The Visual Guide to Crazy Quilting Design by Sharon Boggon


015af4eff04fef2-261x361.jpg Author Sharon Boggon
Isbn 9781617453618
File size 124.23MB
Year 2017
Pages 144
Language English
File format PDF
Category hobbies


 

the visual guide to CRAZY QUILTING design Simple Stitches, Stunning Results Sharon Boggon Text, photography, and artwork copyright © 2017 by Sharon Boggon Publisher: Amy Marson Creative Director: Gailen Runge Editors: Liz Aneloski and Donna di Natale Technical Editor: Debbie Rodgers Cover/Book Designer: April Mostek Production Coordinator: Tim Manibusan Production Editors: Jeanie German and Jennifer Warren Illustrators: Sharon Boggon and Kirstie L. Pettersen Photography by Sharon Boggon and Jerry Everard, unless otherwise noted Published by C&T Publishing, Inc., P.O. Box 1456, Lafayette, CA 94549 All rights reserved. No part of this work covered by the copyright hereon may be used in any form or reproduced by any means— graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems— without written permission from the publisher. The copyrights on individual artworks are retained by the artists as noted in The Visual Guide to Crazy Quilting Design. These designs may be used to make items for personal use only and may not be used for the purpose of personal profit. Items created to benefit nonprofit groups, or that will be publicly displayed, must be conspicuously labeled with the following credit: “Designs copyright © 2017 by Sharon Boggon from the book The Visual Guide to Crazy Quilting Design from C&T Publishing, Inc.” Permission for all other purposes must be requested in writing from C&T Publishing, Inc. We take great care to ensure that the information included in our products is accurate and presented in good faith, but no warranty is provided, nor are results guaranteed. Having no control over the choices of materials or procedures used, neither the author nor C&T Publishing, Inc., shall have any liability to any person or entity with respect to any loss or damage caused directly or indirectly by the information contained in this book. For your convenience, we post an up-to-date listing of corrections on our website (ctpub.com). If a correction is not already noted, please contact our customer service department at [email protected] or P.O. Box 1456, Lafayette, CA 94549. Trademark (™) and registered trademark (®) names are used throughout this book. Rather than use the symbols with every occurrence of a trademark or registered trademark name, we are using the names only in the editorial fashion and to the benefit of the owner, with no intention of infringement. Attention Teachers: C&T Publishing, Inc., encourages you to use this book as a text for teaching. Contact us at 800-284-1114 or ctpub.com for lesson plans and information about the C&T Creative Troupe. Library of Congress Cataloging-in-Publication Data Names: Boggon, Sharon, 1956- author. Title: The visual guide to crazy quilting design : simple stitches, stunning results / Sharon Boggon. Description: Lafayette, CA : C&T Publishing, Inc., 2017. Identifiers: LCCN 2016053240 | ISBN 9781617453618 (soft cover) Subjects: LCSH: Patchwork. | Quilting. | Crazy quilts. | Stitches (Sewing) Classification: LCC TT835 .B5138 2017 | DDC 746.46--dc23 LC record available at https://lccn.loc.gov/2016053240 10 9 8 7 6 5 4 3 2 1 Dedication To the two people who mean everything to me: Jerry, my husband, and Eve, my daughter Acknowledgments I would like to thank my ever-patient husband, Jerry Everard, for his support and unfailing belief in me; my daughter, Eve Everard, for putting up with a mother who has had a fabric and thread addiction all of her life; and my dear stitching buddies Margaret Roberts (who has taught me much about embroidery over the years), Suzanne Clarke, and Dorothy Rudling for their friendship built over many happy hours stitching together as a group. I would also like to thank the Embroiderers Guild ACT for numerous tips and tricks over the years. It is not to be underestimated how much the online community of crazy quilters has enriched my life. I would like to thank Willa Fuller and Cathy Kizerian for their tireless work in online crazy quilting groups that have proved to be a constant source of delight and inspiration. I would like to thank Allie Aller for her friendship and encouragement. My thanks also to Maureen Greeson for arranging a retreat where I met many online friends face-toface while teaching. And thank you to the textiles workshop at the Canberra School of Art, which taught me much about both textiles and being a professional in the field. Contents Introduction 6 The Process of Making a Crazy Quilt Project  8 Choosing a Suitable Crazy Quilt Project  8 Part 1: Crazy Quilting and the Encrusted Style  9 The Foundation Fabric  9 How Much Fabric?  9 Fabric Choice  10 Fabric Type  10 Using Men’s Ties  11 Design Considerations When Choosing Fabric  12 Sourcing Crazy Quilting Materials  14 Part 2: Using Design to Take Your Viewer on a Journey  17 Emphasis and Subordination  17 Movement 19 Using Repetition to Create Balance  22 Using Color  23 Using Composition and Design to Manage the Bling!  32 Part 3: Piecing a Crazy Quilt Project  34 Stitch-and-Flip Foundation Piecing  34 Embellishment Decisions  39 Including Lace, Ribbon, Braids, Doilies, Hankies, and More  40 Adding Prairie Points  59 Part 4: Starting to Stitch  62 Starting and Finishing  62 Thread 62 Needles 64 Silk Ribbon Embroidery  65 Beads 67 Marking Your Fabric  68 Decorating Your Seams and Designing Stitches  71 Combining Stitches  72 Part 5: Stitches and Techniques  76 Foundation Stitches  77 Buttonhole Stitch (Blanket Stitch)  77 Linear Stitches for Motifs and Flourishes  108 • Beaded Buttonhole Stitch  82 Backstitch  110 • Up and Down Buttonhole Stitch  83 • Whipped Backstitch  111 Chevron Stitch  84 Chain Stitch  112 • Beaded Chevron Stitch  88 • Zigzag Chain Stitch  113 Cretan Stitch  90 Couching  114 • Beaded Cretan Stitch  95 Running Stitch  116 Feather Stitch  96 • Threaded Running Stitch  116 • Beaded Feather Stitch  99 Stem Stitch  117 • Up and Down Feather Stitch  100 Herringbone Stitch  102 Motif Stitches  118 • Beaded Herringbone  105 Bullion Knot  120 • Laced Herringbone  106 • Bullion Rose  122 • Tied Herringbone  107 • Bullion Buds  123 Part 6: Adding Beads, Sequins, Buttons, and Charms to Your Block  136 Using Beads, Sequins, and All Those Fun, Shiny Bits!  136 Bead Tassels  139 Using Sequins Creatively  140 Don’t Forget to Add a Spider!  142 When to Stop!  142 About the Author  143 Buttonhole Wheel  124 Detached Chain Stitch  125 • Detached Chain-Stitch Flower  126 • Twisted Chain Stitch  127 • Triple Chain-Stitch Butterfly  128 Fargo Rose  130 Fly Stitch  131 French Knot  132 Leaf Stitch  133 • Leaf Stitch Flowers  134 Straight Stitch  134 Woven Rose  135 Introduction Crazy quilts originally appeared in the 1880s in England, the United States, and Australia as part of Victorian soft furnishing decor. Draped over furniture in the rooms where visitors were greeted and entertained, crazy quilts showed the skill of the person who made them. As such, these decorative quilts were for show and not meant to be used. For this reason I call crazy quilts the first art quilts. Contemporary crazy quilting is enjoying a revival. Since there is no right or wrong way to make a crazy quilt, embracing this form of quilting can be very liberating. Crazy quilting is a wonderful way to tell a story by incorporating lace or fabric from special garments, such as a graduation or wedding dress, or adding a special hankie, antique button, or doily created by a favorite family member. You can even use silk from men’s ties. You can use your computer to print photos on fabric to include with special mementos. The technique is infinitely adaptable. Crazy quilting can be used in projects besides quilts. The technique can be used to make bags or purses, or used on garments such as vests, jackets, gloves, hats, or belts. Sewing caddies and sewing organizers make nice projects, especially if you include a needle book, perhaps with a matching scissor tidy and pincushion. Christmas decorations of all sorts lend themselves to crazy quilting: ornaments, Christmas stockings, tree skirts, wreaths, and numerous other seasonal decorations. Personally, I love crazy quilting because apart from the wonderful array of fabrics, lace, and ribbons that I can use, I also have the opportunity to experiment with all sorts of embroidery techniques. All types of surface embroidery, beading, and ribbon work can be used, or you can draw on other textile skills such as tatting and crochet to produce highly unique projects. The process of creating any crazy quilt project can be confusing for some. However, with this style of quilting there is no right or wrong method. It is very forgiving; you don’t even have to match seams! So relax and enjoy Detail of Diamonds Are Forever (page 33) 6 The Visual Guide to Crazy Quilting Design the process. 12-Square Introduction 7 The Process of Making a Crazy Quilt Project The process of creating items and blocks for a quilt can be broken down into a series of steps. Nothing is hardand-fast in crazy quilting, as each person will have their own preferences, but these are the steps I use. 1. The first task is to piece the item or block. If it is something like a bag, I piece all sections and include lace and braids in the piecing. 2. Next I hand embroider the seams. 3. The next phase is to add embellishments such as beads, buttons, and any other doodads I want to include. 4. The last phase of the project is to assemble it. This book follows this process, mixing the practical with theory along the way. The first section covers design and assembly, followed by how to embroider the seams. The last part covers other forms of embellishment such as beads, buttons, and charms. Choosing a Suitable Crazy Quilt Project For your first project, look for a simple pattern and lead to beads, braids or stitching being caught in seams adapt it to crazy quilting. Keep things simple until or tucks. Some ideal projects for beginners are cushions, you know the process. Start on something small so bags, totes, and book covers. you can learn the technique before launching into a larger project. When selecting a project, choose items that are easy to assemble, with flat areas that can be embellished. For instance, most bags are ideal but some can be problematic. Gussets or complex assembly can 8 The Visual Guide to Crazy Quilting Design However, if you choose to start on a crazy quilt block, think in terms of something between an 8˝ (20.3 cm) and 18˝ (45.7 cm) square. Large wholecloth quilts take quite a bit of experience to handle the many techniques. part one Crazy Quilting and the Encrusted Style The Foundation Fabric Contemporary crazy quilters often make reference to an that is thick, has a tight weave, or has a high thread “encrusted” crazy quilting style that takes inspiration count. Test the fabric by passing a needle threaded with from traditional crazy quilts but employs a combination embroidery thread through three layers of the fabric. If of embroidery, beads, buttons, lace, and ribbons to it is difficult to do this, don’t use it. Find something finer, produce a complex, layered visual texture. This style aims with a looser weave, because you need to be able to hand to take the viewer on a journey. By careful placement of embroider comfortably through all layers. points of interest, the viewer’s eye is guided step by step. tip Most contemporary crazy quilters use a foundation fabric of prewashed muslin or lightweight cotton. I have used homespun cotton, old sheets, and even the backs of old cotton shirts as a foundation. Avoid fabric Remember your seam allowance! Cut the foundation fabric to the finished block size plus a generous seam allowance. The phrase “plus seam allowance” is worth highlighting, as you would be surprised how many people forget to include it! How Much Fabric? You don’t need yards and yards of fabric to make a crazy quilt project. You just need a variety of small pieces, such as 6˝ × 6˝ (15.2 cm × 15.2 cm) squares. At one stage in my crazy quilting education I was told that for an 8˝ (20.3 cm) block you need a selection of 8 pieces of fabric; for a 12˝ (30.5 cm) block you need a selection of 12 pieces of fabric, and so on. This is a useful rule of thumb. I find that I like to crowd a block a little and I always add a few extra pieces. So for an 8˝ (20.3 cm) block, I usually use about 10 pieces of fabric; for a 12˝ (30.5 cm) block I use 14, and so on. This crowded look is not to everyone’s taste. It really is up to each individual. A crowded 8˝ (20.3 cm) block of 10 fabric patches 1: Crazy Quilting and the Encrusted Style 9 Fabric Choice There are no rules in crazy quilting, and theoretically heavier fabrics so that the heavy bead embellishing will you can use any fabric. My personal preference is to use sit securely and not cause areas to sag or pull. It’s a case of thinner fabrics because I like lots of hand embroidery. finding what you like and how something works for you. You will be hand stitching through both the fabric and the foundation fabric. If the fabrics are too thick and bulky, stitching becomes a battle, which is not fun. several small projects until you find what sort of stitching you enjoy and can relax with. Try a small block made up However, using thin fabrics may not be to everyone’s of thin fabrics. Then try a small project of slightly thicker taste. Your great love may turn out to be heavy bead- fabrics and compare the experience of stitching the two. work. In that case you might want to choose slightly Fabric Type Choosing the type of fabric will be influenced by practical considerations. Will the item be washed constantly? Or is it to hang on a wall? The crazy quilt bags and smaller items I make are used, so I try to make them in such a way that they can, if needed, stand up to a very gentle washing by hand. I have also made performance costumes that had to be washed every time they were worn. These were made of cotton drill and not embellished with hand embroidery at all. Since it is possible to make all sorts of items from crazy quilting, these are some of the considerations I keep in mind when choosing fabrics. • If it is a garment that will be laundered often, I choose cottons and easy-care fabrics. • Make sure that all the fabrics can be ironed. • Too many doodads on a garment can cause problems, so use fewer embellishments but add more patterned fabrics to spice it up. If, on the other hand, the item is likely to be on a wall, you can use just about anything. tip I prewash all fabrics, lace, ribbons, and the like that I use in crazy quilt projects. Even expensive fabric, such as silk, gets tossed in the washing machine, particularly if it has been recycled. Then if you ever need to wash your finished project you do not have to worry about shrinkage or runny dyes. 10 If you are new to crazy quilting, I suggest that you make The Visual Guide to Crazy Quilting Design When choosing fabrics, don’t forget to check vintage linens and recycled items. Include pieces from old doilies, hankies, serviettes, and ties. Use embroidered motifs on vintage linens after cutting away any damaged or stained areas and after washing the item. Some crazy quilters only use fabrics made of natural fibers, but I use both natural and man-made fibers. There are many wonderful formal fabrics made of polyester or other synthetics. However, if you are doing a lot of silk ribbon embroidery, don’t use polyester fabric. The polyester fiber will shred some types of silk ribbon. If the edges of your ribbon look worn as you stitch, the process of stitching is shredding it, and often polyester is to blame. If you plan to embellish your crazy quilting with silk ribbon embroidery, use natural fiber fabrics. A crazy quilt block that features motifs from a recycled linen tray cloth Using Men’s Ties You can recycle men’s ties in your crazy quilting. They apart. Many ties are hand stitched, and you can pull are ideal in a family history quilt as a way to remember the stitches out in one tug if you cut the stitching the men in the family. Old ties are often made of silk, thread at the top and bottom. Inside the tie you will which makes them a dream to stitch on. find lining fabric. I toss the lining in the bin, but I As with any recycled items, wash the ties first. I hand wash ties at least twice. After they are dry I take them know dedicated recyclers who use tie “guts,” too! Once you have your open tie, cut out any stains, press it, and use it as you would any delicate fabric. An example of crazy quilting using silk from a man’s tie 1: Crazy Quilting and the Encrusted Style 11 Design Considerations When Choosing Fabric Every crazy quilter finds his or her own balance of plain, patterned, and textured fabrics. To a degree, this balance becomes part of their style. For instance, on an 8˝ (20.3 cm) block I may use perhaps four or five textured fabrics, one patterned fabric, and three or four plain fabrics. You do not have to follow this formula as, again, there are no rules in crazy quilting. But do think about the balance between solids, patterns, and textures when you choose your fabrics. USING PATTERNED FABRICS Older crazy quilts have many plain, solid-colored fabrics. However, contemporary crazy quilters have a huge range of richly patterned fabrics from which to choose. When I am piecing, I am inclined to reach for plain and textured fabrics, as these will show off stitches well. Stitching is often hidden on patterned fabrics, so I use just one or two patterned patches per block. However, if you are not keen to do a lot of hand stitching, you may wish to increase the use of patterned fabrics and cover the seams with ribbons and lace instead of hand embroidering. When using patterned fabrics, consider the scale and type of print. I am inclined to choose prints that are roughly of the same scale. This is the safe option, but there are times when a small print looks really good against a large print. Think about how a print may be embellished. If you are really keen on beading, think about including larger prints that lend themselves to having elements of the design picked out and highlighted in beads. Some geometric prints really sing when you add beading. For instance, if you use a print with a series of squares, you can stitch a bead on each corner. tips If you have prints that are drowning out your stitches, these tips may help: • Couch lengths of plain ribbon over the seam and then embroider the ribbon. • Use a thicker thread and work your stitches on a slightly larger scale. • Add fringe; the movement will catch the eye. 12 The Visual Guide to Crazy Quilting Design DON’T FORGET TEXTURED FABRIC! Using textured fabric is an easy way to create more visual interest. Texture is created by the type of weave that’s used during the manufacturing process, and today we have many weaving techniques to create damask weaves, brocade-type patterns, and fabrics that seem to bubble, pucker, crinkle, and fold. Using contrasting textures introduces an element of interest from the start. The contrast does not need to be dramatic. An interesting weave against a plain fabric of the same color will make the viewer’s eye pause, and that is what you want. A block where most of the patches are textured 1: Crazy Quilting and the Encrusted Style 13 DEALING WITH PROBLEM FABRICS One of the joys of crazy quilting is using wonderfully rich the wrong side before piecing the block. If a fabric is fabrics that are a pleasure to touch. But these fabrics can particularly difficult, interface it and use it as the first also cause the most heartache. Mixing slippery fabrics, piece in a block. It will become better behaved as you soft silks, shiny satins, patterned silk velvets, and nu- add other fabrics and trap it in each seam. merous other exotic fabrics all in one project can cause problems, particularly if pieces have been cut on the cross grain. If you are used to using quilter’s cottons, these fancy fabrics may seem even more difficult to control. If you have spent years learning how to match seams and keep a block flat and in control, exotic fabrics are likely to create frustration for you. Remember that crazy quilting is not about uniformity. You need the block to be more or less flat, but the perfection demanded in regular quilting does not apply to this style. Some fabrics cannot be ironed. I suggest that beginners in particular stay away from them. If you need to use a fabric that will not take ironing, use a pressing cloth to protect it when ironing the surrounding fabrics. Sometimes a slippery fabric keeps sliding out of control. One way to tame it is to sandwich the fabric between two pieces of paper when running it through your machine. Stitch the seam and then tear the paper away. I find this the easiest method, as it does not interrupt the flow of piecing. Many problem fabrics that slip, slide, stretch, or fray are best handled by fusing a lightweight interfacing to Sourcing Crazy Quilting Materials Although fabric, lace, and beads are all expensive, you my scraps are scavenged from secondhand shops, markets, do not have to spend vast amounts of money to do old family clothing, and friends’ sewing scraps. Ask local crazy quilting. You do not need a huge amount of any soft furnishing shops if you can buy their expired swatch one fabric. Individual pieces of fabric can be as small books. Of course I scavenge remnant bins and specials as 3˝ (7.6 cm) square. In crazy quilting, it is variety that counters, but it is via the secondhand market that I seem counts, not quantity. You do not have to repeat similar to find the best stuff. I pick up secondhand “after five” fabrics in order to unify a design. dresses when they are on sale. I feel crazy quilters in the One of the reasons I love crazy quilting is because this style appeals to my hunter-gatherer instincts. Most of 14 The Visual Guide to Crazy Quilting Design past would have used anything that was attractive to their eye, so I do the same. USING RECYCLED FABRICS AND SCAVENGED ITEMS I recommend that fabric from a recycled garment be washed. Dirt, sweat, and the like can cause fabrics to degrade, so when I find a bargain in a charity shop, I toss it in the washing machine no matter the fiber content. That’s right—silks, brocades, wedding dresses, the lot! If the fabric doesn’t stand up to washing, I’m only losing a couple of dollars at the most. Once it is dry, I press it and cut out the seams, darts, and any areas of wear or staining. In my scavenging I frequently find old hankies, men’s ties, lace doilies, costume jewelry, bead necklaces, and buttons. Do not be afraid to experiment. Pull apart stuff and reuse it in interesting ways. Items can be painted, dyed, and treated to fit on a block. I still buy commercial embellishments for crazy quilting, such as beads, nice braids, and laces. If you are new to this form of quilting, put your money into embellishments rather than fabric as it is the beads, lace, and threads that are both harder to find secondhand and to accumulate. 1: Crazy Quilting and the Encrusted Style 15 THE DYE POT! When sourcing materials and trims for crazy quilting, don’t forget the dye pot. If you have a large amount of any one fabric, you can dye it a number of different shades or colors. For instance, pieces of a secondhand wedding dress or a prom dress can be dyed all sorts of colors and will last you a long time. You can dye lace, ribbon, shells, and buttons with The small doily was hand dyed before incorporating it into this block. relative ease at home. While you are at it, dye some embroidery threads, too. Then you will have threads that match your fabrics. Dyeing materials different colors is an ideal way to build up a crazy quilting stash. Variety is the key. 16 The Visual Guide to Crazy Quilting Design part two Using Design to Take Your Viewer on a Journey Some people are afraid of the “D word,” but when we composition in paintings, but not everyone thinks in talk about design and composition we are simply talk- terms of composition applied to textiles. Yet when we ing about a set of ideas used to describe the relationship look at a quilt, it is a visual experience, and there is no between various parts of an image. Often we talk about reason why we cannot apply design principles to a quilt. Emphasis and Subordination One of the most powerful tools you can master is to used to create a focal point, and it is exciting to discover understand how points of emphasis can work for you. a new method of using items on a project. You hear people talk about a point of emphasis, but what exactly is a point of emphasis in crazy quilting? And once you understand what it is, how do you make one? Usually you want more than one focal point to attract your viewer’s attention. After they look at that area, you want to guide their eye to another area, and so Emphasis can be described as an area on a block that on. One way to do this is to introduce a second and draws attention to itself. Emphasis is the party girl whom sometimes third focal point, so that the eye moves everyone notices, or the noisy one in a group. When you from point to point, traveling around the block. These look at a piece of crazy quilting, your eye immediately secondary points are subordinate to the dominant focal goes to that point, the focal point of the block. Focal point but are just as important. A single focal point points can be created by using a bright color, a piece of shouldn’t be so strong that your viewer’s eye is locked lace, a memento, or a technique such as an intricate bit on only that point. You want them to look around and of embroidery, a silk ribbon spray of flowers, or extrava- enjoy the whole image. gant beading. These are just a few techniques that can create a focal point. Part of the fun of crazy quilting is that so many textile and embroidery techniques can be So how does this work in practice? How is this theory applied to crazy quilting? 2: Using Design to Take Your Viewer on a Journey 17 Make a mental note of how you view this block. Think about where you look and what you look at. 1. First is the large disk of beaded tatting in the top I created this third point by adding bugle beads to a large right-hand corner. There is a lot of visual stimulation on flat round bead. Note that the fan of wired ribbon and this block, but the eye lands on the area of tatting first. the beaded tatting each have a similar large bead in the 2. The second place the eye travels is to a fan-shaped piece of ribbon in the lower left corner. If this gathered ribbon was a full round of ribbon, it would be approximately the same size at the circle of beaded tatting. That would mean the two shapes would be equal in visual weight. The viewer’s eye would bounce back and forth between the two and not pay attention to other things 18 I have circled three points of emphasis in the above photo. middle. This introduces the design element of repetition. The same type of bead is repeated in each case. The repetition helps to tie the three points together, yet by decorating each differently, each one works on the block in a particular way, and I also stay true to the tradition of crazy quilting, which celebrates infinite variety and innovation. happening on the block. To avoid this, I made the ribbon The other similarity that is repeated is the shape. The fan slightly smaller in diameter and used just half a items relate to each other because they are all similar round. Cutting it in half reduced the visual weight. In shapes. If I had used a circle, a square and a triangle, the other words, as a design element it is subordinate to the differences would have added discord. Although each main point of emphasis. Also, cutting it in half meant item is treated differently, they all have a central flat it echoed the main shape, so it was similar but not the round bead in common. This ties them together on the same. block. 3. The third point of emphasis is in the bottom right cor- This visual balancing act has provided endless entertain- ner. It is actually a quarter of a round shape. The quarter- ment over the years. It is fun to see what you can do round echoes the shape of the main point of emphasis. when you apply design theory to practice pieces. In the Once again, because it is smaller, it holds less attention, so previous paragraphs I mentioned design elements such as it is subordinate to the main focal point but has enough movement, shape, repetition, and balance. In the follow- power to attract the eye to that area of the block. ing section I will tease these ideas out a little further. The Visual Guide to Crazy Quilting Design Movement One of the key pieces of design theory you can use to When working a crazy quilted piece, I usually try to slow your advantage when creating a crazy quilt project is movement down. Why? In this type of quilting there are the idea of movement. Movement is the path that the numerous items on a block. In any one area there may viewer’s eye takes when looking at something. Sometimes be different colors and textures, small and large patches, someone will comment, “There is a lot of movement in thick and thin lace, ribbon and beads. There is plenty that piece.” What they mean is that the viewer’s eye is of visual activity going on. Some people describe this taken quickly across or around a piece. Lots of move- as “busy,” and it is busy because there is a lot to look at! ment in a piece will feel exciting as you move your eye all What I try to do is to control the viewer’s eye and slow it around, taking in the experience quickly. A more serene down, so they have time to take in what they see. piece will have less movement. The eye is guided over the piece in a steady and sedate pace. Works like this are usually subtle and are to be savored gradually. Movement is what causes these two reactions. So how does this effect crazy quilting? So how do we control the movement on a crazy quilting project? The first point to understand is that every shape has its own particular energy or movement. For example, think about how a person describes a spiral staircase with their finger rising in a spiral. As their hand moves around I use the less strong lines within a block to direct the eye and around, they are not describing an outline of the toward areas embellished with embroidery or lace or a staircase but the characteristic line of the structure. That button cluster. I aim to create a diversion from the strong spiral is a description of the energy within the shape of diagonal lines. In the previous photo, the top area is at the staircase. This line of energy is not physically real but the intersection of two lines. These lines are felt rather is felt. That line is movement. When a person describes than seen. The other emphasis points are placed at the a staircase with their finger, what they are describing is end of other lines. In each case, it means the viewer’s eye the feeling of energy or movement contained within the is given a path to follow around the block. shape, not the actual shape itself. To see this theory applied to a crazy quilt block, take a look at the underlying structure of this block. The largest is the area of light green lace. The viewer will then notice the yellow doily in the corner. I placed it in the corner so the viewer will notice it, but then their eye is deflected downward, back into the block, to continue on their journey. 2: Using Design to Take Your Viewer on a Journey 19

Author Sharon Boggon Isbn 9781617453618 File size 124.23MB Year 2017 Pages 144 Language English File format PDF Category Hobbies Book Description: FacebookTwitterGoogle+TumblrDiggMySpaceShare Tell a unique story with fabric! Embrace crazy quilting with 35 must-know stitches and endless variations, shown in clear, step-by-step photographs for both right- and left-handed stitchers. Learn design fundamentals to guide you in your process, so you can sew thoughtful, visually appealing blocks. Study the theory and process behind this fascinating art – how to choose fabrics, piece stitch-and-flip blocks, and embellish using a variety of materials.     Download (124.23MB) Piecing Makeover: Simple Tricks to Fine-Tune Your Patchwork a Guide to Diagnosing & Solving Common Problems Stitch It for Fall: Seasonal Sewing Projects to Craft & Quilt One Line at a Time, Encore: 33 New Geometric Machine- Quilting Designs Making Connections—A Free-Motion Quilting Workbook Adventures in Hexagons Load more posts

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