Tag Archives: Balance

The Kitty Economy Block Quilt

More than four years ago, I published a post on making an economy block. One aspect of quilting many struggle with is the math. The linked post outlines all the math in steps, and also provides a cheat sheet for a number of block sizes.

To show the steps, I fussy-cut a kitty from a bit of fabric and surrounded her with corners of a lively pink and yellow print. Those were set again with a bright pink and white gingham.

This block measures 7″ finished! Just as I wanted.

Cute block, huh? But with the quilts I make, not very easy to use. After all, the finished size is only 7″. For a block quilt, I’d need a lot more blocks (in pinks! or other pastels!) to make it useful. For a medallion quilt, 7″ is pretty small for a center.

When I started prepping for my February retreat, I dug through my drawer with orphan blocks and other parts. This block called to me, so I pulled it out and considered how to use it. By framing it with the yellow floral print, I enlarged the center, and the striped border extended it visually even more.

As I said in the linked retreat post, “One thing I enjoyed while cutting these pieces is completely finishing a few of these fabrics, aside from small scraps. That amazing stripe? That’s all there is of it. And the dainty but whimsical floral on yellow background? Gone. I’ve loved having them and using them, but as mentioned, I don’t make many quilts in pastels and twee prints. It won’t hurt to use them up.”

And use them up I did. Here is the finished quilt.

A Kitty for Charlotte. 39″ x 39″. Finished April 2018. Photo by Jim Ruebush.

From a design standpoint, the small center block is okay, given the size of the quilt. One reason it works is because the 4-patches with pink gingham point at the center, directing the eye there. Also, there is not a lot of other “design” to distract from it.

Using the powder blue frames and other blue patches helps moderate the warmth (and monotony) of the pinks and yellows. The dark pink gingham repeats the dark pink in the kitty’s dress and bonnet. Also it provides some value contrast to the paler pastels. Spreading the gingham out across the quilt, and binding it with the same, helps provide balance.

Jim and I have friends with a baby girl named Charlotte, whom we have not yet met. The family lives just around the corner from us. This quilt seems like a good way to welcome Charlotte to the neighborhood.

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Dizzy

Recently I’ve shown you a few illustrations drawn in EQ7. (See pictures here and here.) One of them was to become a sample for my upcoming medallion design class, and the others will be used to illustrate various ideas for the students. Here is one of two that I started with.

Consensus in comments was that the design was too busy and didn’t look maker-friendly. I simplified it by removing the piecing from the spacer blocks — see the connecting blocks between stars in the final border and between pinwheels in the middle border. I also changed two of the patterned borders to plain white.

I liked the simplified version, so I made it.

Dizzy. 60″ x 60″. September 2017. Photo by Jim Ruebush.

Even if I design a quilt prior to making, it almost always gets changed in the translation. Fabric simply doesn’t look the same as pixels. On this one, I found that the density of color and pattern in the center (visual weight) was too much as compared to the middle and outer borders. It was unbalanced. To fix the balance, I replaced the white in the illustration’s outer narrow border with green. As soon as I did that, I was happier with it. The binding of the strong blue adds punctuation.

I quilted it with a double teardrop design. The quilting is pretty dense, making the quilt less cuddly and soft than I prefer, but I like this look. The second photo is of the underside while it was still on the frame. 

The quilt is named “Dizzy.” Between the spinning pinwheels and all the stars, as well as its overall brightness, it reminded me of the lightheaded feeling of standing up too quickly. “Dizzy” sounds better than “Lightheaded” though. ūüôā

Just to round things out, here is “Dizzy” by Tommy Roe.

The Six-Pointed Star UFO Is Still a UFO

but it’s a lot farther along than it was!

Remember where I started with six star points and no real plan? Then I figured out how to set the points in their background fabric and made more borders.

I played with EQ7 to try some ideas for finishing. (Oh yes, in case you wonder, there were many more versions drawn!)

I started on the third of these, making 40 chain (double 4-patch) blocks and cutting the alternate blocks. The chain blocks didn’t have enough visual weight to balance with the center, so I switched gears.

This is the result so far, after a fair amount of unstitching and restitching.

As often, it is too big to take one decent picture of it on the floor. I simply don’t have enough head room above it to get the camera high enough.

Those are dark brown triangles in the corners. They look just right in real life, though in the photos they don’t thrill me. The triangles, along with the diagonal lines of 4-patches, provide the weight in the corners I was missing before. The diagonal lines there and throughout the chains give movement. And the value changes from light background through dark triangles provide the contrast I like.

The small 6-pointed stars centering the borders repeat the star shape in the quilt center. I wondered if they would look too small and fussy, but overall I’m happy with the effect. They were kind of a pain to make. I might post again about making them.

Right now it is about 70″ square. I’ll add another 1″ border, as well as a wider outer border to finish. I don’t have those fabrics in my stash, so will need to shop for the right thing. There are too many other things to do right now, so that will wait, and the UFO will stay a UFO for a while longer.

Finding Balance with Visual Weight

I’m working on that UFO. More accurately, I’ve stalled working on that UFO, because of balance problems.

Last time I showed you a couple of ideas for finishing the 6-pointed star with borders. Both were good ideas, and I kept playing in EQ7 to refine them. This was the winner:

Pretty, huh? I liked the airy way the chains of 4-patches wrapped around the center. After arriving home over the weekend, I set to work making 40 double-4-patches to construct the borders. They finished well, and I was excited to lay them out around the center. But I don’t like the look at all. They definitely look better in the drawing than they do in real life.

The balance is all wrong. The visual weight of the center (everything in the center so far, including the 4-patches on point and the 1″ dark pink border outside of them) is too heavy, relative to the weight of the chains. The difference is so stark, the border chain blocks seem completely disconnected from the center, as if they are from different quilts.

Unity: the design principle that all the elements and components of a design look like they belong, that they are unified, or one.

Balance: the design principle that elements and components of a design have equal distribution of visual weight.

My chains are not well balanced with the center, and in fact, are so badly balanced as to look like they don’t belong.

Sigh…¬†

So it was back to the literal drawing board of EQ7. I have a tentative plan, but you might understand that I’m shy about showing it right now. First I’ll see if it works.

How is your week going? Are you making good progress, or are you in steps-forward and steps-back mode, like I am?

Medallion Process — Final Borders

20170112_083804

Unnamed top. About 71.5″ x 71.5″. January 2017.

Last weekend I finished this quilt top. I’ve shown you some of my process along the way, through the flying geese middle border. The geese border needed to be contained and balanced. Putting the orange and hot pink edge both inside¬†and outside does that.

That decision was made before we traveled for the holidays. While gone I worked on designing the final border.

Remember the purposes of middle and outer borders are to

  1. build the story by repeating and varying earlier elements such as color, value, shape, line, and contrast; contributing to a motif or theme; and
  2. correct problems with balance and proportion; and complete and unify the composition.

I used EQ7 to try design options. If you ever think that designing with software is cheating somehow, let me assure you it is not. I spent many hours, trying¬†literally dozens of designs, before choosing what you see above. One option that made the finals¬†was¬†a border of variable stars on point. Those variable stars, in fact, are what inspired me to begin this project, so it was hard to let them go. The star proportions are the same as the variable star in the middle of the Carpenter’s Wheel center block, so would echo it. (The EQ7 drawing below uses a different version of the center block than I used. See the photo above.) The on-point setting also repeats the 4-patches’ setting in the first border. Another benefit is the ability to use all the colors again in a natural way.

carpenters-wheel-with-stars

Pretty, yes? But I like the boldness of the components that come before, and the stars are small and the detail gets a bit lost. To me the design did not seem well balanced or fully unified.

Long ago I played with a number of quilt designs, which used a repetition of a center block motif in the corners of both an inner and an¬†outer border. Here’s one example (and see more here and here.)

wraparound corners 4

I tried this idea in a variety of ways, and I liked the direction it was taking. I chose corners the same as the corners of the center block. They are the same size, and the pinks are the same fabrics. They made sense, continuing the floral motif and unifying the design in ways the variable stars did not.

However, with all the blank space between those corners, it didn’t balance well with the busyness and boldness of the flying geese. What it needed was more.

Next I tried more. I tried adding a flower variation in the centers of the border. Several iterations of that later, I stopped with my final choice. But still it looked too bare.

Once the chain blocks, made of double 4-patches, were added, I stopped. The 4-patches repeat the inner 4-patches. The chains’ stair-stepping shape also imitates the line of an on-point setting. Finally, they present the notion of floral stems or vines, or even swags, very traditional ways to border a medallion.

I have fabric for the back and will quilt it soon.¬†I’ll show you final photos then.