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If you have been following along in our design series, you know how important a role color (Lesson 13) AND value (Lesson 19) play (often key) to creating a successful quilt. Armed with that fundamental knowledge, YOU, as the artist can use color/value as a design tool to share an unwritten message with the viewer.

The use of color/value and the reaction one has to it is very personal. Ask five stangers at a quilt show how they feel about the colors selected for a particular quilt, and you will most likely receive five very different reactions. Color/value and the reaction it evokes in an individual is shaped by a person's experience, their own feelings, or cultural beliefs.

Take the color white for example. In Western countries it represents lightness, purity and innocence. Brides traditionally wear white for their wedding. However, in Eastern countries, such as Japan, it is the color traditionally worn for mourning.

What colors/values you select for a quilt is up to you and might not be of concern. But, let's say you are planning to design a quilt for an auction or show in another country. The selection of colors/values might come into play with regard to the response you might receive from those viewing the work. Below are a few basic meanings associated with colors from Smashingmagazine: Sticks and Stones by Alex Anderson (Image courtesy of Alex Anderson)
 

• Red: Passion, Love, Anger (mourning in South Africa, wedding color in China)
• Orange: Energy, Happiness, Vitality
• Yellow: Happiness, Hope, Deceit (mourning in Egypt, courage in Japan)
• Green: New Beginnings, Abundance, Nature
• Blue: Calm, Responsible, Sadness
• Purple: Creativity, Royalty, Wealth (mourning in Thailand)
• Black: Mystery, Elegance, Evil
• Gray: Moody, Conservative, Formality (mourning in Western countries)
• White: Purity, Cleanliness, Virtue
• Brown: Nature, Wholesomeness, Dependability
• Tan or Beige: Conservative, Piety, Dull
• Cream or Ivory: Calm, Elegant, Purity

If your desire is to step outside your comfort zone to begin playing with color/value, by all means, do so. Begin with small, manageable pieces to help build confidence before jumping into larger work. But, as with any new skill, there is a formula to follow.

Let's look at the two adorable puppies by Nancy Brown (Show 701) for inspiration. The puppy on the right is blue-violet. Have you ever actually seen a blue-violet puppy? Probably not. But, you know it is a puppy because all of the required elements that make up the shape of the dog are correct (i.e. head, muzzle, ears).

It is the correct execution of the shape of the puppy on the right that makes your brain recognize it as a puppy, even though the color/value is not what is associated with an actual puppy.

Remember the exercise Using Line to Create Form (Lesson 3) in the lesson on line? Did you opt to add more color to the drawing? Did your hand still look believable, even though it may have been colored in 'non-skin tone' colors. It is because the shape of the heart and hand is correct. The same is true for Rust by Esterita Austin.

                                                 Rust by Esterita Austin (Show 506). [Image courtesy of Esterita Austin]

If the shape is correct and believable, it doesn't matter what color the object is. That's the key! As an artist pushing the envelope to play with color and value in unexpected ways, you are no longer bound by rules requiring that everything (including color/value) be realistic. You are in control. The world is your oyster!

Let's look at some examples of quilts featuring color/value used in effective and unexpected ways:

Anaya with Oranges by Bisa Butler. (Image courtesy of of Bisa Butler)

 
Innocense by Hollis Chatelain (Show 1207). [Image by TheQuiltShow.com]. How Deep Do Your Roots Grow by Valerie C. White (Show 1508). [image by TheQuiltShow.com]

Buster's Blues by Lura Scharz Smith (Show 702) [Image courtesy of Lura Schwarz Smith]. Beauty of the Beasts by Barbara Yates Beasley (Show 1905) [Image courtesy of Barbara Yates Beasley]

 
Tickled Pink by Susan Carlson (Show 801). [Image by TheQuiltShow.com]

Michelle Jackson (Show 1002: The Value of...Value!) considers herself to be an artist who uses fabric the way others use paint. "I have chosen fabric with its warm and tactile nature, already fashioned in color, pattern and texture. It’s my job as an artist to cut and position fabric pieces to capture a moment in time and experience that speaks to the viewer." Michelle shares her approach for manipulating color/value.

Value and Color Manipulation

By Michelle Jackson (Show 1002: The Value of...Value!)

(All images by Michele Jackson unless otherwise noted)

Value is the salt and pepper of life. Without it, life would be very bland and uninteresting. When we learn as artists to use and manipulate it well, we can make pieces that sparkle with life and create moods that help our viewers not only see, but feel something that lasts beyond just viewing the piece. Have you ever seen a piece that you just can’t get out of your mind, or one that you aren’t satisfied with looking at only once; you must go back to see it again? For me, those are always pieces that successfully and dramatically use value.

Just What is Value?

Very simply value is the lightness or darkness of a particular color, but sometimes color gets in the way. Value can be easier understood if we take a color photo and make it black and white. This is very easily done these days with the photos taken with our cell phones. With all the color gone we can easily see lights, mediums and darks from white all the way though the greys to black. If we step back a bit you will see the places your eye is most drawn to are the places of highest contrast; where black meets white. These places or shapes will appear more defined. Now that we know this we can make this happen in areas of our piece to draw the eye there and perhaps lesson the contrast in other areas to minimize attention. See illustration 1.

These are two small quilts with identical pieces. Each piece has a light, medium, and dark. Notice the shapes of the pieces are much more predominant in the pieces of higher contrast or greatest light to dark.

Manipulating Value

Always remember you are the artist. Things don’t have to stay exactly how they appear in your photo. For example: White doesn’t have to stay white, it can have color, but it needs to remain the lightest in relationship to your other value choices and black does not have to be black, but it should remain the darkest chosen value.  All the medium values are up for grabs. You can shift everything to the lighter side or the darker side to help create the mood you want. Remember as you make these choices that the places of highest contrast will draw the eye to those parts of your piece. The more you manipulate and play with changing these medium values the better you will get at “seasoning” your pieces and making them more interesting to the viewer.

Let’s Manipulate Color

If you can see what is in your black and white photo, then you can change or add any color and you will still be able to see the image. Who said the sky needs to be blue or the grass green? A tree will still look like a tree if it is orange.  A hand will always look like a hand even if it’s violet. Art is all about telling your story and revealing what isn’t seen; a feeling.

Colors have their own language.  What does a red hand say that is different than a hand done in green or in blue? Red can mean anger or passion.  Blue is calm and melancholy. Our money is green and we talk about a having a green thumb. Simply changing the color of a hand can give it a different meaning. The more you learn about color the easier it will be to tell your story in color.

Practice Exercise: Manipulating Color/Value

Supplies:

• Colored pencils in a wide range of colors/values
• White copy paper
• Clear Sheet protectors
• Fine permanent marker (such as Sharpie)

1. Select any one of the three images above (Stove, Doorway, Sandals). Click here to download images.
2. Cover image with a clear sheet protector. Using a fine black permanent marker, trace major areas of the image. Star Members can see Michelle demo this step in Chapter 3 of her show (Show 1002: The Value of...Value!).
3. Insert a sheet of plain white paper inside the sheet protector to reveal your traced pattern more clearly. Keeping the white paper inside of the page protector, make several copies of your traced design.  These copies become your practice worksheets. 
4. Using colored pencils in a wide range of colors/values, markers, etc., try out various 'unusual' color/value combinations on each of the worksheets to see your results.

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

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Well I wanted to give you a review of my very first ZOOM class. It has opened a whole new world for me. During these times of "sheltering in place" one of the things I have missed is getting together with fellow stitchers. There is something about sitting with other stitchers, learning something new, and creating. So much has been canceled this summer that when I saw my local quilt shop The Stitchin Post listed a new opportunity to take a Zoom class in real time with Jean Wells I was ready! Although it would never replace sitting next to a bestie, I was happy for the opportunity to learn next to other quilters from across different time zones.

 

This was the first time for this type of class and you have to admire the spunk to give it a go! Each student that was registered was sent an ID code and Password in order to join the class at the designated time. I scrolled through the pages of students...there were 9 pages of students with 25 on each page! Never would that many students be able to be in the same class physically! Jean did a fabulous job and even after all these years of quilting I learned so much.

 

The class started with an introduction by Valori Wells.

 

 

One of the benefits to taking the class was that Val video taped the class and it will be available to those who signed up for the class. Which meant I didn't have to take notes but could relax and take in the information that was being shared because I would have access to it later. So what did I do? I tacked a binding, had a glass of ice tea, and enjoyed the class!!! With ZOOM loaded on my laptop, I had a great view!

 

 

 

After the class was over you could type questions on the chat feature for Jean to answer for the entire class. Yes, it was worth trying and now I know that I won't hesitate to sign up again! Jean has two more classes coming up in June...give it a go!

 

Have a great week and happy learning!

 

Stay tuned and travel along with us on Quilt Roadies.

Click here for Anna's blog.

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We love the whimsy behind Quilt Soup by the Louisville Modern Quilting Guild. Sometimes a simple design can have great impact. This one will make you smile.

Quilt Soup was featured in the Charity Quilts category, sponsored by the Modern Quilt Guild, at QuiltCon 2020.

Photos by Mary Kay Davis

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Alex LIVE is Moved to Wednesday, June 3, 2020. Sorry for the Delay.

Click here for info/pattern for Love They Neighbor Redwork Pillow Pattern.

Alex learned quilting design principles at the feet of a Mennonite woman, Lucy Hilty. Alex will bring you the highlights of her wisdom.

Click here to buy the pdf pattern download for the Sequoia Sampler REMIX quilt.

Click here to join TheQuiltShow.com at special prices.

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Sometimes mishaps, happen...The Modern Quilt Guild Victoria can attest to this with their quilt, Change of Direction, which might also be known as Oops!.

Change of Direction by MQG Victoria was featured in the Charity Quilts category, sponsored by the Modern Quilt Guild, at QuiltCon 2020.

Photos by Mary Kay Davis

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Barbara Black has some great tips, including very helpful cutting instructions, to help you with Month 6 of Afternoon Delight.

Click here for details on Barbara's blog on Month 6 Tips.

Barbara has more for you on Month 6, including how different fabrics look in various versions of the quilt.

Take a look at the different versions.

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Director of technical education and support at BERNINA, Hans Herzog, answers frequently asked questions about machine cleaning and oiling.

Click here for answers.

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We now leave our study of color (Lesson 13) and direct our attention to one of the most often forgotten players in design, that of VALUE! It is said that while color receives all of the attention, it is value that actually does all of the work. Value's close relationship with color means that you need both working together to make for a successful quilt.

In the most basic terms, value is the lightness or darkness of a color. There are generally three categories of value: high, low, and mid.

High value means colors that have a great deal of light in them, with white being the highest of high value colors. Low value colors are darker, with black being the lowest of low value colors. Mid value colors are those that do not lean to the very light or very dark, and as such are very appealing to quilters.

Fabric manufacturer's know this about quilters, and that is why when you go shopping for fabrics it is difficult to find a large assortment of very light of very dark fabrics in a single color family.

Let's say you want to make a lone star quilt using only magenta fabrics. If you select all mid-value fabrics (Collection 1), the beautiful star design will get lost or muddy. No longer are you able to determine the uniqueness of the star elements.

 
                                                                                            Collection 1

If you remove the pink/orange dot and add more high value-light fabrics (Collection 2), you will achieve a more pleasing value change with each round. This makes the star have maximum impact visually. Bottom line...when shopping (or pulling from your stash) swing to both the far dark and far light side when it comes to building a collection of fabrics for a project.

  Collection 2                      

 

There are times when your desired effect is to have a less defined and 'blendy' result, as in the case of the fur of the dog in Sun Worship by Barbara Yates Beasley. Other subjects where a more 'blendy' effect could be used are landscapes, sunrises/sunsets, trees with many leaves, etc. The key to achieving success is to remember that when selecting fabric, try to incorporate a very wide range of tints, tones, shades and pure color. That way your design will have contrast, depth, and volume.

  
Sun Worship by Barbara Yates Beasely (Show 1905) [Images courtesy of Barbara Yates Beasley]

Easy terms to remember:

High - Light, Airy, Delicate
Low - Dark, Earthy, Heavy
Mid - Middle of the road

Not sure about your instincts? Use the Ultimate 3-in-1 Color Tool to help solve the mystery. Each of the twenty-four pages illustrates the pure color, tints, shades, and tones of a family, allowing you the opportunity to select from a wide array of fabrics to make a quilt more interesting.

Let's look at some examples of quilts featuring high, mid, and low values:

Vintage Log Cabin 1994 by Jean Wells (Show 107, Show 1301, Show 2513) [Image by TheQuiltShow.com]. Spyrogyra by Esterita Austin (Show 506). [Image courtesy of Esterita Austin].

Cloudy Day by Victoria Findlay Wolfe. (Show 1404, Show 2002) [Image by TheQuiltShow.com]. Boundaries by Linda Beach (Show 1409). [Image courtesy of Linda Beach]

Chop Sticks by Alex Anderson. (Image courtesy of Alex Anderson). Sisters/Best Friends by Sandra Mollon (Show 2609). [Image courtesy of Sandra Mollon].

Fiber artist, designer, quilter, and author, Grace J. Errea, began quilting in 2000. Her art focuses on the depiction of inspiring scenes in a value based contemporary-realistic manner. Grace's spectacular quilt work seems effortless, but she shares the secret for what makes a successful quilt. It comes down to training your eye, evaluating your stash, and paying close attention to the type of impact you as the quilter want to evoke.

What is “VALUE”

(All image by Grace Errea unless otherwise noted)

by Grace Errea (Show 1303)

So you made what you thought was your masterpiece, only to realize that it is…quite frankly, boring. You think the problem is the colors but, you will find your problem if you inspect the values. It’s time to take your work to another level! This article will demonstrate how to train your eye and brain to see color differently through the use of value.

Let’s start by discovering where does “Value” come from and what is it. When we say “color”, we are using the word as a substitute for the word “hue." Hue is one of the three components of Color. It refers to the name such as red, blue, green. The second component is Saturation, i.e. how pure is that hue. A pure hue can be de-saturated by the addition of gray. Thereby we are creating what is called toned hues.

A hue can also be de-saturated by adding white or black. Black darkens the hue creating shades. Conversely, white lightens the hue and creates tints. This generates degrees of light and dark, and that is how values are created. A good design is produced when there is a good distribution of tints, shades, and mid-range values. Middle values provide the framework with, light and dark value contrast giving the design its visual impact.

“Grenadine Picotee” has strong highlights at the edges of the petals that add impact to the shapes.

I use 8 values, from very light (Value 1) to very dark (Value 8). Each increment creates a smooth transition, as shown in this Gray Scale.  Also, in the Value in Color Chart, showing equivalency in the primary and secondary hues. Each column represents a hue showing values from 1 to 8. Each row is one value across as a continuum. As you go down the column you will see discernable changes in value, as it gets darker.

By using the Value Matching Tool, areas are isolated and easily “value-lized” when compared to the values that surround the opening.

Where and how to use Value:

- Highlighting a focal point

“Moondance” is an example of at least 3 or more values between the focal point and the background to accentuate the main character in your piece.

-  Create atmospheric perspective

In landscapes, as you move further away, layers of atmosphere lighten the background. By using tints as you move away from the darker valued foreground, atmospheric perspective is created using value alone.

- Set the mood of a piece.

“Creamsicle Dawn” (left) was created using tints, yielding this calming, early morning feeling.

Conversely, “Popsicle Sunset” (right) has mostly shades which creates a dramatic, hot sunset that stirs the soul.

- Create 3-dimensionality

Three-dimensionality is created by lighting the subject as in “Hen and Chicks”. Light creates the highlights and shadows. It is all about the Value!

- Create the object in multiple hues or your favorite hue

In “Blue Tigger”, “Red Tigger”, “Rudolph Tigger” the same pattern was used with different hue combination. The key is to maintain the value regardless of hue.

- Create High-Value and Low-Value Effects

In order for a focal to be highlighted there must be at least 3-values between the background and the outer edges of the focal point.  More is better. If the focal point is lost in the design, it is not the color but the value that is causing the problem. Darken or lighten the background and voila! “Bateleur Eagle” is a good example of the High Value effect. Background is value 1 and the Eagle is value 7-8.

The “Hibiscus” is a high-value, but something is lurking within the petals. The value of Mr. Frog is similar to his neighborhood so he needs to be “found” upon closer inspection.

It all comes down to Value being relative to its neighborhood. Whether something is working beyond your expectations, or there is a problem to solve, give Value the credit or look for a Value solution first. All else can come second. To learn more about Grace Errea watch Show 1303, or visit her website www.amazingquiltsbygrace.com

Practice Exercise:

Select one of the quilts in this newsletter as inspiration, and using your personal stash, set up the range of fabrics from high, mid, to low value. See where you have holes. Take note, so the next time you visit the fabric store, you can be sure to seek out those values that you need. Repeat with as many quilts as you like. You will be surprised how many low and high value fabrics you have on your shopping list!

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

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A Garden For All Seasons is a 9' X 30' quilt by Victoria Findlay Wolfe. This quilt is a public art piece that Victoria made to hang in a building in NYC.

(Yes, that is Victoria standing in front of the quilt.)

Click here to learn more about the quilt on Victoria's website.

Learn piecing from Victoria in our Piecing Masterclass Part 1, and learn more from her in Show 2002: Look Out! Double Rings and Curves Ahead.

(Original photo: Shelly Pagliai - Prairie Moon Quilts) 

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We continue our feature on quilts from the Studio Art Quilt Associates (SAQA) exhibit, Layered & Stitched: Fifty Years of Innovation, as featured at the Texas Quilt Museum. The exhibit is described as:

Studio Art Quilt Associates presents Layered & Stitched: Fifty Years of Innovation at the Texas Quilt Museum in Galleries I and III. These studio art quilts, dating from 1968 to 2016, represent the extraordinary range of talented artists working in contemporary quilt art. Featuring a balance of abstract and representational styles, Layered & Stitched includes several foreign artists, with a wide geographic distribution of makers in general. The curatorial vision of this exhibition embraces diversity and excellence, including three-dimensional works. Juried by Nancy Bavor, Director of the San Jose Museum of Quilts & Textiles; Martha Sielman, Executive Director of SAQA; and Dr. Sandra Sider, Curator of the Texas Quilt Museum, who says, "Jurying this spectacular exhibition was one of the highlights of my career! It is an amazing show of historic significance."

The exhibit has also been collected in a companion book as well, titled Art Quilts Unfolding: 50 Years of Innovation by Nancy Bavor, Lisa Ellis, Martha Sielman, and edited by Sandra Sider. The book is described as: