Design a Bold, Modern Quilt: Basic Design | Karen Burns | Skillshare

Design a Bold, Modern Quilt: Basic Design

Karen Burns, The Warped Spinster

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7 Lessons (56m)
    • 1. Introduction

      5:04
    • 2. Materials

      2:43
    • 3. Design Modern Part 1 What IS

      9:58
    • 4. Some Design Principles

      14:55
    • 5. Thumbnail Sketching

      15:24
    • 6. Refining Your Base Design

      5:56
    • 7. Final Thoughts

      1:54

About This Class

Design a bold, modern quilt using just 2 shapes:  rectangles and circles.  This class, the first in a series to guide people through a first modern quilt design, requires only a few simple materials.  You'll learn:

  • What IS a modern quilt?
  • A few design principles
  • Thumbnail Sketches
  • Refined drawing of final, base design:  shapes, proportions, layout

The remaining 3 classes in the series will cover: color and fabric, construction, and quilting.

No quilt design experience is required, but some experience making quilts will be helpful.

Karen's "Modern Quilts" Pinterest board
https://bit.ly/2xudTgX

Transcripts

1. Introduction: Hey, everyone, I'm Karen, a k a. The Warped spinster. It's a quilt maker, designer and teacher. I've been making quilts form almost half a century now, but within the last 10 years or so, I've embraced primarily modern quotes. I love and appreciate all styles and types of quotes, but I'm especially loving modern quilts thes days in this series. I want to share with you one of the ways I designed modern quilts in the hopes that you'll want to design one and then many more. Perhaps yourself. This class is the first in a series of four more about this first class in a minute, but basically, at the end of the class, you're gonna have your basic fundamental design. The shapes the size is that proportions, and the layout for your quote in Part two will be looking at color and fabric. Maybe you want to design a grayscale quote. Or maybe you want a gray scale with a pop of one color in it, or a monochromatic quote tones and shades of one color. Maybe you want a lot of colors. Maybe you want solid colors, but maybe you want some prints in there, too. Or maybe a stripe will cover all of those options in the color Siri's. So you have your basic design. You know what colors and fabrics you want to use. Now, how do you put the thing together? And that's what we're going to cover in construction, where we work all of that out and finally will look at quoting What are the options for quilting your modern quilt. So in this class is first in the series, you'll learn what a modern quilt is or might be, which is not a single or simple answer. You'll also learn a few design principles or guidelines what you're going to make designing better, easier and quicker for you will use thumbnail sketching to explore, design some layouts using just two shapes, circles and rectangles. And then we'll revise and refine a favorite design to take us through the rest of the Siri's. I'm going to be designing a small quilt just about 17 by 22 with the process is going to be the same size of sketches and drawings will be the same. If you decide you want to make one larger, you can just scale up or scale down for that matter, so we'll do a thumbnail sketch. The refined drawing is going to be on a plane all late and 1/2 by 11 sheet of paper. And then the quote that I'm ultimately gonna make is going to be twice that size or 17 by 22. I often make quotes that are smaller than I think I might make my final design because I think it's better to make changes on a smaller piece than on a larger one. Then, if I decide I want the larger one, I can always scale up and incorporate into that all the things that I learned making the smaller one. We're also going to focus on a design without a great many shapes on the surface will be using just rectangles and circles, but just a few of each of those. I think it will be an easier introduction for you to some of the design principles and especially to finding out what you're going to like in a modern quote design. It doesn't have to be like mine probably isn't going to be, and that's the way we like. You want to design New York world, so if you feel moved to make yours with more elements or shapes than I use. Go for it. But don't be afraid to go for a few large scale shapes, either, if that's what you like. And finally, I'm choosing to do designs in which the rectangles air either horizontal or vertical rather than diagonal. Placing them on the diagonal could be very interesting and dynamic. But for this, which may well be your first modern design, it will make it easier for you to construct it. If you don't have to deal with the angles of a diagonal line after this quilt, you can spread your wings and make us many diagonal designs. Auras many shapes as you like. Your project will be to do the thumbnail sketches along with the rest of us, and then you will refine one off them into your foundational or basic design. I hope you'll join us. I can't wait to get started 2. Materials: the materials list is pretty basic. I think you'll have everything around the house. First of all, you'll need a sheet of plain paper. This is just standard print of copier paper, probably recycled. I've also provided a template with eight thumbnail sketch boxes. Actually, they're larger than thumbnails usually are, but go bigger. The home right. Each of these boxes is then divided into thirds with fader gray lines, so they aren't distracting. You may or may not be able to see those on camera. These 1/3 divisions are going to be useful as we get further along in the design process. You'll also need something to make marks. Of course, a pen. Any pencil is great. This is just a mechanical pencil and expensive mechanical pencil, and it's typically what I use when I'm doing thumbnail sketches. You may also want an eraser. You may not use it much when you're doing the thumbnails, but good to have one handy. Anyway, you can use really anything to make marks, especially if you aren't gonna be concerned about erasing on your sketches. You could use a ballpoint pen, crayon colored pencil, whatever makes you happy, making marks on the paper that you're going to be able to see. I'm actually going to be using this unit pin, fine line black marker that I have, because I think it will be easier for you to see on camera. Typically, I use a pencil when I'm some nail sketching you may also want, and this isn't really required yet, But you may also want a ruler, a straight edge of some sort and a drawing compass. This is just it. It was probably a buck if that much for a school compass like this will work. If you don't have a compass of that type, then you can just round up some things that around like the bottom of this spool of thread that I have cups from the kitchen cabinet. Anything that you confined that's around you could use as well. The compass is handy because you can change the size of the circles very easily, and that's it. That's all. We're going to need four hour designing this first section of this Siri's Next up. We're going to talk a little bit more about what modern quilts are and some design principles, and you'll hear more about why I have these divided into thirds. So I'll see you for the next video 3. Design Modern Part 1 What IS: What is a modern quilt, anyway? Well, it depends on the person that you talk to are the quotes that you're looking at. That's a pretty wishy washy answer, I know, but it's an honest one. I've tried for a long time to define modern quilt, and I finally gave up on giving it a single definition. I think of the modern quilt as a genre. Frankly, most people probably don't look at it this way, But I'm a library. And so there you have it. And within this genre, I think of sub genres, and the 1st 1 is blocking. In this type of quilt. There are blocks that are arranged in a grid. Many traditional quilts have this sort of layout, and many modern quotes do as well. But not all. Many do not. Then there are the improvisational or improv quilts, and as the name implies, these are sort of free design. As you go quilts. You may or may not have a general plan going into it, and you're sewing pieces together just like we do in quilting. But the pieces probably don't actually fit together. They may be. Scraps are left overs from other quilts and you sew them together and trim them up, and so them to something else that you've sown and trimmed. It really is a fun process, and there are lots of beautiful improv quilts that come out of that free process. The next type is the abstract, and I think of it is having to sub genres, which I guess make them sub sub genres. And the first of those is representational. It's still abstract, but it's designed to represent something. Were concept. This is my quilt called Between Two Rivers in Iowa, where I live were bounded on the east by the Mississippi River and on the West by the Missouri River. And Iowa actually means land between our yes well means land between two rivers. Now the two rivers were in north and south, not east and west, but artistic license will just leave it at that. So this represents Iowa. The green patches are the fields, and the brown steps in between represent the rich Iowa soil. This is representational. This is meant to represent Iowa, but it's still abstract because this is not the shape of Iowa. We have some pretty irregular boundaries because of the rivers, but they're not like this. And the other sub sub genre is geometric. As the name implies. Thes consists of geometric shapes arranged on the quilt top. They aren't meant to represent anything. It's other than themselves. If they're just wonderful shapes, colors, textures that are arranged pleasingly on the quilt. And this is what we're going to be focusing on as we design our first modern quilt in this Siri's. So it's difficult to define exactly. But we can look at some characteristics of what you might see in a number of quilts that are considered modern or that you consider modern. The list that I will suggest isn't exhausted by any means, and it's not necessarily the list that anyone else might develop. I encourage you to look at a lot of modern quotes, so look in books and magazines. Do a search on the Web, go to quilt shows, go on to Pinterest, which is a wonderful source. I know it's kind of an endless rabbit hole that you can get lost in for the rest of your life, but it is a wonderful visual resource for this. As you're looking at them, ask yourself what are some characteristics that seem to set thes quotes apart from more traditional ones. Then take note of the quilts that you're drawn to and consider why you like them. What are the characteristics that appeal to you? Not so you can copy them because I know you won't do that, but toe identify the characteristics that you might want to incorporate into your own designs. This is my modern quotes Pinterest board. I've made it public, and I provided the link for you so you can take a look at this. If you don't want to go off searching on your own. As we're scrolling through this, you can see that I've got quite a variety of quilts here. I like improvisational quilts, but as I'm scrolling through it, I see that I really do like big, bold shapes, clean lines, bright, bold colors. I like a symmetry with things not centered, like lots of negative space. And in general, I like neutrals that backgrounds or neutrals to be grays and white rather than cream colors . That isn't true of all quotes by any stretch, but those are some of the characteristics that I like, so I want you to go and do some searching on your own. Either look at the quilts on my Pinterest board or find modern quilts that you like probably will be quite different than many of mine. A few of the characteristics then that I've identified for myself in this list, it's probably going to be different than yours. I like negative space, large, bold elements and shapes. I like abstract things, whether representational or geometric, simplified shapes and clean lines, compound or constructed fabrics you often see in quilts. And that's when you basically create your own fabric, often in strips, so you may take scraps. And so those all together to make a long strip. And then you trim that or cut it into sub. Cut it into different widths of strips. You'll see that quite often in improvisational quilts, especially modern quotes often are representative of the icons of modern life. I know a couple of people who actually define a modern quilt is, um, a quilt that represents modern life in some way, much as traditional quotes represented life in the time so home their lives might have lots of animals around it. And so you get Duck's foot in the mood, mud or bears ball, the one that I think of that I especially sticks in my mind for some reason. Waas inspired by the lines that mark the parking spaces in parking lot and it It may sound a little odd, and it's very bold and graphic, and it's a beautiful quilt. I just I've never gotten it out of my mind. Gray and white neutrals are very common in modern quilts. Solid colors, especially brights, are seen in many modern quilts. But there are also prints, and they tend to be bold modern prints if they're in de modern quilts. So those are some of the characteristics that I've identified. Some of them, I think, are quite general and apply to many, many modern quotes and some probably fewer modern quotes. So you're going to develop your own list. But as we're working in this particular class in this syriza's your were making your first quilt, we're going to look at lots of negative space, and in part this is so that you have less construction to worry about. I'd rather have you focus on design and elements rather than trying to figure out you how am I gonna put this all together? We'll cover that in in one of the Siri's classes. But for now, for this first quote, I think it will be good for you to have lots of negative space. We'll also have large, bold elements or shapes were focusing again on rectangles and circles, which will make construction easier. They're going to be abstract and in our case, geometric abstract, and we'll be using simplified shapes and clean lines. So clearly modern is in the eye of the beholder. You're going to go out and find some of the characteristics that you like that you can incorporate into your quilts. And with that in mind what you discovered and these characteristics, let's talk about some design principles. 4. Some Design Principles: I'd like to share with you a few design principles or guidelines. Thes are principles that I've discovered or learned over the past four decades that have been useful to my quilt designing. And I think you'll find them helpful to note that I'm not calling them rules because you don't always have to use thumb. But they do serve to help create good design, a place to start and often toe land. Actually, I encourage you to at least try them as you're designing as an option, especially if you're stuck. If something, you know something's just not right. But you can't put your finger on what it is. Give one of these principles or all of these principles a try. You may decide ultimately to not follow them, but I always consider them as I'm designing. Okay, I confess, I always see this as the rule of thirds, but we're going to call it the principle of thirds. To utilize this, you simply divide your divine design space in our case, the quilt top or a scaled down version of it into thirds both vertically and horizontally, and then you play shore shapes or motifs or groups of shapes along any of those lines any one or more of those lines. If you have something that you particularly want to emphasize, then you can put it along one of the nodes or the intersections of those lines. Then we're going to place rectangles. So this is me and I'm going to put one on the left. Third, of course. And then I'm gonna put another one on the right hand Third, both of them vertical. And then I've put the circle on one of the nodes here in my while. Iowa rose. I have I placed my groups of motifs the flowers along that left vertical line. This is kind of my go to because I like negative space. I like a symmetry, and for some reason I always do it on the left. I don't know why. Then again, you can see it in Primrose path where actually it looks a little to the left of 1/3. But that's OK. It's not centered. I didn't want it to be centered, and I've got negative space on both the left and the right and the top in the bottom. For some reason, this photo cuts off the bottom of the quote, but there's negative space at the bottom as well. In the principle of three, placing things in threes is pleasing to the eye. Somehow it looks balanced and in more general terms, the odd numbers of things are better than even if you have two circles, for example, try adding 1/3. So let's place a circle on this lower left node here. And then we're gonna add one another one, and it doesn't look quite finished. So let's add 1/3 at the top. And now that looks like it's complete. And that's the principle of 3rd 1 would have been OK to was kind of unsettling. Three made it look finished in the Better to See You with, which is inspired by the overhead work light at my dentist's office. I looked at a lot when I was having a crown replaced. I could have done it as just one of these representations of the light, and I probably would have shifted it down a bit more. We're actually because it's a light overhead. I might have shifted it up, and that would have been fine to was not going to work at all three looked just right and again on head ALS. I used an odd number was more than three, but I did use an odd number, um, ahead, Eliza's ah, piece of metal or a string that holds the threads on the loom up for weaving. So there are a lot of them on a loom. One was not going to cut it to represent that to still not enough, and it didn't look balanced. Three was better looked balanced, but it still wasn't wide enough for what I wanted. Four was again unbalanced. Five finished it off. Ideally, I would love this cough about 20 feet, but that's another class entirely. So that's the principle of three or odd numbers. Now, by gravity, I mean that we want to think about putting weightier things toward the bottom of the design , so things that are larger or wider or more horizontal are often better toward the bottom, so that the design feels grounded following gravity. If you remember the three circles that we had for the principle of three, if I were to turn that quilt around, then it has the weight toward the top rather than the bottom. That's not what I want. If you wanted to do something like bubbles rising to the service of champagne or balloons going off into the sky, then this would be appropriate. It would be fine. In that case, I wouldn't follow the gravity, although if I were doing balloons, I think I might shift everything up so that that top a large circle waas going off the top of the quilt that would really make it look like it was going off into space. But then wait. That's not what I'm looking for in this particular design. If I, however, shift my three circles with a large circle at the bottom further down, so there's less negative space at the bottom, then it looks more grounded. It looks like it's it's tethered to the ground, sort of. I did this an entropy. I put the three blocks on the bottom, horizontal third line. I see that I also strategically, artistically arranged, um, threads on there as well. Sorry about that. Anyway, this makes it feel more more grounded. If I were going to do this in my usual vertical fashion with it on the left, I would have turned thes three blocks clockwise 90 degrees so that the block that has the five of those strips would be toward the bottom. So there was more weight at the bottom. Typically, when quilters talk about contrast, they are talking about the saturation of the colors. So you want a light, medium and dark color or in print size, so you would typically look for small, medium and large prints. That can also be true in modern quilts, but I think more often in modern quotes, they mean some other things in color You could have. Let's say we have all circles. You could have most of them red, but then one that's green or three that are green or you might have most of them solid and one of them has a print or vice versa. You could also have contrast in shape and line. I have chosen the two shapes that we're going to use for the designs in this class with this in mind so that we've got a very angular shape in the rectangles and then a very curvy shape in the circles. That contrast provides interest and um, makes a design more dynamic, and that's what we're going for If you have a rectangle, for example, then you add some more movement to it. If you put a circle with it now, you could do another rectangle. Absolutely. The circle with that contrast makes it more interesting, and the circle doesn't even have to overlap or touch that. If we move the circle off the line, you still have that contrast you're I still registers. That contrast you could also. So, for example, if you have a rectangle, then so you start with a rectangle and you don't want to use a circle. You want to use a line of some sort. What if you were to do a curved line or a wiggly line? The construction would be more challenging. There's no doubt about it, but just that contrast would make it a much more dynamic design. And you can also have a contrast in size, which you see fairly often again. If you have all circles, for example, you might make most of them one size and then have one that's much larger or one that's smaller just for balance. I think they were smaller. I might make maybe three of them, and you can, of course, use all of these contrast when you're doing the design so you could have circles of different sizes but also different colors, and we are gonna have, hopefully circles and rectangles in our design. So we have that contrast built in This is circles and bars, which I designed for a min equal Challenge exchange. I still have it because I actually designed a couple more that I sent off to my exchange partner. This illustrates the design principles we've been talking about, so I wanted run through those with you just is a summary for this. In terms of the principle of thirds theme, two sets of bars are roughly along the horizontal thirds. Because of the angle, you got some foreshadowing here. There's actually more negative space at the top than it appears in this slide, but those are along roughly the third's. In terms of threes. We have three bars at the bottom. We have only two bars at the top, but the total of those two sets his five bars, and they sort of read as as one group in a way, because they're about the same length there, about the same width, and they're the same color for the circles. There are three of the circles that read as a solid black. There are three that are black, with a white or light gray script on them. And then there are a bunch of circles that are polka dots because there are so many my brain doesn't register or at least care that there's an even number of circles there. It's not physically counting them. If there were fewer of those polka dots, it would be more noticeable that there are an even number instead of odd. So let's talk about those two gold circles. My, I want to third, I won't lie to you it When I look at this now, I still love the quote. But when I look at it now, I really want to put in another gold circle, and it would probably be. I'm sure it would be further to the left quite far to the left and maybe about where that top bar is on the bottom set of bars, and this is is usual for me when I finish a quilt. Even if I love it, I still ask myself, What would I do differently if I were doing this again, and sometimes the answer is nothing. I like it this way, but sometimes the answer is I love it. But I would do this differently, and in this case, I would at that third gold circle. I'm not going to redo the quilt. I still love it this way, but having done that analysis of it, that will then move forward with me and informed me on future designs were about to get sketching and starting on her design, which is pretty exciting by Let's review what we're going to keep in mind as we do it. We're going to rely on some of the characteristics we identified in modern quotes that we especially like. And we're also going to remember the principles design principles that we just talked about and with the principle of thirds will at least try putting our shapes on along those lines of thirds or at the intersections of those lines with principles of three will try using an odd number of shapes or an odd number of, say, the same shape or the We won't be dealing with color yet, but eventually it might be color. Well, remember that our eyes are used to seeing objects obey gravity and contrast, is going to play a part in our design decisions. So with all of that behind us and in our minds as we move forward, let's do some thumbnail sketching. Can't wait. I'll see you in a bit. 5. Thumbnail Sketching: Welcome back. Let's get started sketching. Have some fun with this. This is one of my favorite parts of designing. I have pulled out my pdf with the thumbnail sketch boxes on it, and they're divided into thirds, which will help us in our designing. You will probably want to use a pencil if you've got an eraser handy. Have that as well. I'm going to use this black fine liner because you'll be able to see it better on the video . Remember that. We're going to be using just two shapes, circles and rectangles of whatever shape and size, long and skinny, short and squat squares, whatever suits your fancy. And, of course, you can mix and match all of these things. Use just circles, just rectangles mixed. Um, it's up to you for the 1st 1 I'm going to try just simmer rectangles, and I'm going to be at least roughly following these thirds divisions that I have here. So I put what Mark tangle over there, a long, skinny one and this one I'm gonna make a little skinnier, and I'm gonna drop it down a little bit so they aren't lined up across there. I like a symmetry. You may I prefer something different, and then I'm gonna do a really skinny one over here, So I have some contrast in width. I might even want to move that up a little bit. So it's It's not in line with that, but it looks pretty close. So it's gonna look like the near miss. That's easy to do when you're not wanting to center it, but it looks that way. Okay, that's just rectangles. It's OK. Might be all right, But let's try something with circles. I'm gonna try a horizontal rectangle down here, Give it some good area there and I want to put a circle in. Let me put it over and over. Lack this corner. It's not centered on the third, but that's not a big deal. So I've got quite a lot of weight down here and a lot of air space up here, and that actually is okay. But I want to add couple more circles, and I'm gonna dio contrast in size here, and I might even make a little bigger. That actually could be OK to a circle within a circle, But imagine that is a larger circle and then I want to do odd numbers of things. So I'm gonna put another circle up there that looks kind of interesting. It's likes of bubbles air rising up from that box there. So I'll leave that one at that. Let's do vertical rectangles again. And I think this time I'm going to will relax the rectangles. They may or may not be the same size and shape. I kind of like that overlap in there. I want to put in a circle, but I don't necessarily wanted. My circles often are on top of rather than under the shape. So this you wouldn't actually see if I put the circle on top. I could also put it underneath so that you didn't see that portion of the circle. I tend to like to plot them on top. Let me put a circle, maybe down towards this intersection here at the thirds. So I have three shapes there got contrast. I've got a couple of rectangles in a circle in this circle and it brings the weight down so I like that easily could change the sizes and relative proportions on those rectangles. Let me. I like this bubbly kind of effect. So I'm gonna on this thirds line over here. I'm gonna put large bubble and a 2nd 1 and Bubbles rising to the surface. And that gives me three that I might want to line up a little better on that thirds line. It's not a big deal if it's a little bit off, it's not like centering where it has to be dead on her way off. I got to put some bars in here, you know, It's just I can't abandoned that entirely. So I got horizontal and vertical there. But this seems, I don't know, kind of out on its own. So I'm going to do vertical here, which probably would be the same with this this one. And notice that I've taken these designs, these shapes off the edge of the quote no like to do that. Sometimes it helps to anchor it for my eyes somehow. And then, as long as I'm doing things in threes, I'll put another one over here and again. I'm staggering those so they don't line up. You could certainly line them up as if they were fence posts on the picket fence, so I kind of like that I've got things on. The thirds got contrasts in size three circles, three rectangles there, making a conscious effort to not do everything, then fires in circles. So I'm going to do in closer to squares. I think I might like that to be more square, actually. And then I want to do a contrast of size. But I wanna big square or rectangle there have that overlap a little bit. That's too little. I would probably actually want to make that bigger. And then I want to put a circle here so I could put it right on this thirds division and that would center it in this box, Actually, which just happened by accident. I didn't plan for that. To be center there was putting it on the circle. Alternatively, you could try moving the circle to the left or to the right. You could certainly move it up so that it centered both vertically and horizontally. But I kind of like it this way. Time that asymmetric person, you know, Let's try some rectangles again. Let me start this one here and have it go off the page. Then the next one I want to shift over a little bit, and I think I'll make it wire or higher, depending on your perspective. And then there's 3rd 1 I think I will have go off the page on that side, make it wider and kind of like that composition. But I also want to fit a circle in here somewhere, I think, or some contrast that's an interest. So where do I want to put that circle? I could put it here, but I don't want this to meet that corner. There, it it it just doesn't work. Well, when you're meeting the corner there, your eyes zooms in right on that point, and it had better be exactly perfect. I don't like that. So I also don't want it to run tangentially these lines to rent to have this circle go right up to that. So I either have to let me drop it down a little bit and maybe make it a little bigger. That would be better, but I might want to actually shifted a little bit that way or a little bit that way. I think I'll leave it there. I could also say, Put another one up here. I've got empty space there, but I'm okay with that. I like negative space. I put another circle appear that's too instead of an odd number. So I think I'm gonna leave it at just one and leave it there. I like the the weight of this large rectangle down here at the bottom. I would imagine I would ever said that instead of a long, skinny rectangle and still like this bubble idea going up here. So they put a bubble here and then kind of repeat this pattern there. So three circles of decreasing size and I want to balance it out with something over on this side. It looks too heavy on outside the weight. This way is fine. Me? Try putting a long, skinny rectangle. What could I say there? I don't want it. Really to kind of meet the bottom of that one, so I might drop it down a little bit more. Okay, Squirrel. Right on that one. And now I'm gonna have to go back to a long, skinny bars. It's who I am, all right? I have some clearly mutant rectangles here, don't I? Those are intended to be the same width, so I've got to going off to the side over here. So I want a balance that out with one that's going over the edge on the right side, and then I'm gonna put in a circle. I've done circles down here. You see what happens if I put one up here instead? I wanna be careful not to meet that point there. Now, this is Ordinarily we would try to put the weight more down here, all things being equal. So let's try turning us over so that the weight really is more down toward the bottom. Looks like our eyes would like that gravity. Wait a little bit better, but I don't like it that way. Actually, I like it better this way. And I think the reason it is working for me is because thes air acting kind of like a rise in lines And this is the son either rising or setting. So my eye and my brain seemed to be happy with that, for some reason. So again, I've got the three rectangles and one circle. I could potentially do a couple circles doing this number. Who I could have a circle going off the edge. There actually that might be kind of interesting to B three circles Isn't all right. I have eight thumbnails here. I would encourage you to just keep doing thumbnails, make copies of the pdf pages, or do your own thumbnails if you're wanting to, You could even scribble some on the edges if you don't want to keep using a paper. And this is more actually, this is closer to the your average stubbed nail size. And then you could just start laying things out to see if maybe you'd be interested in doing a larger someday. All of that, I would want to do 1/3 thing in here somewhere. I don't know where. What if we did and really planned on doing this with you, But so you could just do some little thumbnails all around the page, Or you could get a plain sheet of paper in just two a lot. A lot of thumbnails in a smaller size. Just keep playing with it. It's a lot of fun to do this. You will find some that you really I don't like all that much and some that you really do. So certainly keep going until you find one that you want to proceed with four. The rest of the class. Little Siri's actually here are my eight. I could potentially do many more, but for the purposes of our classes and Siri's here, I kind of like this one. But I like this one, too. Mm, I'm going. Teoh, choose one of these two off camera. And when we come back, we'll be using our plain piece of paper to do a more refined version of that in a little larger so that we finalized the placement a little more in preparation for figuring out the construction in the next class in the Siri's. So I'm gonna ponder this, and by the time we come back, I will have decided which one I'm going to do. So have some fun with it. Thumbnails. Choose one or two that you really like. That you'd think you'd like to proceed with. And I will see you back here first of refinement. 6. Refining Your Base Design: and we're back. I hope you had good success and a lot of fun doing your refined drawing from your thumbnail sketch. I got mine finished. I did several changes of mind, made some decisions different from the decisions that I made before, and they may not be the same decisions that you would have made in the same circumstances. But that's OK, because you're making your quilted. I'm making mine. I do want to go through what I did and why I made those decisions. So just so you can get some of my thinking process which might help you as you are making your decisions, even if it's just to say yeah, no, that's not what I would have done. All right, So here's my thumbnail sketch that I started with, and here's the drawing that I did on camera, the Refinement and I. When I was doing this change the size of the rectangle, I decided I wanted it larger. I also revise the sizes of these as I went and then this vertical rectangle. I wanted to add some more vertical balance over on this side, and I wasn't sure frankly, about how wide I wanted this to be or for that matter, how I wanted it placed on the page. So I did some more thinking and some more working. And this is what I came up with. I just to say I'm no better at tracing circles that I am drawing them freehand. I actually use my compass to to draw their circles and then went over them in the fine liner so you could see them anyway. So you can see from here that I made all of the circles smaller. This one's actually about the same, but in general it I made the whole set smaller and I actually moved them down a little bit . Not a lot, but a little bit, which gave me more space up here. More negative space up here, more free air. I guess that I like that better. I wanted the weight more toward the bottom here. I also ended up making this rectangle smaller. When I looked at this, it the proportion of the circles and the rectangle just didn't look right. And if I was going to make thes circle smaller than I needed to make this rectangle smaller and this rectangle didn't have enough to it to balance out what was going on over here. So I made this rectangle smaller and then I dropped it down on the page because it was smaller. It had less visual weight in area. So I moved it down so it would drop some weight toward the bottom. And then I made this rectangle wider. Major thing I did made it wider, which certainly helped. But then I decided I really liked to have elements that go off the edge of the quilt sometimes not always, but sometimes. And I decided I wanted to do that with this rectangle which would anchor it more toward the bottom two, which my gravitational high life better somehow. The other thing that I am deciding here and I don't have to decide it just yet, But when we get to the construction class, well, you'll want to have made this decision is where these are going to lie on the quilt in relation to each other. So I have two elements that are overlapping this rectangle, and I have to decide. Is this circle going to visually slide under this rectangle, or is it going to sit on top I think it's going to sit on top, which means you won't actually see these lines. So this these rectangle lines will be underneath that circle. In this case, I could either have this rectangle. Now this this vertical rectangle again slide under that rectangle, in which case these lines would go away and you just have the rectangle. With that, I'm showing just a the top of the bottom. Or I could have this slicing through this rectangle, and that's what I'm pretty sure I want to do. So Then these lines would go away and the rectangle would be. This rectangle would be in two pieces instead of this one. So I think that's what I'm going to do in terms of where these sit on the surface in relation to each other. That's my refined dry, um, and that's it for this class in the series, and the next one will be talking about color and fabric, which are very important. Elements are characteristics of your quilt, so we want to spend some time with that. If you still think you want to refine a little bit more, take some time to refine your layout. Um, in your refinement drawing and give yourself a pat on the back. Good on you. For you. You've got your basic design for your first modern quilt. I'm happy with what I've done. I hope you're happy with what you've done and that's it. With our refinement drawing when we come back of that. A few final thoughts about where we've been, where we are now and where we're going to go from here. I'll see you in a bit. 7. Final Thoughts: your first modern quilt is well on its way. Well, who? Congratulations. In this class, you explored possible arrangements and designs. You arrange some basic shapes to basic shapes with some design principles in mind. You then chose your favorite that you wanted to pursue through the rest of this series, and you refined and finalized your basic design. While you await the next class in the Siri's, you might want to do some more thumbnail sketches or refine one or two more that you've already completed. I would also encourage you to continue to look at modern quotes again, not to copy, but to provide inspiration for the characteristics you might want to incorporate into your designs. Please remember to post your project on the project page and include your thumbnails if you like. I would love to see those as well, but we all want to who and all over your design. If you have questions or one specific feedback, be sure to ask that in the discussion I'll be watching the project pages and that discussion section. The next class will be on color and fabric. Be sure to follow me if you want to receive notification when that class is ready, which hopefully won't be too long until our next colorful time together. Be well, enjoy life and play with design. See you soon.