When the decision was made to document my designing process on line, I had not foreseen that this would be one of the most complex quilts I've ever created. The process started out as usual for me. I put the 8 spiral blocks on the design wall and pulled coordinating fabrics from my stash. I intuitively positioned the blocks and began to see ways to transition between and connect them. I very much enjoy this "what if" part.
The light and dark value placements balanced nicely. The distribution of the bright colors worked well.
Then I messed up this good plan by mixing up the center blocks when I constructed the middle section. It took quite a few days for me to realize my mistake. In the meantime, I couldn't figure out why I was no longer happy with what I saw on the design board. I couldn't keep from "fiddling" with it and feeling antsy. It felt "off."
Most of us have an intuitive sense of balance. We've had a lifetime of perceptual experience. We may not be able to put into words
why an arrangement of objects, colors, or shapes does or doesn't balance, but we surely can recognize
if it does or doesn't.
Here are B&W photos of each arrangement. In the first organization the white square flanked with the medium value gold triangles combined to form a large shape in the middle of the quilt. The larger size of that focal point allowed for substantial sub units. I felt confidently well on my way at this point.
The accidental grouping is the photo below. The white square is surrounded with the black triangles to make the center focus a much smaller shape. This switch threw the balance of sizes and values out of whack. The center of the quilt was fighting for attention.
Here's a B&W photo of the final arrangement. I felt a need to break up the unit of three spirals that "played together" so nicely. They had overpowered the isolated white focus block. Now there's a good distribution of light, medium, and dark values that feel balanced within the whole.
The top and bottom sections of the design support and enhance the center focal point rather than vying for attention. There are more nebulous background type blocks in the top section to give that area an impression of lighter weight. The greater number of defined spirals and shapes in the bottom one give more weight and stability to the composition.
The center panel is made up of bold shapes and complex details plus the strong value contrast between the white and black. These combined factors add up to the most visual weight for the smallest area within the piece. It now balances with the top and bottom sections and reclaims the most attention.
As much as I was satisfied with the first composition this one pleases me more.
I've added paint to quite a few areas ... two blocks in particular. Copper metallic paint and a spiral stamp were used to add depth and definition to Patty's very yellow block pieces. Orange and green clips have been scattered across them as well.
Sheila's block was a very strong graphic of bold spirals on a black and white background. The white attracted too much attention. Silver metallic paint lowered the value to "take it back" a bit.
Paint was also added to Sheila's beautifully stitched quilting patterns within the spirals. These ornate patterns are now evident and give this block additional visual texture to make it more in character with the rest of the quilt.
Parts of different kinds of silk flowers are stacked to form fantasy ones. Scrunched up yellow silk thread make up the centers. A variegated rayon thread meanders across the background. Tulle netting holds everything together along with "scribble" machine quilting with the same rayon thread as well as quilting around the flower petals.
