Morning Make - March 2020

On February 29 I woke up with the flu. Just the regular flu, thankfully, but I still spent the next few weeks sicker than I can remember being in my adult life. And I thought shingles was bad this past fall! Anyway, when it came time to start March Morning Make I absolutely needed something easy, something mindless, something that was creative without being terribly challenging. In my fever addled state I remembered my Creative Bug membership and the multiple daily challenge classes.

With my kiddo’s IKEA paint set at my side I started Lisa Solomon’s Color Meditation class. I had no idea how perfect of a choice this was. More on that.

Note: I am spelling Color the American way here so people can find the class.

Once I was able to be vertical I went out and bought more watercolours, fancy ones from the art store. A week later I bought another set. That was when the kids came home. They joined me in the mornings then. We painted together, a calm start to these crazy days.

I knew zero about watercolour before starting this class. I can’t claim to know much more now - this isn’t a class on technique - but I have a comfortableness and willingness to play with the paint now. Any previous watercolour experience on my part was sitting beside the kids while they made shapes and landscapes and such.

Even when sick I found this painting to be pure escape. Then when our world got turned inside I found it to be a perfect balm. Lisa calls them Color Meditations and it is apt. I got lost in the process, much like I do when I am sewing. The end result didn’t matter, it was about the physical act of paint on paper. It was about playing without colour and water and shape. It was about the breath when we did it.

Sometimes the daily painting was only 15-20 minutes. Sometimes I sat there over an hour. Many, many times one or more of us would come to the table throughout the day with a cup of water and play.

You don’t have to start a daily practice like this on the 1st of the month. Try it tomorrow morning, I promise you won’t regret it.

Any daily creative practice is so important right now. People are baking bread, learning how to knit, picking up the guitar. Why? Because we need both the physical action of making/doing and the mental break from the rest of the world. When we do this our brain and body release from what is going on and allows us to be fully present. This is what meditation does for us and there is no one who can argue that meditation is bad. If sitting on a pillow and taking deep breaths while on a big journey isn’t your thing, then a creative challenge may suit you. Whatever that may be.

For April I am back to sewing. It’s been a few months since I did that for Morning Make. Each day I am making a 12.5” square X Plus blocks.

Quilt Bravely - Say Hello to Prints as Background

This is the second in a series of posts encouraging you to be different, quilt different, quilt bravely. To bend or even break some rules while pumping up your creative voice. You have the creative confidence, I’m just here to remind you of it.

Most of the first few quilts I ever made - some 2 decades ago - were pretty colours with a white background. For those first few years I couldn’t imagine how I would make a quilt any other way because it just looked so perfect to me. Well, I’m not sure what changed, but it’s been at least a decade since I made a quilt with a plain white background!

To be clear, I was almost never using plain white, a solid. No, I was using that lovely stuff called White on White, or what we used to refer to as WOW prints. A pretty shiny white ink on white fabric. Now, of course, the whites were never all the same and this row of fabrics in any quilt store will read from bright white to eggshell to cream.

Side note: if you ever find that white ink to be too bright, use the wrong side of the fabric. You get the idea of the print without the glaring brightness of the ink.

Then I discovered low volume prints. There weren’t as many then as there are now, but they definitely existed. More often than not that can still be located in the black and white section of the fabric store. Only now you can get a lot more choices of coloured ink.

I do find that people are afraid to use prints in a background, worried that they will overwhelm the design. Or, they are used and the design disappears. Here are two fundamental lessons to making sure neither thing happen.

Antonio’s Quilt

Mod Tree Quilt, pattern in Modern Patchwork

Value Matters

Value is the relative light and dark of a fabric. The key word being relative. It is about what the fabrics look like next to each other. If you want your design to stand out, then you need good contrast between the main design components and the background. This matters especially so when all the fabrics are prints. It isn’t enough to just have colour contrast, or maybe you want a monochromatic look. Either way, making sure the value of the background prints contrast with the design elements is important.

You also want to make sure that your background prints are all of similar values. They don’t have to be match match perfect, but aim for similar. This leads to the next key lesson.

Sewing Machine Quilt, check out Pattern Drop

There is Peace in Pattern

Texture Matters

Texture is the look or density of the print. Is it a sparse, large scale print with negative space between design elements? Is is a dense text print with little space. Side by side, the dense print will look darker.

It isn’t that you have to pick prints where they are all the same density, but knowing that some will pop while others will recede allows you to balance their use across a quilt. And if you have one print that really seems to be taking over the background you can do two things: remove it, or add more similar prints, so nothing stands out on its own.

Compose Yourself from The Essential Guide to Modern Quiltmaking

Smooch

Colour can make a difference in backgrounds. Be willing to experiment with pale colours instead of white. Pick multi coloured low-volume prints instead of black and white. Mix grey with black and white. Or heck, make your main design elements a light colour and your background a delicious, dark print.

Have fun playing with prints. They are a pure delight. And we have such amazing fabric designers in the world providing us with endless inspiration.

Check out the first in the Quilt Bravely Series: Creatively Contrasting Binding.

For more details on using low volume prints as background make sure to check out my book, A Month of Sundays. It gives you all the lessons!

Morning Make 2020

Morning Make

A daily (or mostly daily) practice of creative action.

Completed before caffeine, social media, regular media, or even interaction with family.

A moment, the moment, where one creates for the sake of creating and the rest of the world falls away.

For me, this has always meant doing it first thing in the morning. I set my alarm at least 20 minutes before I have to actually get up. It required an adjustment at the beginning, and a readjustment after each school break where we all sleep in, but it is worth it. I don’t feel that anything is lost because my mental health AND creative production benefit. Others I’ve spoken to about Morning Make find that the first thing timing is hard. So make it what works for you. Right after the kids go to school, home from a workout, in the quiet after bedtime for everyone else. The real key to success is to make this a regular practice.

I’ve chosen the word practice quite deliberately. While I like the stretching of yoga it isn’t spiritually my thing. Same with meditation. But the notion of showing up regularly and being completely present is central to both. And it is exactly the same with Morning Make. That is why I do it with no media or entertainment for company. Just me and the creative action. I am completely present. The more you do it, the easier it becomes and the more you see the benefits. Like a practice.

You can do your own Googling, but the benefits of a regular meditation practice are well known. For me, a regular practice reduces stress and calms my anxiety. If I miss Morning Make for a few days because my sewing room is engaged as a guest room I definitely get antsy. Those are the times I have to do something else like write and sketch to make sure my stress levels don’t increase. A regular practice boosts my creativity because, like any other muscle, your creativity grows when you use it. Most days my Morning Make is the only creative time or sewing time I get. It might not be long, but a lot can get done when you show up every day.

In 2020 I’ve decide to change things up a bit for my Morning Make. Just a little push for myself. Instead of sewing on whatever project happens to be out at the time I am going to create monthly motives for my Morning Make. It might be sewing, it might be writing, it might be something else entirely. A month doesn’t seem like a huge commitment to try something different, but also a good way to get some different skills primed, try new techniques, and devote time to my creative development.

Here is the brainstormed list of ideas.

• Letters

• Improv Doodles

• Houses/Buildings

• Haiku

• Quilt Sketch

• 30 versions of a block

• NaNoWriMo

• Nature Photo Macros

• Sunrise Pictures

• Free Motion Quilting Doodles

• Tassles

• Dream Big brainstorming

• Plant Sketch

• Watercolour Abstract

• Carve a Stamp

• Make Cards

• Embroidery stitch sample

There are obviously more than 12 ideas here. And I certainly open to more suggestions. Each month I will decide what to embrace. The decision will be based on desire, motivation, and what exactly our family schedule looks like that month.

Here’s to a year of making!

PS For January, I’ve chosen Haiku. One poem a day.

Patterns versus Improv Piecing

Are patterns and improvisational quilting diametrically opposed? After last’s project update I had a few notes and questions from people questioning my assertion that precision piecing can be improv. I’ve heard the same thing in my classes over the years.

The perception is that you either sew improvisationally or you follow patterns. And never the two shall meet. This is far from the case. Both are creative acts and nearly all quilters, at different times, sew with varying degrees of improvisation and pattern following. It is not dissimilar to acting. 

Random, scrappy hand pieced diamonds, cut from templates.

When we think of acting and improv we think of rapid fire ad libbing and comedy. It’s like the audience is experiencing the actor’s brain, as it happens. With scripted work the actor is playing out someone else’s imagination. Both are awesome, valid, and creative.

 But if an actor just stood there and recited the lines of the script there would be nothing but words. It is in their interpretation, their own emotions, and their ability to translate the intent of the scriptwriter that the words come to life.

Following a pattern to make a quilt is quite similar. The designer, like the scriptwriter, is laying out the words for the actor to bring to life. Only you, the quilter, are in charge of bringing the design to life with your fabric selection, your seams, and your ways of finishing the quilt. Copy the quilt directly and you are still doing more than simply reciting the script.

Some very precise piecing in a block designed by Cristy Fincher of Purple Daisies Quilting, using her paperless paper piecing technique.

This notion that you are still creating when you sew from a pattern seems to be missing in the quilting world today. With so much of the decision making being offered up for the quilter in the form of patterns, precuts, bundles, and kits it can feel like creativity is given to us in a can. This isn’t necessarily the case.

For one, you are still making something. You are taking the time to sew together something with your own two hands (and likely a machine). This is a helluva lot more creative than going to a store to buy a blanket.

And for another, it is impossible to create exactly THAT quilt on the cover of the pattern. Even if you had all the same fabric and followed the pattern to the letter, your quilt has your hand, your sewing signature embedded in it. The stitches would be different, the quilting likely unique, and the final stitches in the binding present only in your quilt. 

While pattern following may get dissed for an apparent lack of creativity, improv gets all the credit. Is that really fair?

My Lilla quilt pattern - a mix of precision piecing and improv techniques - with an improvised layout limited by the fabric on hand.

 One of the most common forms of improvisational piecing is about sewing together random bits of fabric. The quilter may even remove all decision making from the process by placing their fabric in a brown paper bag or a basket. It becomes about the act of sewing, when control of fabric selection is taken away. In this sewing is still a creative act, but is there a lot of creativity involved? Absolutely there is, just like the quilter who agonizes over fabric selection for the Swoon quilt they are making. Just like the quilter who sketches out a new template for a flower they want to sew. Just like the quilter who picks a block pattern and starts making blocks with no end in site.

 I often tell my Improv students that part of improvisation is the ability to accept that you are starting without knowing where you will end up. You are starting with the intent, in most cases, of making a quilt. That never changes. And that is the same regardless of how you get there in the end.

Sometimes the pattern follower decides they want to add a few blocks, or change the layout compared to the pattern cover. They might run out of fabric and need to figure out a new solution. Sometimes the improv piecer is trying to recreate a certain shape or idea through their piecing. The level of interpretation and control vary, but they are essentially doing the same thing. The pattern follower is improvising, ad libbing as they go. They’ve taken the script and gone off in their own direction, improvising. The improvisational piecer is creating a template, a pattern for the direction they want to go.

It is even unfair to say that it is a continuum. You can’t put yourself on one end or another and sometimes in between. This still sets it up as an either/or thing. It can be both, at the same time.

Creativity is there because you are creating. As soon as you make, you are being creative. Any time you make a decision along the way, you are being creative. It isn’t about who is more creative, which way of sewing is more creative, it is about the act of creating. Creativity is still there, only manifested differently each time.

You may not be the script writer or the manic actor making us laugh, but you are a quilter, no matter what.

Started with vintage fabric and HSTs. It didn’t work so I had to improvise a layout that did.

A slightly different version of this post appeared as an article in Quilty. Continued thanks to Sean Hogan, an improv actor/teacher based in LA and Leanne Chahey of She Can Quilt for their insights.