Creative Community Archives

Category Archives: Creative Community

Introduction to Thread Painting Course begins April 1.

Excitement is building as the start date for my new online class is fast approaching. Introduction to Thread Painting begins April 1. That’s next week and there are still a few spaces available.

Additionally, in the coming months, I will begin Color & Composition courses, and will offer Coaching Sessions, along with free behind the scenes content for all to enjoy.

I feel strongly that connection is essential to successful learning, and hope to build a vibrant, sharing community where creators feel emboldened to learn and apply new skills and concepts. If this appeals to you, read on to find more details about each of my offerings…

Introduction to Thread Painting will begin April 1.

-Course includes 12 lessons that increase in difficulty and complexity to help you build yourstitching skills.

-Each lesson includes an instructional video, lesson notes, support materials, and ideas for further exploration.

–Because I believe face-to-face contact is so important to learning: All participants are invited to join a weekly video check-in with Lea on Wednesday evening, or Saturday afternoon.

-A new lesson becomes available each Monday for 12 weeks, with an additional 4 weeks access to all course materials.

-The cost of the course for Beta testers is $180. That is just $15/lesson

To learn more CLICK HERE

Color & Composition courses-Coming soon!

-Learn to use color with confidence by gaining an understanding of color theory and elements of composition.

-There is so much information to cover on these topics that it will be divided into 2 courses. Color & Composition I will be available in June 2024, and Color & Composition II be offered in January 2025.

-Each class meets for a 2-hour online video session once a month for 6 months.

-Each session features an in-depth look at a color scheme, a concept related to color, and another related to composition, along with ideas for further creative exploration.

-Participants will respond to monthly challenges and share their work at the next meeting where we will celebrate and give feedback as requested.

-This is meant to be a very nurturing experience that provides inspiration and encouragement, while celebrating experimentation and artistic exploration.

To learn more about this, and other upcoming courses and offerings, CLICK HERE

Individual and Group Coaching Sessions available in the coming months.

-This is an opportunity to talk through iussues or obstacles encountered inyour creative process related to color, design, composition, or execution.

-Advice and guidance is also available related to submitting to competitions and exhibitions, publishing, and teaching about your work.

-Sessions are offered for 30 or 60 minutes via video conferencing.

-These are single session events, so no long tern commitment.

-Sessions are suitable for individuals, or a small group working on a single project.

If you want more information on Coaching Sessions, CLICK HERE to add your name to the waitlist, and you’ll receive notice and more details as they become available.

Play Date with Color & Composition

My success in creating award-winning fiber art, is due, in large part, to my continual search for

new knowledge and understanding of how art works; specifically understanding how colors and elements of a composition interact, or play together. Many years ago, I began taking breaks from my “serious work” to just play with the scraps and leftovers. These play dates with color & composition provided a low-stress, no-cost opportunity to experiment, while engaging in the hands-on type of activity where I learn best.

Scrap Collages

Early on, I simply created small collages using leftover, fusible-back scraps from my applique portraits. I just played with the scraps, not giving a great deal of thought to color or composition–working intuitively.

My success was mixed; some compositions were pleasing, and others were–well, a mess.

Because I really wanted to understand how I achieved success so that I could spend less time making crap, I became more disciplined in the process. I began to think of these exercises as science experiments with dependent and independent variables.

I asked questions like,

If I keep the colors the same, but alter the values of the various elements, how does that effect the overall composition?
How does the placement of various elements effect the balance of the composition?
What combinations draw the viewer in? Send the viewer away?

Monochrome Tessellations

First, I started simple, working monochromatic and playing with symmetry and tessellation.

For the unfamiliar, here is a quick tessellation activity: Using a scrap of rectangular fabric, cut a chunk, or shape out of 1 side and rotate it as I did above. Another option is to cut shapes from 2 adjacent sides and slide those shapes across to the opposite side as I did below.

These early attempts were quite simple. However, below are more complex monochromatic samples that I put together later. Still, each new iteration conjures more ideas.

(For more information on how light and dark values play together, visit my previous post on positive and negative space.)

tree drawing is used to create various versions of a 3-value notan

Mirror image tree composition created with 3-values.

Mirror image tree with 2-values.

I could have traveled down this rabbit hole indefinitely, but I didn’t. In future play dates, I engaged with more complex color & composition schemes. Next, I’ll share my explorations with complementary colors and radial design.

Play Date with Color & Composition Workshops

In time, these play sessions became the basis for a new workshop where I take participants through 6 color schemes and 6 composition schemes in a few short hours. Now, there are multiple opportunities to take this workshop. It is fast paced and fun, and everyone goes home with original works of art.

Let’s get together and work through this process in person. Please join me in one of my upcoming workshops. Below are the places, dates, and links to register.

Stitch Fest – Loveland, CO, April 13

Intro to Thread Painting, 9:00 AM-4:30 PM

Play Date with Color & Composition, 6:000-9:00 PM

https://www.quiltingdaily.com/stitchfest/loveland/workshops/

Stitch Fest – Milwaukee, WI, May 25

Intro to Thread Painting, 9:00 AM-4:30 PM

Play Date with Color & Composition, 6:000-9:00 PM

https://www.quiltingdaily.com/stitchfest/milwaukee/workshops

Kansas City Regional Quilt Fest, June 14-17.

I’m teaching a variety of workshops every day. Follow this link to see what is available.

https://kcrqf.com/…/classroom…/classes-lea-mccomas/

Create Depth with Atmospheric Perspective

Art quilters can create the illusion of depth with atmospheric perspective when they apply four key color concepts in pictorial quilts. Creating depth with atmospheric perspective was one of the topics I discussed in my monthly Color & Composition class. Read on for a summary of that part of the discussion. If you are intrigued, information about future Color & Composition class sessions is at the bottom.

The Illusion of Depth in Art

There are two types of perspective that can be employed in your art quilts to create the illusion of depth in a pictorial work such as landscape or seascape. The first is linear perspective; the use of 1 or 2 vanishing point with lines in the composition converging on those points. This is the most commonly recognized and used method for creating that illusion of depth. Raphael’s painting, School of Athens, is a great example. Notice that the architectural lines lead to a single vanishing point in the center of the composition.

School of Athens by Raphael, 1509-1511.

A second method is to create the illusion of depth with atmospheric perspective. This method relies on manipulation of color to create the illusion of depth. Saint Francis of Assisi Receiving the Stigmata, by Jan van Eyck provides an example of this. Compare the elements in the foreground with those that appear to be far in the distance.

An illusion of depth using atmospheric perspective is evidenced in this painting of 2 priests in brown cloaks kneeling on the ground among rock outcroppings with city visible in the distance.

Jan van Eyck, Saint Francis of Assisi Receiving the Stigmata, 1430

Keys to Create Depth with Atmospheric Perspective

With the great masters as our inspiration, let’s shift our focus to art quilting and the selection of fabrics for landscape quilts. There are 4 key considerations.

Texture

Represent the textures of items that are close to the viewer such as plants, rocks, clothing, furniture. Less textural detail should be visible in elements that appear in the mid-ground, and eliminate textural detail in the background. Quilters also have the option of adding texture with stitching and surface embellishments.

Fabric selection based on texture and depth.

Value & Value Range

Moving from foreground to background, the value range should narrow. Render elements in the foreground with a broad value range from very light to very dark. Reduce the value range to make elements appear further away by eliminating the lightest and darkest values. Also, shift the value range to the lighter end of the value scale because darker values are lost to a greater degree than lighter values.

2 grayscales, fingers show use of values used in atmospheric perspective. Light to dark used in foreground. light to medium dark used in background.

Value range for atmospheric perspective

An illusion of depth using atmospheric perspective is evidenced in this art quilt of park bend on outcropping overlooking receding ridges of tree covered hills in a snowstorm.

Winterscape

Clarity

Elements become less defined as they move to the distance.This is related to texture. Texture would be how you represent the surface of a object, Clarity focuses on the shapes of objects The edges of your shapes will soften and become more blob-like as those objects move to the distance. Below is a simple seascape composition that I created as a class sample. In the detail view of the palm trees, notice how the outline of the palm fronds is simplified in the tree on the right. Id I were to add a third tree further in the distance, the palm fronds would have gentle curving edges in contrast to the jagged edges of the foreground and mid-ground trees.

Beach scene

An illusion of depth using atmospheric perspective is evidenced in the tops of two palm trees showing greater clarity in the foreground tree

beach scene detail of palm tree tops

Temperature

Warm colors advance and cool colors recede. When selecting fabrics for a composition, make note of the colors that will appear in the foreground, mid-ground, and background. For colors that repeat at various distances, selected warmer versions to appear closer, and cooler versions to appear in the distance. For example, the color red in the foreground could be a warmer red-orange, while red in the distance could be a cooler red-violet. Look below at Crossing Over. The water in the foreground is a mix of blue and blue-green, but is rendered in blue-violet in the background. The foliage on the distant back is green near the water’s edge and blue-green on the more distant hills.

diptych of 2 native American men on horseback crossing a river. On left panel the man turns to look at the viewer. On the the right panel, the man is riding away from the viewer.

Crossing Over, diptych by Lea McComas

Water detail in Crossing Over

Figure & background detail of Crossing Over

Create Depth in the Sky

When it comes to the sky, we often forget to create depth using atmospheric perspective. Treat the sky as an element of the composition. The top of the composition is the foreground, and sky near the horizon line is the background. Sky should be a warmer, more saturated color at the top of the composition and move to a cooler, less saturated color at the horizon. A common mistake is to use a solid blue fabric, or a printed sky with cloud fabric. The problem is that these fabrics present a static representation of the sky that make it appear flat. They fight the illusion of depth, rather than support it. I suggest a hand-dyed or ombre fabric to support depth using atmospheric perspective.

Sky with clouds

Flat sky color

blue square with vibrant color at the top and pale color at the bottom

blue sky ombre

Join our next Color & Composition Session

Interested in learning more? Every month I lead a Color and Composition class where we explore a color scheme, color concept, and a composition concept. We meet online the 4th Saturday of every month 1:00-3:00 PM MDT. To join us, sign up through the Rocky Mountain Quilt Museum.

Subscribe to this blog for future summary updates on topics covered in the Color & Composition class.

Unity & Variety Create Harmony & Interest

Unity & Variety are tools to create harmony and interest in art quilt compositions, and were the elements of composition that we explored in the last session of my monthly COLOR & COMPOSITION class. In this blog I’m sharing some of the highlights of that discussion.

UNITY refers to a relationship between the elements within a composition that bring harmony. The desired effect is to create the feeling that a work is a single creation with multiple parts, as opposed to, a collection of separate things.

Composition with unity

Round place mat with various items including a plant, fork, pen, latex glove, and pliers.

Composition with disunity

Techniques to Create Unity.

A number of techniques can be used to create unity.

Visual Repetition

Visual repetition is probably the most common way of creating unity. Repetition gives a

Analogous scheme with blue & yellow parents.

sense of familiarity. As humans, we prefer familiarity over anomaly. This can play out in various ways:

Color Scheme– Choosing a scheme brings focus and consistency. Each color is a part of a larger structure.

Line-Repetition of lines is more than having multiple lines. It is also about repeating the same kind of line, such diagonal, horizontal, s-curve, or spiral.

Shape: Shapes can be geometric or organic. They can vary in size, or color. In eluding multiple versions of the shape creates familiarity and harmony.

Proximity

Placing items near each other creates unity through grouping. This is where negative space is important. If you are going to create a space for items to gather, there also has to be a place where they do not gather. This “negative space” will be a topic in our next Color & Composition session.

Still life composition with potted tree in front of a window next to a trunk covered by a hand women mat. A tin cup and pitcher sit atop the trunk with a small plate with tangerines. One is peeled and divided.

Turkish Treasures Still Life, 2020.

This still life composition was created for an article I wrote for Quilting Arts Magazine (April/May 2020). It illustrates the concept of proximity. I communicate that these objects go together by placing them in contact with each other, or overlapping them.

Simplicity

Eliminate unnecessary elements in a composition so that the focus can be on what is important. Too many different things competing with each other creates confusion and discomfort.

When I teach my portrait class, students work from a photo. One of the first things I talk about is cropping out anything that is in the background that has nothing to do with the subject. If it can’t be cropped, then distort, blur, or replace it. This is what I did in Sweet Song From and Old Fiddle.

Hand holding the neck of a fiddle is visible with a mottled blue-green background.

Detail of Sweet Song From and Old Fiddle, 34″ x 18″, 2013.

Thematic Relationship

You may have objects that don’t share other unifying qualities, but they share an underlying meaning. A good analogy is the sewing machine: it is made of many different parts, but, put it all together and it it works. Remove a piece, and it doesn’t.

I remember a news report on January 20, Inauguration Day that featured Donald Trump speaking at Andrews Joint Base in front of 17 American flags. Apparently, the number 17 was important because Q is the 17th letter of the alphabet, and Q-Anon supporters believed this was a symbol of the revolution to come later in the day.

Consider those elements: American Flags, Letter Q, # 17, Revolution.

Regardless of your political leanings, that those elements were thematically connected, is astounding.—Scary as hell, yet, astounding.

The example I have to share with you is much more benign. I give you Busy Signal where a cell phone, a hand with wait gesture, and a face cut off below the eyes send a message about communication and connection in our world.

Busy Signal, 25 in x 36, 2017.

Add Variety to Create Interest

Variety-of elements creates interest, breaks the boredom, and adds interest. Again, there are various ways to do this.

Altered Repetition

Incorporate an anomaly, a change in the repetition. In the Circles in Squares example below, all of the elements share a color scheme, and the sizes and shapes are consistent, but offsetting, or slight shifting of elements adds interest.

Circles-in-Squares color study

Interrupt the Pattern

Another option is break a pattern my inserting a another element. I did this in my tribute to Malala, by placing her image over a large floral border.

Portrait of Malala wearing a red scarf with a white background. A Islamic floral border of blue and red flowers with green leaves. The center text is a quote by Malala Yousafzai, "With guns you can kill terrorists, with education you can kill terrorism.

Malala, by Lea McComas, 30″ x 50″, 2019.

Color & Composition Monthly Workshop

Subscribe to this blog for future updates on topics covered in the Color & Composition class.

Analogous Color Schemes Create Harmony

Analogous Color Schemes were one of topics discussed in my last

online Color & Composition class. I hope the information presented here will inspire you to explore this color scheme. If you find this helpful, and want to join me for the next session, you will information at the bottom.

Analogous color schemes include a run of colors next to each other on the color wheel. These schemes can include 3, 5 or 7 colors. They work best when built around primary colors. Like a monochromatic scheme, analogous schemes are great for conveying strong emotion. They also have

Analogous Scheme with mother Yellow.

greater potential for energy and interest.

Analogous is a word that references a collection that has something similar, or a direct connection that applies to each element. The strong relationship among the colors in this scheme creates a sense of harmony. There is a kind of kinship.

Analogous run with 7 colors

Analogous Colors Schemes are like Families.

One way to build analogous color schemes is to begin with a primary

Analogous scheme with red mother

color. Think of this as the mother, and then expand to include the color, or child, on each side. Expand the scheme further to 5 colors by including the father of each child. In this analogy, it is easy to understand that managing the harmonious effect of this scheme becomes more challenging, as the family gathering expands.

Analogous scheme with 2 primary parents

Another way to build analogous color schemes is to choose two primary colors. Think of these as parents. Then, include all of the children, or colors, in between. Reduce the color scheme to 3 colors by eliminating the parents and using just the siblings,.

In either case, the scheme can be expanded further to include 7 colors. However, expanding this much requires incorporating a set of direct complements. Direct complements bring a lot of energy. That drama can disrupt the family harmony. Think of these as the mother-in-laws.

Analogous run with 7 colors

No Sleepy Schemes

With the colors being so close on the color wheel, analogous color schemes have the potential to be a bit boring, or sleepy. Increase variety within the scheme to combat this. One way to do this is through an expanded scheme. The advantage of a 5-color scheme over a 3-color scheme is the ability to increase the color contrast. Look at the examples below.

fabric swatches for 3-color scheme

fabric swatches for 5-color scheme

Another strategy is to emphasize one color within the scheme over the others. Any color within the scheme can be the star of the show. However, luminous colors, such as yellow, will naturally want to be the center of attention. Manage the scheme by using purer hues, and more intense versions of the color to be emphasized. Likewise, use more tints, tones, shades, and less intense version of the other colors.

3 Analogous Experiments

I spent a day experimenting with various analogous color schemes. Working with 5 colors, I chose a hue, tint, and shade of each color, and then mixed in a collection of neutral gray fabrics. In each experiment I created 48 half square triangle blocks and then arranged various compositions on the design wall.

Experiment 1: Mother Red

This analogous run stretched from violet to orange. Here was my final composition. The grayscale image shows how value is also at play.

Analogous scheme built around red.

Grayscale view of Red analogous scheme.

Experiment 2: Parents Blue and Yellow

Here is my analogous run with two primary parents and their children. The grayscale image is also included.

Analogous scheme with blue & yellow parents.

Grayscale view of Yellow-Blue scheme.

Breaking the Rules

What happens when the analogous color scheme is built around tertiary colors, instead of primaries?

In my third experiment, I built a scheme with blue-violet as the central color, stretching from red-violet to blue green. Using the family analogy, this is like loosing the parent red at one end of the run, and bring in the mother-in-law at the other end of the run. My results were less than ideal, but not a total disaster. Blue-green definitely feels like an outlier in this scheme. It is the only color with a touch of yellow. See my results below.

Scheme based on tertiary colors

Grayscale view of tertiary scheme.

In the next Color and Composition class we’ll delve deeper into the analogous color scheme and take a look at an Accented Analogous Scheme. We meet on the 4th Saturday of every month 1:00-3:00 PM MDT. To join us, sign up through the Rocky Mountain Quilt Museum.

Subscribe to this blog for future updates on topics covered in the Color & Composition class.

Repetition and Rhythm Add Comfort and Excitement

Today I want to focus on the design concepts of repetition & rhythm, and how we can put these to work in our quilts. This content was covered in the last session of my Color & Composition class. If you are interested in joining us for future sessions, I’ll put a link at the bottom, but for now…

Repetition, Repetition, Repetition

Repetition is about using a design element over and over. A repeated element gives a sense of familiarity and comfort. This could be a repeating line, shape, or pattern.

Repetition is something that we are naturally drawn to; something we bring into our world. Here are some examples that I found in my own environment.

repetition of design in furniture drawers and hardware

multiple drawers with repeating hardware

Repetition in the stair railing.

repetition as design element in hand woven rug

repeating design in a rug

Many artists will repeat an element in every piece.

elements of my art extend beyond the edge.

Beyond the Edge: My Signature Move

It becomes their signature move, something that makes their work easily recognizable to viewers, and fans. My signature move is to take an element off the edge of my work. See more examples in my genre gallery.

Within a composition, repetition can be as simple as repeating a line, shape, color, texture.

As I’ve been working in recent months to update the online galleries for the Border Wall Quilt Project, I’ve found many wonderful examples of repetition. Here are a few.

Repeating element-hearts. Brick by L K.

Repeating element – woman. Brick by Cynthia Catlin.

Repeating element – brick. Brick by Cynthia Catlin.

Pattern is created when more than one element is combined and repeated.

Here are examples from the BWQP where I think this idea of pattern is used effectively.

Pattern of repeating vertical and diagonal lines. Brick by Maude Wallace Haeger.

Repeating pattern of stripes and coffins. Brick by Karen Sullivan

Rhythm, Rhythm, Rhythm, Rhythm

Conversely, Rhythm is about the space between repeating elements. It adds interest and excitement..Today, let’s look at 5 types of Rhythm:

Random Rhythm has no regular interval between repetitions. They can be all over the place.
Random Rhythm. Brick by Ramona Bates.

2. Regular Rhythm occurs when the interval between repetitions is the same. For example, your heartbeat is a regular rhythm, or, at least it should be. Here is a quilted example.

Regular Rhythm. Brick by Price & Pampusch.

3. Alternating Rhythm is the switching back and forth between 2 regular rhythms. Chess board is a simple example. However, these rhythms can be much more complex.

Alternating Rhythm. Brick by Ramona Bates,

4. Flowing Rhythm exists when repeated elements follow a curved or undulating line. Here are some examples.

Flowing Rhythm. Brick Carol Chewning.

5. Progressive Rhythm results from changing a characteristic of an element as it is repeated. These next examples show different ways that rhythm can progresses.

This sample shows an increase in size and color change.

Progressive rhythm. Brick by Lourdes Cruz, Mexico.

This next brick shows multiple scenes of a story. This is called simultaneous narrative.

example of progressive rhythm with simultaneous narrative. Brick by Sheryl D Rodda

Put Yourself to the Test

Look at the examples below and identify the type of rhythm in each. The answer key is below.

Brick by Sally Maxwell

Brick by Pat Hilderbrand.

Brick by Linda Laird

Monthly Color & Compositions Class

If you would like to join us, my Color & Composition class is sponsored by the Rocky Mountain Quilt Museum on the 4th Saturday of every month through the end of 2021. In each session we explore a color scheme, a color concept, and a concept related to composition.

Answer Key: 1. alternating, 2. Flowing and progressive. 3, random

Color Temperature: Fabric Fever is Cause for Concern

Can color temperature indicate the health of your quilt? These days, having a fever is cause for concern. Staying home and

Does you fabric have a temperature?

away from others gives me more time with my fabric, where temperature has also been on my mind. It was a topic in my monthly Color & Composition class. Read on for a summary of our discussion and learn how you can join us next month.

Color Temperature: What is Warm? What is Cool?

The exact dividing line between warm & cool colors has been an open topic for centuries.

What is your preference?

Your preference likely depends on your medium: a digital graphic artist lives in a different color world than a fiber art quilter. Here is what I work with…

Here are my play groups for warm and cool colors.

I also think of red and green as temperature neutral. They can function with either play group, but will be the coolest kids in the warm group, and the hottest kids in the cool group.

What’s cool in the warm group?

What is warm in this cool group?

How Color Temperature is a Tool?

It’s a fact that warm colors advance and cool colors recede! In a composition, we can create a sense of depth using temperature. Warm colors will seem closer to us and cool colors will fall to the background. Or do they? Do we know this because someone told us, or because we have experienced it? I say, “You don’t really own that knowledge until you test it out.”

So, I created a series of simple compositions of a box on a background. These are only 8 x10 inches, easy to make, and keep on hand for future reference.

Color Temperature: Warm vs Cool – Round 1

First, here is a box in a warm color sitting on a cool color background.

Does the box visually pop off the surface?

Now, here is the reverse: a cool color box on a warm color background.

What about this box?

If the concept holds true, the first version should appear to have more depth, and the background should fight for dominance in the second. What do you think?

Color Temperature: Warm vs Cool – Round 2

In my next experiment, I pitted warm and cool colors against each other in the same composition. Using a temperature neutral color green for the back ground, I put a large and small box together in the composition. Size will indicate to the viewer that the larger box is closer, but, how does color temperature amplify, or mute that message?

Warm vs Cool in Pictorial Quilts

These examples are very dramatic, but the concept can be used in more subtle ways. Color temperature is relative. Even within the “Warm” or “Cool” color play groups, each color will appear warmer, or cooler depending on what color plays next to it. For example, orange is cooler than yellow, but warmer than red. Also, blue is cooler than green, but warmer than violet.

I use this concept in all of my work. Look through my genre and portrait galleries to see how warm tones advance from the cooler backgrounds. When more than one person is included in a composition, I employ subtle temperature changes in flesh tones to make one figure more prominent, or appear closer than another.

Which figure has the warmer complexion?

How does temperature amplify depth in this piece?

Experience is the Best Teacher

Now, if you really want to own knowledge of this concept, you need to conduct your own experiences. It can be a simple as cutting out some circles of various sizes and colors, and then experiment with placing those circles on different backgrounds. You don’t even need to fix them permanently. Try one version, take a photo, rearrange, and take another photo.

If you try this, share a photo of your experiment with me: Lea@leamccomas.com

Learn More About Color Concepts

Every month, I teach an online Color & Composition class through the Rocky Mountain Quilt Museum. We meet via Zoom on the 4th Saturday of every month from 1:00-3:00 (Mountain Time zone). Each meeting is a chance to explore a color concept, a color scheme, and a composition concept. Come every month, or participate when you can. The cost is $20/ session. Click this link to join us.

Here is what we’ll be exploring at our next meeting on January 23:

Color Concept: Creating Depth

Color Scheme: Analogous

Composition Concept: Variety & Unity

Sign up for the next Color & Composition class with Lea McComas

Quilt Stories: The Making of Crossing Over

In a Quilt Stories interview with Lisa Walton, I spoke extensively with her about the making of my quilt Crossing Over. It was great fun to talk with a friend, and sister quilter from Australia.

QUILT STORIES - See how LEA McCOMAS creates her THREAD PAINTED AWARD WINNING masterpieces

Here is a link to the interview

Lisa is creating a series of these interviews with quilters from around the world. Subscribe to her channel because there is more to come

You can see this piece and more of my work in my Portfolio galleries.

I’ve not been posting much in recent months as I’m working on a major new artwork that is bigger and more ambitious than anything I’ve ever done before. It is a commission for an exhibit being put together by the Clinton Foundation to celebrate Women’s Voices, Women’s Votes, and Women’s Rights. I can’t wait until I can begin to share this journey with you.

Take care and be safe–wear a mask when you go out.

And Now, A Word From My Student

Life has been crazy busy for the last year, leaving precious little time to blog, so I’ll let one of my students from the Festival of Quilts 2019, Birmingham, England, tell you about her experience. Take it away, Kim…

Having been quilting for a number of years I wanted to expand my skills and fancied having a go at a portrait quilt. At school I was useless at art – drawing – so my confidence level was really low. I wasn’t sure that I could do it but really wanted to have a go – do you know what I mean?

Looking through the Workshop list for the Festival of Quilts in August 2019 I saw a portrait quilting course by Lea McComas. Biting the bullet, I booked a place with severe trepidation. The course list duly arrived, and I began to feel really nervous. What if the tutor laughed at my failing skills? What if everyone else was so much better than me?

Putting on my Big Girl Pants I went along to the course.

Other participants were working on portraits of dogs, grandchildren, husbands, children friends etc. I had chosen to work on a portrait of my long-time idol – Donny Osmond (Husband and Dog assured me that they were not jealous at all)

So I spent a glorious two whole days working on my portrait, Lea being the most marvellous tutor. I will never forget bringing the portrait to life by adding the white of his eye. Obviously two days isn’t long enough to complete a portrait so there was some homework to do and slowly, slowly I plucked up courage to continue my project with lots of encouragement from Lea.

In October I went to London where I met Donny and showed him my quilt so far. I cannot tell you what he said about it as I was quite literally a gibbering wreck. I managed to get him to sign my label too.

Lea I want to thank you for your expert tuition, encouragement and friendship. To those of you who may not have done a course with Lea I really encourage you to do so – you will really learn a lot and expand your skill set.

Thank you Lea.

Kim Wood UK

Here is Kim with her Donny quilt. Some think it looks like she printed the image, but NO. This is a fused appliqué portrait. Want to learn to make your own? Take my online portrait quilt class.

Artistic Opportunities: Border Wall & Portrait Quilts

Artistic Opportunities Take Many Forms

As school draws to a close, my teaching responsibilities at Boulder High School give way to summer break. I’m gearing up for a fabulous summer of art. The possibilities are exciting and I’m hoping my fiber art friends will join me.

Artistic Opportunity: Be a Small Part of Something Big

First, are you like me? Worried about the discord and division that seems to be growing in the US. We have many important issues to address. Yet, we seem to struggle with the civil discourse needed to work our way to meaningful solutions.

The US/Mexico Border Wall is just one of these issues, but one that I want to tackle. I’m sponsoring the Border Wall Quilt Project; an art installation made of quilted bricks. I’m going to make the wall, but I need help with the bricks. If this is an issue of concern for you, I hope you will join in.

I’m calling on quilters to create 8×16 inch mini-quilts expressing their ideas, concerns, and opinions about the border wall and then send them to me. Anyone can submit up to 3 quilted bricks. This isn’t a juried exhibition. I intend to use all bricks submitted to create a wall about the wall. Interested? Read More

Follow the progress at BorderWallQuiltProject.com

Artistic Opportunity: Portraits in Colorado

Next, quilting and Thread-Painting people have been my art focus for many years now. It’s my passion and I’m taking it to some pretty interesting locations this summer.

I’m pairing up with eQuilter.com to offer two workshops in my own backyard. eQuilter.com is located right there in Boulder, Colorado and they are offering 2 workshops in their magnificent classroom space: Thread-Painted Portraits, July 16-17, and Appliqué Portrait Quilts, July19-20.

Visit eQuilter.com for more information.

Artistic Opportunities Around the Country

Finally, if you can’t make it to Colorado, look for me in these locations:

Spring Tea with the Loomis Quilt & Fiber Guild, Loomis, CA, May 5, 2018

North Carolina Quilt Symposium, Asheville, NC, May 31-June 3

Kentucky Heritage Quilt Society Getaway, Cave City, KY, June 13-15