Design a Bold, Modern Quilt Part 2: Color and Fabric | Karen Burns | Skillshare

Design a Bold, Modern Quilt Part 2: Color and Fabric

Karen Burns, The Warped Spinster

Design a Bold, Modern Quilt Part 2: Color and Fabric

Karen Burns, The Warped Spinster

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
9 Lessons (1h 9m)
    • 1. Welcome!

    • 2. Materials

    • 3. What About Color?

    • 4. Choosing Color

    • 5. Fabric and Prints

    • 6. Using Prints in Modern Quilts

    • 7. Auditioning Fabrics

    • 8. My Fabric Choices

    • 9. Final Thoughts

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Color and fabric are the focus of this second class in a series which walks you, step-by-step--through designing your own modern quilt.    We'll review some color theory basics, explore color and print fabrics, and how to choose them for our modern quilt.

I recommend taking the first class in the series before watching this one; it builds on the process and project from that first class.

Karen's Modern Quilt board on Pinterest

Meet Your Teacher

Teacher Profile Image

Karen Burns

The Warped Spinster


Hello, and welcome!  I'm Karen, and I'm glad you're here.

I've been making quilts for nearly 50 years, and have been teaching quilting and designing quilts for several years.    In the past year I embarked on designing fabric--because what quilter doesn't love fabric?

I retired from the library world six years ago, and since then have spent more time teaching and designing, and pursuing other interests:  reading, researching history, spinning (fiber) and weaving (hence the Warped Spinster name), knitting, etc., etc.   Basically, I love fiber.

And chocolate. 

See full profile

Related Skills

Graphic Design Creative

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.



1. Welcome!: Hey, everyone, I'm Karen, a k a. The warped spinster back here to talk about adding color and fabric to the bold, modern quote we designed in the first class. If you haven't taken that class yet, I recommend that you check it out before doing this one. As we're going to be building on the project from that class in this class, we're going to be talking about color. Of course, we'll first start off talking about materials. You're pretty basic. You can probably find them around the house or their readily available from an office supply store or a big box store more about the materials in the next video. Then we'll look at some basic color theory as it applies to quote design. This isn't going to be in great depth at all. I just want to review a few basics, so we're all at the same starting point. When we talk about color, we'll look at some methods for choosing and exploring color and fabrics for your quote will be auditioning colors and fabrics for your design and then will be actually choosing the colors and maybe the fabric at this point for your quilt. Your project then will be to choose the colors and the fabric for your design and to share the color drawing of your quilt. We'd also like to see your fabric choices. Of course, if you're ready for that where quilters, we always want to see fabric, I hope you'll join me for the class. It's going to be a lot of fun to play with color. See you soon. 2. Materials: E. I Welcome back to the color and fabric class. Let's look at the materials you'll be using. You'll want another copy of the thumbnail template that we used in the first class. I provided a link for you again. Pull out your refined drawing that you finished in the first class and a few sheets of tracing paper. This is Skansen. It just happens to be the 1st 1 I pulled off the shelf. It really doesn't matter. You just need a thin piece of paper that will let you see through to your refined drawing. Alternatively, if you have the capability, you can make a few copies of your refined drawing, then for playing with color. Of course, you'll need some tools with which to color. There are a couple of choices I'd recommend, first of all colored pencils. I have a set of like, I don't know, 180 or something, but you don't really need those. Just do some some basic colors. Red, yellow, blue, green, purple, pink if you want. I don't have any orange in there, but I'm gonna add in an orange. I guess really, you don't need a lot of colors. This is just to lay out the basic kind of use and colors that you want to use. You could also use crayons. You weren't gonna need 64 by any stretch of the imagination, 24 would probably be 20 at plenty. 10 isn't enough, but 24 would be fine. I'm surprised I don't have a 96 floating around somewhere. I wonder what I did with that. You're not going to need that, Betty, Of course. But it might be an excuse that you need to buy a big new box of crayons. I'm always looking for an excuse for that. Again. It would be useful to have the selection of colors of red, yellow, blue, green, orange, purple And that's it. Let's move on now to using these materials. 3. What About Color?: So what about color? Color is very complex, but we're not going to dive that deeply into it. I want to review some basic color theory as it applies to quilts, because it can help you to make some choices and decisions. Be aware, though, that this isn't all by any stretch of the imagination there is to say about color. Nor is it the only way to approach color, but it will work for our purposes. So a few basics. You may have learned these at some point in your life, but just in case you haven't or as a review, if you have, we'll start with a color wheel and the three primary colors red, yellow and blue. And while we're here, here's a thing about the word color. What we usually call color is referred to as Hugh by our fellow artists. So technically, the three primary hues are red, yellow and blue. Because we're also used to call in a color, however, will just keep using that word, because frankly, you could bet on me slipping up myself. Okay, so three primary colors. If we combine each of the other colors, we create secondary colors, red and yellow combined to make orange, yellow and blue MK green and red and blue make purple or violet. Now, if we were to combine each secondary color with each color on either side of it, we'd have tertiary colors and so on. We're not going to go that far. However, This will be fine for our purposes, another aspect of color that might be important to your decisions. Temperature. Three of the secondary colors are considered warm, while three of the primary and secondary are considered warm yellow, orange and red at the other side of the color wheel. The other three are considered cool blue, green and violet. This can affect the mood and feel of your quote and could play a part in your color and fabric decisions. Generally, the cool colors or more calm and rest ful more serene, while the warm colors evoke excitement and energy. When you're considering colors for your quilt, do you want to look at all warm colors or all cool or a mix of both? Each will have its own mood and feel to it. The temperature can also affect the perception of death. Death depth in some cases, warm colors advance or appear to move forward, cool colors recede or move more to the background. That may or may not be applicability to this quote designed that you're doing, but it's a good thing to keep in mind as you're designing other quotes. There are a couple of other characteristics of color to think about saturation and brightness. You'll often see hue, saturation and brightness in the color functions off, say design and illustrations software. Sometimes you'll see it is HSB. Sometimes you'll see it is hs L, which is hue, saturation and luminosity instead of brightness. So basically, saturation is Thea amount of gray in a color, and on the left hand side here, you'll see that it starts off with a pure saturation of color. Isn't have Annie Gray in it, and then, as you keep adding gray, it turns into almost a gray. This is kind of Ah ah, Blue grey on the right hand side, under the brightness as we move down, were increasing the amount of white in it. So there is more black than white in that top very dark blue that's tending toward well, it's a navy blue now had much more black to it, and it would turn to black and then just adding progressively more white as we move down the circles there. These can help you to create contrast, which creates interest, especially if you're using just one or two colors on a quote with several shapes on it. You could vary the saturation, or you could vary the brightness. Or maybe some of both. You tend Teoh. You can also change the color, but keep the same saturation and brightness. That's a little, I think, harder to do with fabric. We don't have unlimited choices in colors. We have a lot of choices, but we don't have unlimited choices. That's our brief foray into color theory. With that in mind, we're going to look at three methods we can use to choose the color and fabric for our quilts. 4. Choosing Color : So how do I actually choose the color? Got all this theory behind us? But how am I going to choose color? Were to look at three methods that you might use to help you choose your color and your fabrics. First up color schemes. There are many color schemes based on the color wheel we looked at earlier, but let's just look at the three most basic, monochromatic, analogous and complementary. Monochromatic is a single color or a single Hugh. It's just one color on the color wheel. There may be variations in saturation or brightness might be light or dark, but the basic you or color is the same. In this case, it's green, but there's quite a bit of contrast there in variation just from looking at saturation and brightness. Next up is analogous, and this color scheme uses Hughes that are right next to each other. In this case, I've chosen green and blue, which are two of my favorite colors to use together. I've chosen different saturation, and brightness is for the blues and the greens to add a little more interest, but just having the two colors as interest in the fact that they're next to each other on the the color wheel means they just almost blend together. Not really. But, um, there close neighbors and they get along well with each other, shall we say, And I might have chosen any other, too. I might have chosen yellow and green or purple and red or purple and blue. Then there's complimentary, which are Hughes, that our office at each other. And you're probably kind of familiar with some of those Christmas colors, for example, or red and green and their opposite each other on the color wheel. The colors of violet and yellow are the royal colors. If you think of orange and blue, it's not quite this blue, but I think the Denver Broncos This is such a common scheme because they just look good together. Of course, you can always figure in saturation brightness and so on. When you're using complementary to add even more color in interest, notice that when you're doing opposites on the color wheel, you have one warm and one cool. A second method is to choose a favorite fabric, pull out some fabric that you really like, and look at the colors. Are they just a few colors or many. Are they the same saturation of brightness? Or are there variations? What are the colors of the Hughes themselves? Are they warm or cool colors or both? Here is an example of ah, fabric I bought. This is a designed by Katia Hoffman for Windham Fabrics. It's called Grand Illusion, and as I look at the thing that attracted me most was this teal blue and the purple? Because those are my two favorite colors and my favorite colors together as well. Honestly, the red doesn't do a lot for me, but I really like that touch of of orange and gold in there. This red is sort of it's it's a pretty orangey red, so a little bit of red in there, that's that's pretty orange is something that I apparently like with this. There's a little bit of green in there, too. Overall, this is a cool color scheme with pops of warmth in there so that orange and yellow and that red are adding that that pop, um, from the other side of the wheel. So, as I said, the red doesn't do much for me in the combination except in its more orange form. Not as happy with this. Read out on the rim here, but the oranges in here I really like. So that tells me that I've got blue and things teal blue and purple that I really like with a pop of gold or orange in it and maybe a little bit of green. So these are things that I'm going to take with me when I start playing with color. This may be a starting point for me. I'm going to use this teal blue in this purple and there may be popping a little bit of color if I can find a place for So pull out a fabric that you like maybe completely different from this one. You may have less saturation, so your colors are, um, more gray tones. I tend to like bright colors, so mine usually have pretty high luminosity. This teal blue iss iss fairly luminous. Pull out what you like. Analyze the colors, the Hughes saturation and brightness. Are they warm or they cool? Um, are the complementary are the analogous? Is it monochromatic? Maybe you like a monochromatic color scheme that's just one color that has different saturation. Zen brightness is that moves around. You can also add, of course, black, white and graze those air considered neutral, although there are grays that you have warmer graze and then you have cooler grace. But black and white are definitely neutral, and gray can add some neutrality to it. You can go either toe to cool or warm with those. Take a look at your fabric. Take some notes on that and maybe pull out another piece of fabric that you really like. Take some notes on that and see what intersex there. What things do you like? The same about, um, And for the third, we're going to go back to our modern quilts Pinterest board, yours or mine If you choose that instead, I'll provide the link to my Pinterest sport, which has a few more quilts on it than the last time we looked at it. We're going to scroll through. It may be several times and notice which killed quilts really catch your eye. As you do that, Try scrolling quickly, at least for me. It seems to make it easier to really tell which ones catch my eye. So let's girl through my board here here we are back at my modern Quilts Pinterest board. There are a few more pins on here than the last time you saw it. I'm going to first of all, scroll through this very quickly just to get a very quick first impression. If you're prone to motion sickness, you might want to close your eyes for the next few seconds. All right, that was very quick, but I'm going to scroll through it again, probably several times more slowly. I just wanted to get it's the first impression. Look at this and what I'd noticed. There are several things that I noticed. First of all, I like bright colors very much. It's natural that they would pop out because they're just more noticeable is bright colors . But beyond that I noticed that I see the bright colors more in the more recent pins and less so in the first pins that I did. For whatever that's worth, I'm not sure what that means. My tastes are changing. Apparently, second thing I noticed is that I like a lot of colors together. This I love this quilt, the designers not a masterful job of combining all of those colors and using different saturation. Zand luminosity is to create this sort of glow up here in the top center of this Daytona Beach quote. It's, um, it's a beautiful quilt. It's the other. Another thing that I noticed is that there's a lot of orange, and I don't know whether to laugh or cry. Orange used to be my least favorite color, but I find it creeping into my quilts and my designs more and more. I'm not really surprised by it anymore, but I'm still a little bit dismayed. I like also these air bright colors. This is a complementary color scheme. Remember complementary opposites on the color wheel so, like Christmas colors on these are Christmas colors, the greens, lots of different greens. What looks like a yellow here is really just a very yellow green. And then this red, maybe an orange. If it's red, it's a very orangey red, and I really like that mostly green with that. Those small bits of the complementary color, too, really make it pop. Same thing here, lots of greens as the background and then the pink red roses mixed in there. Here's some of that teal that I really love. I love this black and these warm greys and usually like warm greys that much. But I really like them here. And just that black always makes a bright color really bright really makes it stand out. It's a little trick you might wanna put in your hat. More bright colors, lots of bright colors. Look at this down here are luminous. This is because of the the changes in brightness for these fabrics in the middle up here, there are lots of colors again, but it's a more serene sort of feeling to it. At least that's how it feels to me. I wouldn't say it's somber. Um, some people might. Maybe you think of this is as more somber. But it's a more peaceful feeling to me, and it has both warm and cool temperatures in it. But because, um, of the lower saturation and lower brightness in these, it dials down that excitement. It makes it a little more calm. Here, you'll see bore that black with the brighter colors, really intensifies that brightness. And look at this red next to at Black. We've alternated the blacks with the bright colors, which really makes those pop This one has lots of bright colors, but it has some neutrals, which is either white or very light gray that pulls all of it together. Another one with lots of brights. Here's another complementary scheme. I often like backgrounds that are when I call fractured. They're not just a solid color there. Different tints, shades. Saturation is whatever of Gray's like that, especially, this is a little busier than I would normally choose, but I keep that in mind when I'm designing this well. Here's another analogous color screen with blues. Lots of different blues, really only one or two greens in there, but lots of blues. Here's a monochromatic and that teal green turquoise, he kind of color. Here's another monochromatic and lose. I like this gradation from the very dark, at the bottom to almost white. At the top, you can see sort of the same thing over here, the very light light blues that darkened and darkening and end up as black like that. Another example of these fractured backgrounds. Here's one in a it's a little more subtle. I tend to like, more subtle when I'm doing that. I generally, like graze, especially cool grays rather than warm tones like creams or beiges or even the warmer graze tend to like the cooler grace. I like this gray in contrast with the red in the pink here, but the greys air warmer than I ordinarily would use. You may like the warmer graze better than the cool ones. This one also has a gradation, but it's, Ah, diagonal one. So the more saturated home, darker colors are in the upper left and lower right corners and then the, um, less bright colors. Well, actually, they're less saturated. But, um, the lighter colors air in between there. Here's a cooler kind of gray with the brights, and here's another. This is really striking, isn't it, that the contrast between those two colors is really something? Not to mention the different sizes of the squares, rectangles, marital squares? This is another complimentary color scheme, the dark blue, and then that orange. It's Ah, very orangey red in some cases, but that's a complementary color scheme. What else I see. So as I've been going through this, I like bright colors. I like many colors. I will try many colors on the design that I've had, but I'm not sure it's going to work because I only have C three circles, two rectangles, five shapes. And if I put a different color in each shape, there isn't much there, too. Hold them together to pull them together. They'll just be that background. And I'm not sure that that's going to look right to me. I'll try it. It may be wonderful. I have my doubts about it, but I will try it. I may try to put some oranges in there. We'll see. I'll try it. I'm liking oranges more now. Oh, here's here's another one with that luminosity in the center. These are less saturated and darker on the, um, perimeter of it. And then the center is luminess, which makes it glow. It's really cool. I like back to my notes. I like the, um, complimentary color scheme here, and I can use that to my advantage when I'm trying out different colors. For my quote, I like this green and red, but I may like other complimentary color schemes as well, so I could try, say, uh uh, purple and gold or a new orange and a blue like the one we saw further down earlier this luminosity that I talked about Sorry, I'm jumping back and forth here, but this luminosity here that I talk about because of the contrast between these more luminous and these darker colors, I can use that I'll file that away for other quotes that I make. There really isn't a lot of opportunity to do that in the design that I have, because there's very little, um, overlap, and the shapes aren't really right next to each other surrounding each other, which would be when that would be the most effective. So I'll file that away. I like the cool grey backgrounds in general, and I like that gradation from lights to darks. I do also like analogous, especially with blues and greens. Another one down here. Here we are ID like this blues and greens combination. Maybe I wouldn't use those blues and the and those greens, but I had to light blue and green together. I also like teal and blue together. I'm a little surprised I Teel and blue teal and purple together. I'm a little surprised I have next to no purple on here. This one has some. I really like those colors, too so what? We like changes, and that may be happening to me. Please don't tell me I'm going. Sorry. If you like orange, it's just not been my favorite color, but it's really speaking to me now. It's amazing. All right, so those are the notes for myself. I'm gonna go write them down. I invite you to look at your favorite quilts, whether it be on a Pinterest board or in magazines or photos that you've taken it. Quote shows, and we will use those notes. Then, as we move into the next lesson, we'll get our hands dirty. Will just get right in there and start coloring our quote design. See if we can figure out what we like best in terms of colors, and we'll also talk a little bit about fabric and how Prince may relate to that. Which hopes I'm jumping around again. Um, also, one thing I've noticed on here is that I most like quilts with solid colors rather than prints. It's not always true. I do like some with prints. This, for example, here with the polygons. There are a few prints it here, especially in the grays. I tend to like settle things a little more in prints again? Not always. Nothing that you're gonna have in your characteristics is going to always be true or be true for you forever. But I do like that little bit of print in there. Add some interest is well, so have fun looking at your quilts and making notes about what you like and what you want to try out with your own quote. 5. Fabric and Prints: Of course, solid colors aren't our only choice. There are wonderful prints available to us. It's almost a embarrassment of riches. Not that we're complaining again. We can go back and look at our favorite examples of modern quilts and see what kinds of Prince heir used if they're used and observe the characteristics of those prints. I'd like to share with you some characteristics that I've observed over the past few years just to get you started. You'll probably want to add to the list or maybe take some things off the list. And, of course, these aren't true. In all cases, they're just general observations. I'll show you some examples as we go there, just very rough sketches to give you a general idea, and then I'll show you some actual real life fabrics with these characteristics. First, they are often made up of geometric shapes and or lines. There aren't many florals. There are some exceptions, but in general there pretty geometric or linear. They seem to be there quite large or quite small, very few in between. They often are made up of two or just a few colors, the line or the shape, and then the background color. They have what I call a grid ish or linear composition, so the shapes are all facing the same direction. I guess you could say the one on the left. The shapes are all running up and down. There's nothing turned on its side. They may be turned 100 and 80 degrees. We wouldn't know that. But there are no angles, no significant angles anyway. They aren't on their sides. Where is on the right hand side? They're facing every which way, which can be very useful in quoting, because when you have motifs that are upside down and sideways and in the angle, that means no matter how you cut your fabric, no matter which direction it's facing, it's all going to look the same. There's no up or down. There is no directional to it. Something is always going to be upside down, and something is always going to be right side up. And finally, script was popular for a while. Still kind of is, but I haven't seen as much of it lately. It can add some nice texture, especially to a background but also to some shapes. Next, let's see some prints with these characteristics in real life, I've made a quick trip to my quote. Well, I never make a quick trip to Michael Chop, but I made a I plan to be quick took to my quote shop and picked up a few fabrics that I thought would illustrate the characteristics that I noticed in the modern quotes that I like to see. You could have some real life examples here. I wouldn't necessarily. I know I wouldn't use these colors together. Except maybe these two, Um, I might, but these are not in their integrated, linear sort of arrangement. They aren't that tossed pattern that I showed you. So here's one that's in a linear arrangement, and these are Those were relatively small. This one's a little larger, and these are all in just two colors, the main color and the imprints, which are light colored so they're relatively small. Except for this one is getting a little larger two colors, geometric designs and a sort of a gridded layout. So these are the kinds of fabrics that I would probably choose if I were using prints in my quilt tend to again. This is, of course, not written in stone, and you should use what you want. Here are a couple that are that's the same print, actually, in different color ways. These are not geometric shapes, and it is sort of a tossed pattern. So there are exceptions to every rule. Of course, I'm not sure I would necessarily use this in the quote that I'm planning here, although it might be kind of interesting for some of the circles, too fussy cut so that these flowers are centered in the circle. One of those flowers might be kind of fun to do, but again, this is in two colors. Although it is a more of a tossed pattern and it's a larger size, then I have some collections here, Um, Zen Sheikh thes three year olds and she Zen chic, um, publishes produces a lot of fabric set. I consider using in my modern quotes to break the end on here, and this is day in Paris, which will look familiar to you if you took my whatever class, and it has, as most fabric collections will have smaller, medium large prints, different color ways of the same print. These are again geometric tight patterns. Many of them are just two colors. There is the hero print, which has a variety of colors from which these others are pulled out then. So there are all kinds of Prince in here and there there, mostly smaller. This one's the largest in the collection and thes air many charms, and they're kind of interesting for doing this. If you have smaller shapes on your in your quotes than this is a good way to see how they will look at their in smaller pieces. So that is a day in Paris. It's a collection bison sheet for Mota here is fragile, also from San chic, and it has actually that's a a tossed kind of pattern here, and some geometrics and the's are these. For example, there's a very faint grey pattern on there and get it up to the camera close enough to see . And those would be great for backgrounds. And if you wanted to do a quote that was, say, black and white with a splash of color in it, then this might be an excellent sort of collection, for you've got some circles here with two different colors in them, teal and gold. So It's that blue and yellow complementary color scheme with the neutrals, which would look great. I really like. I like black and white with a pop of color. So we've got a stripe. We've gotta tossed pattern. We have something that's, Ah, very small, linear kind of print and then in different color ways. So you've got some good choices here in certain circumstances. That might even be your background kind of thing if you had home this gold. Also, it's kind of a mustard yellow in your color scheme somewhere. So that's from Xander chic. And that's cold, fragile. Here's another one from Zen Chief, which would be This is very little print to it. Exes and pluses and dash lines on it and hold that sort of like my design, except it's got circles on both ends and here. Cem check with some different geometrics. There's hexagons in there. There's some plus signs in different color ways. Any of these many of these could be used for background if you liked, or they might be used as your shapes if you have a dark background. But again, these are in grid or linear arrangements. For the most part, small prince a small scale, and the next one I want to show you is from basic gray, also designed for motive. My pre cut Smaltz around and here is an example of a script type of fabric, which could make a really interesting can give you a lot of good texture in the background . You just have to make sure you have your main fabrics. Safer your shapes that are gonna be good contrast with here so that this doesn't take away from those shapes. Here are some others that could be good backgrounds. Basic grade doesn't always have great colors, but this collection it's pretty much grays and whites. And here's one. If you're somebody who likes gray and beige cream color, which is a very popular combination, then here's a fabric for that. So it's really a matter of keeping your eye out when you go to your quote shop or fabric store and have something sort of in mind. What you want your background to be is, Do I want something that's very small? Just adds a little bit of texture to it. Do I want something that's pretty bold because I'm gonna have really bold bright good, says shapes, and just keep an eye out. Sometimes you have to look for a little while to find your fabric. And sometimes, actually, sometimes fabric will tell you what quilted waas would just start doing. This designing So chief same fabric is really, really a fun part of designing. So those are just some examples of the types of fabrics that I typically used in Michael's again. You're gonna will want to look at the quotes that you like, the characteristics that you find in the fabrics that they use, and then translate that into your own quilt for your own particular style. 6. Using Prints in Modern Quilts: If you'd like to use prints in your modern quilt, there are a number of ways you can approach it, and, of course, you can come up with your own ideas. First of all, you could use it in the background for that negative space. You'd probably want to make it a pretty subtle prince who is not to detract from your main design. Your shapes, but a subtle print could add texture to the negative space. And then, if you use, say, solid colors for the shapes that sent extra bit of contrast, I would remind you that or warn you whatever that, unless you are using applicator, place all your shapes, the print of the background is going to be broken up when you piece the quote now, there isn't necessarily anything wrong with that. You just want to be aware of it. When you're looking at a different fabrics for your background, we'll see that better when we talk about construction in the next class in the Siri's. You do want to remember, though, that it is a background and you don't want anything that is going to detract from your main design. Your shapes on the background, it could overpower them. And you lose that power that month that you're trying to get with, um, with a modern quote. This, for example, is probably too dark. It competes with your shapes and the colors for your main design. However, that same print, in much more subtle, lighter tone, could work very well. If you want to print for the background, you might use a print in just one of your shapes to draw the I'm or two that shape toe. Accept it. Here's one of my quotes called Unplugged, and this is the final quilt. It's even been Bounty eight um, the final quilt on the left here, and I used a different fabric in just the Unplugged version. Yes, I know they're all unplugged, but you know, it's a metaphor, so that fabric you it really draws attention to it. In addition to the quilting into the background, that's different. But this one difference in it can really draw the eye to it. If over on the right is when I was auditioning fabrics for that unplugged and I thought this fabric was going to be perfect, it's geometric. It's really cool. Thought it would be great, and I got it into the quilt and it was clear that's not what I want it all. It wasn't, um, creative enough the the point of this quilt waas that I love technology. I use it all the time, but most often when I'm being creative, I like to do it with pencil and paper or painting paper or whatever. So that's what this wild print represents, and somehow this orange print fabric didn't do it. So a couple of lessons here one is You gotta look for the right print that says what you want it to say, and also that having one thing different, everything solid and then a print or different color, whatever can really accent that one thing. This is a quote that haven't quilted yet called Oxford Comma, and I'm on Team Oxford Comma, which is just the comma before the and sign when you have a list of things. So this right here is the Oxford comma. Anyway, these black rectangles represent the text and something, So here's a word in the list. Here's another word in the list. The 2nd 1 there, etcetera, etcetera, and then the colored 3/4 circles represent the commas. The full circles represent periods. So what I could have done because this is Oxford comma. And that's what I want to accent. I could have made this 3/4 circle this line green one down at the bottom. Uh, not the bottom, but the the lime green one toward the bottom. That is the actual Oxford comma. So I could have, um, used a print in that toe accent it more could have made it a little bigger toe. Accent it more. Um, I could have had the others be gray, and that would be a color. So I might have used a print in lieu of that lime green 3/4 circle. There you could use a print on all of a particular shape. Doesn't have to be the same print. Um, you have to look at how cohesive it looks at their different prints. In this case, I'm using monochromatic scheme. So it works. Okay, toe have the same print. But if you have different colors, you may be using different prints, so it may or may not work well on to use it on all of a particular shape. This is punctuation which is still very much. It's not even. It's maybe 1/3 finished here. It's kind of ah, funky lighting of it. But this is why I don't film down in my studio because the lighting is really funky. But in that this is the same idea as the Oxford comma, except that I have different kinds of punctuation in here. And in this case I could have used a black and white script for all of the black rectangles and represent the text that might be kind of ah, cool way to use print. In this quote, I might make another one that I do that cause I actually think that's kind of a good idea. You could use a print in or Prince in all of the shapes with either a solid or a background print. If you're using a background print, I think you would want it to be very, very subtle. It would be much less contrast between the shapes and your background. If everything was a print, you may want to if you're going to do that to want to introduce more contrast in some other way. So maybe your background print is a black and white print or gray and white print. It's pretty subtle, and then you can use um, darker. Colors are bright colors for your shapes, which would then draw the eye more to that and send the background more to the background. Eso it's it's playing a supporting role, but not a starring role. Be aware. As you're choosing Prince Fear. Quote that you're going to be using a relatively small piece, so if you're using a very large print, you're probably not going to see all of the pattern or the motif on the pattern, which can be really interesting. Actually, it also gives you the opportunity to fussy cut to choose the portion of the design that you want to use. So those are some ideas for how you might use prints in your quilt. If you wish to. When you move on to more complicated designs, you'll have more options for how you use the prince. But the's forgive us plenty to think about for our first modern quilt 7. Auditioning Fabrics: and we're back. I've been down to my stash and pulled a few pieces. Some neutrals got some graze here and a couple of different whites. This is a creamier, warmer white. This is pretty cool. White tend not to use this warmer white, so I'm gonna set that aside for now. I do like this, and here's Here's an interesting thought. What if I had solid colors for the shapes and I had a pattern gray for the background? This may not be subtle enough. I might want something that that reads a little more like solid, but to give it a little extra texture, I could have ah, print gray in the background. This gray is too light to use with these bright colors that I want to use it. It's to dole this brighter. A darker gray is not bad. I really Sometimes I really like dark gray with these bright colors. It may be that it it darkens the quilt more than I want. When I find the shape fabric that I like the colors that I want for the shapes, I might end up cutting out circles of various sizes and of these shapes and put them on a darker gray and see how I like it before I start doing the whole construction thing. I can't do that yet because we haven't done the the figuring for the construction. Here's a line green print that's got a little different green in it is. Well, that might be kind of interesting, because this is a directional sort of print, more linear. I might tend to use that more in this kind of one of these rectangles rather than the circle. And I could go either way where it cuts that way orthe this way. But I might also try it as a circle. See what happened. Probably can't find this fabric anymore. Anyway, these are all coming out of my stash. And when I started pulling out line greens, as you will notice with fabrics, there are all sorts of line greens in the world. So one of the advantages of having a stash it doesn't mean you don't go out and buy fabric . Dress me, um, is that I can look at thes and have some idea going into it Which direction I'm going to go . This is, um, I think, to yellow for what? I want those to go wonderfully together, but I think they're too yellow for what I'm looking for. This is really the kind of lime green that I'm looking for. This is the same print I think this is. Missus Dublin has the linen look, but this is It's not saturated enough. I think it's it's looks dull to me, but that may end up being what I have to do. In order to get that gradation that I want, I would have to take a look at it. That's gonna be a pretty small piece because the lightest of the green will be at the top. So that might work. And this has got a print in the middle of it. But that would be okay. You can probably barely see that print on here. Um, it might be all right. This is not yellow enough. This is too much yellow. It's too yellow. And that's not yellow enough for my purposes. So right around in here is where I'm gonna be looking for. That's not what I'm looking for. Right around thistle, sort of lime green is what I'm going to be looking for when I go to the shop unless I have a note here. Some of those and then I just pulled these out just because they were kind of interesting. It's Ah, blue and green with some yellow. That's a very interesting Willie green, green, yellow something. It's almost a mustard color just for interesting prints that you might decide you like it. These were the colors that it was used in. The almost are, um, that might be kind of a fun print to put in one of the circles like frogs in the pond. I actually kind of like that idea that be fun in the larger circle could add in some yellow somewhere. So far, I've got about eight quilts. I'm gonna make donate. OK, so and then some teal, some blues. Mostly Thiel's again, all kinds of them. I really like this. I'm pretty sure it's Dublin. I have any selvage here to tell me. I think it's called Dublin. It's pretty similar to Dublin, anyway, if it's not, and this is the sort of of teal that I'm looking for, and I needed a dark teal do I? Well, I could use a dark teal. So on this one where I have this different blue. I could use a different blue, so I have a couple of different ones here. I could use a blue like that, which would give me more contrast between these two rectangles. Or I could use the darker, a greener, darker teal to go with those and again, could be Prince. There are a lot of prints of technically prints, but they read is solid from a distance, and those are can be very useful to This is not the right teal. It's got too much gray in it. It's kind of dull, so I'd be looking at either this darker teal. These actually aren't too bad. He's three. Probably have enough here to to do the circles, too. So if I didn't have enough, um, this is sort of what I would be aiming for when I go to the show. All right, I would say a quick trip to the shop that that never happens in my shop. This blue is to blue. I like it, but it's too blue, and it's a little bit gray, too. This is is kind of a teal green, kind of. It's more of a mint green with a lot of gray in it, and that's just not at all what I'm looking for. Here's another print that could be kind of fun and interesting. It's got different blues and this line green that I like. So that might actually be good for this one because I've got two different blues here and I've got the teal blue and then the darker blue here. And then I've got thes three greens lying rings. So I could be interesting to try to tie those together with a print like this. I'm not gonna have enough of this, too. Make that circle. Maybe I'll have enough for the small circle. Depends, But that would be kind of interesting that would tie this blue thes blue rectangles together with the green. That would be kind of interesting. All right for this one, then I still want to do teal. This doesn't look very t old, but I still want to do Teal so we pull those out. So the teals and the greens let's do those two together because from that 1st 1 they'll be together. So that's the other thing to look at is how are those blues and greens going to look together. Would it be well served to have this actually be another blue? So had these two different I don't know. I don't really need three Thiel's doing. I need three greens for this design, so I probably wouldn't use that. Teal, I know that I like that green with it. I need to different Thiel's so I could do didn't choose fabric fund. Just get a kick out of this. All right? So I could use say, those toes, too with a teal green. Not sure how I feel about that. That's pretty blue. Um, pretty dark I may want to use. And that just does nothing worry. It's kind of block Sometimes I can't describe it the other way then and that washes it out or it's blogger. Okay, that contrast I like with that that teal So I like that green. So I like using that blue, I think. But then I might want a darker slur, Teoh, Or maybe not or there may be something in between said I could get behind, but I think I definitely if I'm gonna put the teal, this kind of teal next to this lime green. I think I am going to want that different blue in there with it. All right, So that's that for this one. Least until I get to the quote shop. I wanted to give you some idea of her wife. I go through my choosing process for fabric. There's a lot of walking around the shop and coming back to look at it, and my first impressions are, that's too grey. That's warming. That's cool. All right, so now this one, I just need one gold. But I'll need two different teal blues or whatever blues I'm going to use. So if I have a couple of blues that I specifically want to use then so I could do like thes two, I chose thes two blues. There's not much contrast between those two almost need a darker one. Let's see how this goes with that. It's kind of dull. I'm not sure not sure about that, all right, and I have a variety of goals here, some that are really pretty orangey and some that are less so. So I need a gold for here. So once I've chosen my blues Thiel's, then I can choose my gold We'll probably be easier for me to find a gold that will match the Thiel's than to start with the gold. It's actually not bad. This is gonna be too like that. Looks dull. This is quite orange. It's a brighter orange than you're seeing on camera. I'm looking at the monitor here. That's in fact, these air all at least as I'm seeing it on the monitor, These air all brighter in person than it seems you're getting there. This is his more green and brighter than you're seeing is this is brighter. So I don't know that I like that with it. More orange than I want some kind of down to these two. You think I'm gonna lean more toward that? Although until I have the exact Thiel's that I want to can't be sure about that, I don't object to this print or at all. If this were a more golden, less orange and more gold, I would like this a lot. It would these circles would mimic the shape that I'm doing, so I wouldn't mind that as a print at all, and then it would be yet another contrast with ease. If I did thes solid or at least read salad. Then this print there would make a nice contrast to make that pop even more. That would be cool. Or I could go with this and find blues that go with it. Not sure how I feel about that. There's another quote and they end up thinking number of samples here. All right, so that's just kind of my process for going through If you don't have a stash. Not to worry, you got a quote shop. It's your soon to be personal stash. You can go in and Phil around with fabrics. 8. My Fabric Choices: ID like to show you a bit about how I made some decisions and choices of fabrics for my quote and go to be working on the blue and gold version of my quilt here. So, first of all, I cut out some shapes to try out with each other and on various backgrounds. These are, as you can see, not exact circles or rectangles, but they are pretty close to the correct size because I want to see how these different fabrics work with each other on the within this specific proportions of the quilt. I know that I want to start with his dark teal, so I just have that one choice there. And I have two different possibilities for blues to try out, as well as two different choices for gold. So one of the one on the right is a little dollar not as bright as the one on the left. I started out with them on white fabric for the background, and if you don't have various colors of fabric that you'll see me using for the background , you could just use construction paper or other colored paper, or just stick with white. The first lighter tool that I'm showing here has a slight print on it. You can see those blotches of a lighter teal there, and I don't object to that at all. As long as the color is right. I'm trying the lighter gold here and I'm pretty sure I don't want that gold. It looks a little dull to me. It looks brighter in this picture than it actually does in real life. And, you know, I I tend to like bright in my quilt. Um, distant note. Here, you can see that that dark teal is shadowing through the gold color. We don't want that to happen in our final quilt. And in the next class, when we talk about construction, we'll talk about how to deal with that. Now I'm going to try out the darker goal, the brighter gold, and I like that better. But I'm still not sure about that lighter teal color. Yes. Now this other solid teal is better. It's brighter. Was mawr luminosity and saturation? It's not a huge difference between this one and the one before, but that small difference in color makes a huge difference to my eye. I'm not liking this lighter gold any better here than with the other teal. So I swapped that out, and I like this very much. So this is what it looks like on a white background, with an extra threat in their little extra texture for it. And I like it. Um, it's nice and bright with lots of contrasts, and I like that. But I wanted to try some other backgrounds. So here's a light. Gray tends to be on the bluish sides, not quite as blue as you see in the photo, and that really doesn't do a thing for these fabrics and shapes. So here's a dark grey again. It's not quite his blue in real life, and I really like this to actually, frankly, it's a toss up between this one and the white. I tried a gray print. I didn't have very much of it, but I wanted to try it, and it just wouldn't work for what I wanted this to look like. So I have a decision to make between now and when we start doing the construction. Next time I probably won't have enough of this. Gold is brighter gold to make the larger quilt, but At least I have some fabric to match the color and brightness. So that's our exploration of color and print fabric. Next, I'll have a few final thoughts and a few things to say about the next class. See you there. 9. Final Thoughts: give yourself a pat on the back we're getting there. In this class, we explored some basic color theory that might help us to make decisions. We considered three methods for choosing color color schemes. Our favorite fabric and favorite modern quilts. Always remembering these air, not the Onley methods for choosing. And then we played with color and made some choices for our quilts. Please remember to post your project so we can do and all over your design in your colors and your fabric. Our next class is going to be about construction. How to put all of this together Now, First of all, we have to divide it, and then how are we going to put it all together? Be sure to follow me if you want to be notified. When that construction classes ready flee, it will be fairly soon. So remember to click on that follow button and I'll see you in the next class on construction. No hard hats required by