Honey! In all this, you're asking me??? I am the person whose stash is the size it is because I hate making decisions "of this magnitude" and for me it *is* magnitude. Can't decide between this and that version of a garment in a pattern envelope, so I'll plan on making both; but I also can't decide between this fabric or that one for version A, so I'll opt for "both," again, and realize that IF I do thus-and-so I can make a skirt and a vest/gilet reversible, thereby giving myself two more garments for slightly more than the price of the original two... And if this set of duds is wool, the other set---because of course I'm going to be unable to choose between colors or fabrics in summer weight textiles, too---and that reversible thing works so well.... I'm like a child offered a choice of flavors of ice cream; if we're not going to be all day waiting for me to commit, then just ask me if I'd like an ice cream and if I ask in return, "What flavor?" tell me "Vanilla, of course," and let it go. I don't care if you have the whole Baskin-Robbins stock hidden away in a walk-in freezer in the basement.
Okay---about your quilt design. This is me, offering immediate instinctive responses and some brainstorming of my own, but it's more...it's almost like free-association. In other words, not carefully thought out, so if it stimulates creative juices, that's good; if it doesn't, just put it from your mind.
I like the blues/turquoise(s)lavender(s). I love the most dynamic of the curves in your sketch. There's a design..."aspect" which concerns me in your sketch, and that is the narrow band almost exactly in the middle. It cuts the design in two, into an upper and a lower half. My eye wants to be drawn all the way up and all the way down. Somewhere, that strong horizontal has to change, has to suggest movement. Will it interfere too much if you were to taper one end into nothing, perhaps by moving another line across it? I like that I seem to be looking at something like dunes, or ocean swells. But there's what feels like a barricade or a big piece of flotsam in the water; an interruption. I feel I've stumbled, stalled, in experiencing what started out as something very organic and fluid.
Regarding the organza ribbons, I'd make sure the binding came over the outer edges, covering them, so the binding would be last. I do think I'd try to keep the binding very narrow, and show off the quilt's design to the greatest extent possible unless the binding were an organic part of the whole so the quilt would be self-contained and have a definite boundary without having an obvious "frame." Kind of like the really narrow "frames" of modern paintings. They're there, but they're super unobtrusive. The only "less" frame than those would be no frame at all. A lot of quilts have you looking through "frames" or "windows'" worth of borders, and this, based on what you've put forward in images so far, seems to want to stand as nearly completely on its own, visually, as possible.
Are you thinking of sewing the inner edges down, or leaving them free? Have you enough ribbon to texture the ribbon? Just the occasional tuck at the outer edge, to make the inner edge undulate, lift above the surface of the quilt? Depending on the direction (up or down) of the tucking, you alter the direction of the swell on the inner edge, just as if you were making half box pleats, or reversing direction on knife-edge pleats in a garment. Just a random thought.
Oooh--another random thought: Something popped into my little head, a phrase in danger, I suppose, of becoming rather hackneyed, "wine dark sea," and that made me think of an organza overlay or an opaque underlay/ground of a dark, plummish purple, or a deep, bluish-wine red in there...not a lot, but a shadow.... No? That's all right. Not my quilt, not my project...
But, my mind might be wandering. I did mention free-association...
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branchandroot
Me, brainstorming
Date: 14 Dec 2010 09:42 pm (UTC)I am the person whose stash is the size it is because I hate making decisions "of this magnitude" and for me it *is* magnitude.
Can't decide between this and that version of a garment in a pattern envelope, so I'll plan on making both; but I also can't decide between this fabric or that one for version A, so I'll opt for "both," again, and realize that IF I do thus-and-so I can make a skirt and a vest/gilet reversible, thereby giving myself two more garments for slightly more than the price of the original two... And if this set of duds is wool, the other set---because of course I'm going to be unable to choose between colors or fabrics in summer weight textiles, too---and that reversible thing works so well....
I'm like a child offered a choice of flavors of ice cream; if we're not going to be all day waiting for me to commit, then just ask me if I'd like an ice cream and if I ask in return, "What flavor?" tell me "Vanilla, of course," and let it go. I don't care if you have the whole Baskin-Robbins stock hidden away in a walk-in freezer in the basement.
Okay---about your quilt design. This is me, offering immediate instinctive responses and some brainstorming of my own, but it's more...it's almost like free-association.
In other words, not carefully thought out, so if it stimulates creative juices, that's good; if it doesn't, just put it from your mind.
I like the blues/turquoise(s)lavender(s).
I love the most dynamic of the curves in your sketch.
There's a design..."aspect" which concerns me in your sketch, and that is the narrow band almost exactly in the middle. It cuts the design in two, into an upper and a lower half. My eye wants to be drawn all the way up and all the way down. Somewhere, that strong horizontal has to change, has to suggest movement. Will it interfere too much if you were to taper one end into nothing, perhaps by moving another line across it?
I like that I seem to be looking at something like dunes, or ocean swells. But there's what feels like a barricade or a big piece of flotsam in the water; an interruption. I feel I've stumbled, stalled, in experiencing what started out as something very organic and fluid.
Regarding the organza ribbons, I'd make sure the binding came over the outer edges, covering them, so the binding would be last.
I do think I'd try to keep the binding very narrow, and show off the quilt's design to the greatest extent possible unless the binding were an organic part of the whole so the quilt would be self-contained and have a definite boundary without having an obvious "frame."
Kind of like the really narrow "frames" of modern paintings. They're there, but they're super unobtrusive. The only "less" frame than those would be no frame at all.
A lot of quilts have you looking through "frames" or "windows'" worth of borders, and this, based on what you've put forward in images so far, seems to want to stand as nearly completely on its own, visually, as possible.
Are you thinking of sewing the inner edges down, or leaving them free? Have you enough ribbon to texture the ribbon? Just the occasional tuck at the outer edge, to make the inner edge undulate, lift above the surface of the quilt? Depending on the direction (up or down) of the tucking, you alter the direction of the swell on the inner edge, just as if you were making half box pleats, or reversing direction on knife-edge pleats in a garment.
Just a random thought.
Oooh--another random thought: Something popped into my little head, a phrase in danger, I suppose, of becoming rather hackneyed, "wine dark sea," and that made me think of an organza overlay or an opaque underlay/ground of a dark, plummish purple, or a deep, bluish-wine red in there...not a lot, but a shadow.... No? That's all right. Not my quilt, not my project...
But, my mind might be wandering. I did mention free-association...
And I have to go back outside---!