jenny Bowker’s “Hearthstones” http://www.jennybowker.com/hearthstones.htm

Composition Concept: Planes & Masses (Light & Shadow)
We can add dimension to our pieces by working with light and shadow to create the illusion of planes and masses. A plane is a flat surface. Flat planes adjacent to each other can form the illusion of mass when we use value changes to define them.

Edges softly rendered create the illusion of curvature, while those that are sharply defined by high contrast suggest hard edges. http://www.psychologie.tu-dresden.de/i1/kaw/diverses%20Material/www.illusionworks.com/html/illusion_in_art.html

Artist Julian Beever and other street painters create amazing 3-D sidewalk art using the mastery of planes and masses to produce a sense of space and dimension. http://www.moillusions.com/2007/12/julian-beevers-new-3d-sidewalk.html

Certainly many artists make use of light and shadow to create depth. One such artist is Giorgio de Chirico. There are countless images of his work on the web. Here are just a few:
http://www.artknowledgenews.com/Giorgio_de_Chirico_IVAM.html

In his work Piazza d’Italia and several other of his works, Chirico uses both the same color concept and composition concept as in this month’s challenge.

Andrew Wyeth is another master of light and shadow to depict planes and masses. Wyeth tends to work in a toned color palette, with occasional burst of purer color.
http://www.delart.org/exhibitions/something_waits.html

A number of examples of planes and masses expressed in quilts can be found here, in the gallery of Sue Holdaway-Heys, particularly in her architectural pieces. http://www.sueholdaway-heys.com/

This example has both the luminosity of greyed tones and pure bright color, plus the depth we get from the skillful use of light and shadow. http://www.sueholdaway-heys.com/GalleryStable.html

Esterita Austin is another quilter with a fantastic grasp of planes and masses. Visit her gallery here: http://www.esteritaaustin.com/gallerymain.htm and be sure to see “Ruins I”

Challenge #30 Serpentine

It has been a while since I have been able to complete a challenge (went back to work part-time and four kids in school/sports). Although this one is quite late, at least it finally got done, and just in time for the next challenge! Continuing with my "tribal" motif series, this piece is loosely based on the serpent mound in southern Ohio. I used the yellow/orange, orange/red, blue split complementary color scheme. The piece is fused and machine quilted. The blue cording is hand couched (which is why this took so long to get done; I don't like sewing anything by hand!) I would really appreciate any comments; I am particularly thinking it may need something in the center of the quilted sun motif. Thanks as always for a great challenge.

Brenda Jennings

Dragon Tail

Finally! Here is the Dragon tail study for challenge 30. The S-curve was excellent for dragons. I have been wanting to do a study on getting tail loops and patterning right for scales.

Recently I have started doing some doodles after seeing them mentioned on Quilt Art. I realised this would be a way to develop patterns. So, first I worked on some ideas. Then when I thought I had got it right, I used the sewing machine to draw in a similar way.

Here is the doodle.
For the split complementary, I used blue with red-orange and yellow-orange. I have blogged about the process of making the piece.
The piece is 6x12in, as I am also using these as journal quilts with the British Quilt Guild Contemporary Group.

Free Spirit or Spring Fever

This was an enjoyable challenge for me. I loved the color scheme, how ever I had a hard time coming up with a design that was appropriate for the fabrics I chose. This is my third attempt and I arrived here by stacking the three fabrics, pinning them together and then proceeded to sew curvy flowing lines as the “spirit” moved me. I cut away layers and came up with this composition. It is journal size and not very intricate, but I kind of like it. With the temperature rising into the 80’s outside, it kind of gives you spring fever, so I am undecided about the name. Comments, even at this late date would be appreciated.

Done... Late.... Untitled....

In the past few months, I have been struggling in the creativity department. A new yarn store in town (conveniently located inside the LQS) has rekindled my love for knitting and I'm enjoying learning new stuff about yarn and patterns. I've made a bunch of hats and scarves and felted bags (thinking ahead to the holidays....) and with the pace of my job, knitting is a nice diversion in the evenings when I should be sewing.
This piece is roughly based on a knitting stitch, a basketweave that gives the illusion of a woven piece. The fabric is from Judith Baker Montano's first line from Kaufman. The turquoise and orange/greens are 3 different fabrics of the same pattern, cut as 4" blocks with 1/4" gold silk insets, then offset and recut and shuffled.
The S curve is in the quilting (click on the image for a larger view). My split complementary scheme was turquoise, yellow/orange, orange red. Binding is all machine done (blind hem stitch)... and it needs a name! Suggestions and critque welcome!

This was a busy week and thoughts about the challenge would pop in and out of my mind randomly. Saturday morning, as I was laying on the floor stretching, the whole quilt came through in one flash. My theme is whatever is going on in my life at the time of the challenge and the idea came of a horizontal orientation, with a flock of birds coming back with the spring weather (flying in an S shape formation which is not strictly accurate), and bare trees underneath them at the bottom of the quilt. The birds would be dark blue purple against a yellow and orange sky. As I looked out the window, there was a small flock of grackles swarming into the trees in the backyard!

The orange of the sky and the birds are fused and the trees were first drawn in with a purple fabric marker. That didn't look quite right so I ended up threadpainting them-which was boring as heck and very time consuming, but I finally decided definitely worth the work. The size is 22 1/2' x 11".

Nancy Schlegel
www.nrsquilter.wordpress.com

Currents & Eddies

My split complementary palette is orange, blue-green and blue-violet. This is an abstract of a current in a stream with the bubbles being the foam. The currents and the foam from the S-curve. I really enjoyed this challenge but found that blue-violet is not an easy color to locate. Most shops/fabric stores have a great selection of blues, violets and red-violets, but not much blue-violet. What I did find, though was perfect. This is only the quilt top and I probably won't have time to quilt it for a few weeks. First, my very good friend and quilting mentor passed away unexpectedly. Her passing has deeply affected me. Then, I will be traveling from CA to TX for the Dallas quilt show and to visit relatives from the 11th to the 17th. I have a quilt hanging there that is a tribute to my mother. Her sister hasn't seen it so I am going to surprise her at the show. This same quilt was accepted to Sacred Threads and that has me walking on air!

Summer Rain by Cynthia Ann Morgan

Summer Rain, is based on a 18th century Japanese woodcut by Kuniyoshi. Size is 32" x 20". The S curve is used in the women’s bodies and the split complementary is: Blue. purple and yellow-orange. Still to do on the piece…binding, add more metallic thread to the quilting, some beading in the sky and possibly some facial expressions. Comments and suggestions welcome!

Cynthia

FLOW

Here I am with 15 minutes to spare before the deadline!! That may be a record for me.

Flow is 11 3/4" x 14".

This quilt doesn't follow with my vegetation theme--although my husband says it looks like a leaf shape. I used the S-curve and red, blue-green, and yellow-green. I drew out the pattern, transferred it to Wonder-Under, cut out those shapes and fused to fabric. I ironed them to my press sheet--which was transparent enough to see the original pattern underneath.

After everything was in place and joined, I peeled them off the press sheet and fused them onto the background. I've never done this before and it worked well for me. The edge is four strands of a lush "lumpy" cording I've had for years.

Sally

Ch #30, "Songbirds"

Great challenge. I painted the background on Lutrador. I was trying for violet, but got closer to blue. Next I scanned my pencil drawing onto the computer and printed the outline of the birds and twigs onto the hand painted Lutrador. I then applied gesso inside the outlines to provide a white ground for the digitally painted birds. Held my mouth just right and ran the piece through the printer again and hoped the ink and gesso would line up. First time was a charm - ok I confess I did run a test print on paper, because I can never remember how the paper feeds. Bumped the print with a little ink, felted wool, and sparkles. Added a border and quilted. Woohoo, done by the deadline.

Challenge 30 - Tree Pose

Thank you for the advice on my last piece. I am planning on working with it but not right now - it has been set aside.

After the "disaster" I took did a google search on bent trees - saw a photo of a lady in in the tree - kind of a goddess like - hum - yoga - tree pose.

So I'm much happier with this piece - it done with blue green - red and orange. I like it a lot - I'd bet there is a series in yoga poses.

Final size 6 1/2 x 13 1/2 - curved pieced - with turquoise yarn couched.
Lisa
In Sunny Seattle.

Music Makes My Heart Sing

I have added a picture of the completed project. The handstitching that I added could be smoother, but I was happy to have finally added it to something after thinking about it for so long. Also, I am much happier with the smaller border and the red binding. Thanks for the help and encouragement.

Thank you very much for this challenge. It has been fun. Split complimentary color scheme is red, yellow-green, and blue-green. I attempted to repeat the S-curve in the straightest line in the G clef. The greens are not so obvious, so it seemed like the thing to do was add borders. At this point the piece is quilted very simply around the applique pieces and the curve down the middle.

I feel that, while the borders repeat the split complimentary colors for emphasis, am not certain they are that successful. While in person the piece looks fairly balanced, the picture looks a bit top heavy. Would like some feedback on that or anything else that could be improved.

Am considering simply binding it in black. Am looking for comments on whether that choice or a faced binding will be more successful. Thanks so much for pushing me to do this. Have never been so intentional about the use of an S Curve before.

Oh, and my series is stripes.

Ch 30, Monarch

Thank you Carole for this fun challenge. I have been wanting to learn pieced S-curves, and you gave me the push I needed. "Monarch" is 22" x 22". My yellow-orange is used with split-complementary colors of red-violet and blue, in various hues. LindaMac in Wyo

Lava Lamp

Once again the timing of this challenge was perfect! I actually had the design idea for this small piece (15" x 15") rattling around inside my brain since I purchased the patterned bluish fabric while visiting my parents in Florida last month. As soon as I saw the fabric it made me think of the lava lamp an aunt had that used to fascinate me as a child. To be honest I was picturing the work as being created from an analogous color scheme - blue green, green and yellow-green - but this month's challenge made me consider replacing the green with red and I think it works much better than it would have. It is pretty much done and all quilted but now I think it may be crying out for a few beads and a touch of embroidery.

Tree of Life (Challenge #30 without it's binding)

I loved this challenge... I used the red/orange blue green for my split complimentary colors. The "S" shapes were just free hand cut out pieces of fabric and fused to a piece of craft bond. I couched some yarns and ribbon. Did some fun stitches.. and quilted each piece separately. I am going out of town for a few days so when I come back I will be putting a binding on it.. and possibly some beads...My finished size will be about 14 x 14 ...

Last Waltz, Last Moon

It was a Challenge indeed, for the S-curve all I could think of was a dance... so went with it. It helped having watched the American Dance finals.. so that was my inspiration. Also it was hard choosing a color, but I like yellow. Yellow is this years color...plus it is so cheery. It has been said yellow is very hard to use because it cannot be looked at for long, that the eye needs somewhere to rest...that is where the split complemenary colors take the focus away from the background. I used yellow with violet, then red-violet and blue-violet.
The red-violet and its paler color, as well as the violet are kimono silk, the moons are batiked cotton in violet and blue-violet. The background is wool roving overlaid with chiffon and needlepunched for a scrunchy texture. If you look carefully you will see the chiffon casts a shadow over part of the moon as it is loose.
Again it is an irregular shape and is hand-stitched.
I look forward to your comments.
Carole

turtle pond

This whimsical turtle was made using Karen Eckmiers technique of random curvy strips. It seemed to fit the challange of containing the picture within itself and not extending to the borders. The turtle is pieced,appliqued and embellished. Thnk you so much for such a fun challange. My colors are orange, blue violet and bluegreen. The size is 37x21. All comments and criticisms welcome and appreciated.
Pat Havey

On The Garden Path Under the Moon #30 Rhoda

I finally finished. Have all the handstitching and quilting done, just have to sew down the binding.
Continuing in my 'women' theme, this gal is sweeping the garden path under the moonlight.
I made a huge mistake with the top colors ( should have had the lightest at the top), and it was partially sewn down when I realized it, so I put one of Carole's moons in and highlighted the light from the moon on the objects. ( I must have been in a T3 fog )

My split complimentary is yellow/green with red and blue/violet. I tried to use different hues of the colors. The S curve can be seen in the path and in the woman's form.
As always I look forward to your critique.

This was a wonderful challenge Carole, thank you so much.
I thoroughly enjoyed all the material provided for us to view, especially the S curve in the women's form.

Rhoda

Orchid

I actually painted this on Feb 3, so guess it isn't a *legal* challenge entry, but haven't been able to do anything for a challenge in a couple of months and since I am pretty sure it fits this month's challenge and was made this month I thought I would share it, I want to play too! LOL
Anyway, this was done using watercolors and is on a piece of 100% cotton fabric, it measures out at 11x19, as you can see it is an oval shape. Haven't decided how to finish this yet, had thought of using it to make a quilted purse, or stitching it down to a larger painted stretched canvas, or simply quilting it as an oval and hanging it. Any ideas?

River in Autumn

18" x 20¾"
My color selection here is blue, red-orange and yellow-orange. After a false start using green with my two orange colors, I kept those and pulled in the blues which I used as a river for the S curve. The striped cloth for the background pulls it away from realistic, but the colors were right, and it felt okay. I had a couple pieces of cloth with autumn leaves that fit in, as well as some with orange-y ferns and leaves, and one with flowers. Then there were two pieces that were actually different colorways, one in pale oranges which became a sandy verge to the stream, and the other with a high contrast which ended up as the tree trunk.

To mount the piece, I made a bias strip of deeper red-orange fabric for the border, sewed it on, and stretched it tight over a piece of foam core. I may need to trim the foam core just a bit, especially at the bottom, to make it more even. The final step involves hand-sewing for the border, and maybe here and there around the pieces to help make the elements pop a bit more, but aside for that, it's done! Comments are welcome, as well as any suggestions for a better name for the piece.

O'gee...Sew Sheer!

This is my design using the Ogee Double Curve from the 14th century Arab culture. I used curving strips of shears, woven diagonally to create interplay of colors showing through.

Double needle metallic stitching along the "S" curves of the shapes.

My split complimentary colors are: chartreuse; purple, red-violet, fuchsia, violet, blue-violet. Background is navy silk dupioni.

I am loving working in my series of "shapes"! This was a fun challenge Carole...thank you :-)

It measures 24"x29"

Comments and suggestions always appreciated!

Cherie

Penguin

I think this is the fewest colors and fewest pieces I've ever used on a quilt. And, I got lucky, too. I scanned over the challenge directions noting the split-complimentary theme and missed the 'S' curve part altogether, but lo and behold the penguin's neck is in a definite 'S' curve. I chose the color of orange and the split-complimentary colors were blue-violet and blue-green. I chose to use some very simple quilting overall.