Tag Archives: art composition

New Work: Chance Encounter

This new work is based on a chance encounter between a mountain lion and my husband at the end of our driveway. Today I’m sharing a bit about my design process and the tools I use in creating a composition. If you want to learn more about my process, stay tuned to future blog posts, and sign up for my Color & Composition class.

Inspiration

This new work is based on a chance encounter between a mountain lion and my husband, Jim. It took place at the end of our driveway. Luckily, Jim was in a vehicle where he could snap a few photos. Here are the ones I chose for the Chance Encounter series.

Editing the Images

I initially decided that I would capture the chance encounter with a series of 4 panels. Photoshop Elements, I cropped and resized the images then used the grayscale and posterize features to create images that I could print on paper and create my patterns.

In the crop and resize phase, I kept 2 goals in mind. First, each panel would increase in width as the lion slowly exposed more of himself before coming into full view. It was important to have an element that was consistent throughout to support the idea that the viewer was looking at the same place with expanding vision. The large rock was that element. I cropped to place it along the left edge of the first 3 photos photo, and extended the right edge as the panels increased. The fourth photo did not include the rock, but I plan to add that feature into panel 4.

Here are a couple of the cropped images:

Using the Golden Ratio for Balance & Consistency

Second, I sought to apply the golden ratio (1:1.618) to create balance and consistency. It was the basis for determining the dimensions of each panel. ALERT: I’m about to take you through my math calculations. I hope you enjoy the process as much as I do. After deciding the series would be 30 inches tall, so I used my golden mean calipers to divide that distance into 2 smaller measures: 11 1/2″ and 18 1/2″. These are the widths panels 1and 2. Then, it was a matter of multiplying 18 1/2 x 1.618 to get 30, the width of panel 3. I repeated the process (30 x 1.618= 48) to get the width of panel 4. In this way, the increasing widths follow a pattern that is pleasing to the eye.

Using the Golden Ratio for Placement of Elements

Another application of the golden ratio was in the placement of elements within each composition. For this explanation, I’m going to convert the golden ratio to a pair of fractions: 3/8 and 5/8. In my photo editing software, when using the crop tool, a grid appears over the image, dividing it into exact thirds vertically and horizontally. It looks like a tic-tac-toe grid, and is a guide for using the Rule of Thirds in creating a composition. This is a simplified vers

ion of the golden ratio. However, I’m a bit of a purist when it comes to the golden ratio, so I visualize the lines a little closer, creating a center section that is slightly narrower than the outer sections. I then crop to try to place key elements along these lines, and at the points of intersection. Here is what it looked like with panel 1. Note the top of the rock, and the eyes of the lion.

The important thing in this phase was to create a series of compositions where each was an extension of the previous. Eventually, I decided that the first 3 panels could hang together and tell the story in a reasonable space. Including the 4th panel, 48 inches wide, would have increased the overall width of the Close Encounter series to 108 inches, plus space between the panels. It was just too much. Really, where would I hope to hang the series so it could be viewed in its entirety? This chance encounter was beginning to feel like a long, drawn out encounter. Besides, the 4th image wasn’t essential to the story as the lion running off was implied in the 3rd panel.

Grayscale

Next, I convert each image to grayscale mode so that I can impose my own color scheme (more on that in a future post). Sometimes, elements of similar value begin to blend together, so I use the pencil tool to draw in important lines that have disappeared. In this case, I needed to outline the mountain lion to keep him separate from the rock and the foliage. Because they were darker values, I used a white line. However, sometimes, a black line is more effective.

Posterize

Finally, I posterize each image. I like to work with 5 values in the key figures, in this case, the mountain lion. With the very light snow background, and the very dark sticks and branches, the lion is largely mid-values. This means that I have to posterize the images at 7-8 values to get 5 values in the lion. When I refer to value levels, 1 is always the lightest value, or white. Levels get progressively darker as the number increases. The number assigned to the darkest value, black changes. For example, If I’m working in 5 values, then 5 is black. However, if I’m working in 8 values, then 8 is black. In the image below, there are 8 values, but the face of the lion appears in values 3-7.

Later, when I’m choosing fabrics for the lion, I’ll be able to expand the range of these “face” values to give the lion more depth and dimension, and enhance him as a focal point. Look for that in a future post.

Color & Composition Course

Also, consider joining my Color & Composition class. This class will run for 6 months with a monthly online meeting where we take an in-depth look at a color scheme, color concept, and a composition concept. Participants are encouraged to go out and use the information in their own work, and bring their progress back to share with the group in the next monthly meeting. to help you in your original design Here is a link for more information:

Color & Composition I

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.

How to Create a Color Scheme That Works

A balanced color scheme is a key component of a successful art quilt, or any other artistic endeavor. I have a method to create a solid scheme, identify a missing color, or fix a scheme that doesn’t work. I discussed this topic in my most recent Color & Composition class and share a summary of that information here. If you are intrigued, information about future Color & Composition class sessions can be found at the bottom of this article.

Create a Color Scheme with Reflective Symmmetry

The color wheel is an essential tool in this process. Most come with features that prompt various color schemes using triangle, rectangle, or square shapes.

close up of 2 color wheels showing color scheme guides

Color scheme guides on color wheels

A common feature of each of these shapes is that they have reflective symmetry; also referred to as bi-lateral symmetry. This means that you could draw a line through the shape so that one side is the exact reflection of the other. You could fold that image on the line and have both halves match exactly.

Triangle, rectangle, and square shapes with line of symmetry.

Shapes with Reflective Symmetry

Create a More Colorful Scheme

It is possible to stretch beyond the standard color schemes, and still maintain harmony and balance. The key is to use colors that create a shape with reflective symmetry. For example, when using 5 colors, think of a simple house shape. Make your dominant color the peak of the roof. The next 2 colors will be the corners where the roof turns into walls, and the final 2 colors will be the base of your walls.

3 possible ways to create a color scheme with 5 colors

Variations of a 5-color scheme

The colors may not be evenly spaced, but, if the guiding shape has reflective symmetry, you will create a scheme that has harmony and balance.

Complete, or Fix, a Faulty Color Scheme

Maybe you have a set of colors that are must-haves in your quilt project, but you want to be sure that the overall scheme is solid. In my example below, I’m starting with an ugly fabric that has sentimental meaning. To begin, I place markers on the color wheel to indicate the colors in this fabric. In this case my colors are violet, red-orange, yellow-orange, and these do not create a shape with reflective symmetry.

color wheel shows unbalanced scheme of yellow-orange, red-orange and violet

ugly fabric color scheme is asymmetrical

Ugly fabric

Add a fourth color to create a color scheme that has balance and harmony. Here are 2 possible options. First, adding blue to the scheme will balance it.

create a balanced color scheme by adding blue to create a trapezoid.

Add blue to create a trapezoid.

fabric swatches show color scheme that adds blue to the ugly fabric

Fabric Swatches show blue in the mix.

Replace blue with green to create another balanced color scheme.

create a balance color scheme by adding green to the mix

Option 2: add green to the scheme

fabric swatches show green with ugly fabric

Add green to the mix.

Make the scheme more complex by adding both blue and green. This will also create a pentagon shape on the color wheel; and a shape with reflective symmetry.

balanced color scheme with blue, green, violet, red-orange, and yellow-orange.

Balanced Scheme with 5 colors.

create 5-color scheme by adding blue and green to the ugly fabric

5-color scheme that is balanced

Learn More in My Color & Composition Class

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.

Quilt Borders and Sashing Using the Golden Mean

The Golden Mean and Calipers

Finding the perfect width for your quilt’s borders and sashing is easy if you use the Golden Mean. If you aren’t familiar with this term, it refers to a sweet spot in the middle, between 2 extremes. It divides a space so that one side is a bit larger than the other in a way that is harmonious and pleasing to the eye. Also referred to as the golden ratio, it occurs often in nature. To find this division of space, I love to use my Golden Mean Calipers. As the calipers open and close, the center point, always indicates the Golden Mean, and two harmonious inner spaces.

large and small Golden Mean Calipers

These calipers are available in the Creativity Tools section of my web store.

Perfect Borders Using the Golden Mean

Adjust the Golden Mean Calipers to measure the width of a quilt block

Measure the width of your block.

This tool is also useful when adding borders to a traditional block quilt. One method is to start with the blocks themselves. Place the outer points of the calipers at the edges of the blocks. This will give you two new measurements that will be in harmony with the blocks.

Use the larger measurement for the total width of the border.

Use the larger of the 2 inner golden mean measurements for the finished width of the full border.

Create a single border matching the wider measurement of the calipers.

Divide this area further by placing the outer points of the calipers on the edges of the border area. This will indicate pleasing widths for an inner and outer border.

Divide the border area using the calipers.

The golden mean indicates the optimum width of borders and sashing.

Create harmonious smaller borders.

All measurements indicate finished sizes, so don’t forget to add seam allowances.

Perfect Sashing Using the Golden Mean

Use the golden mean to determine the width of sashing, as well as borders. The smaller inner border width, determined above, is also the perfect width for sashing. Sashing is used between and around all of the blocks, and it serves to set the blocks apart for the purpose of highlighting each as an individual unit.

Borders surround the grid of blocks and visually hold them together. Sashing adds to the visual weight of the grid layout, and creates the need for a larger border to maintain balance. Combine the width of the sashing and the single border to create a harmonious, larger, outer border, as shown below.

Use golden mean calipers to measure sashing and first border.

Measure sashing & border

Golden Mean Calipers indicate width of an additional border

Calipers indicate width of additional border

Borders and Sashing for a Predetermined Quilt Size

Sometimes, a specific finished size is necessary and the process described above will exceed those limits. In this case, if you know how wide the full border needs to be, but you want to break it down into multiple borders, the golden mean is a good way to do that. Open the calipers to the full border width, and use the two inner measurements for multiple border widths.

No calipers – No Problem

You can also determine harmonious measurements without the calipers by using the magic number: 1.6. Take any measurement. Determine a larger size by multiplying by 1.6

Example: 5 x 1.6 = 8

Conversely, divide by 1.6 to find a smaller measurement.

Example: 5 ÷ 1.6 = 3.125 (Round down to 3 inches)

Learn More in My Color & Composition Class

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How Subjective Timbre Relates to Color Theory

In my most recent Color & Composition class, our study of color theory took us to the topic of Subjective Timbre. This is a topic not often covered in discussions of color theory. Read on for a summary of that part of the discussion. If you are intrigued, information about future Color & Composition class sessions can be found at the bottom of this article.

Subjective refers to anything based on the individual (i.e. feelings, opinions, reactions)

Timbre refers to the character of a sound or, in this case, color.

Therefore, subjective timbre refers to our personal responses to, and interpretations of various colors.

Before you read further, take a moment and look around you for a favorite colorful object, or article of clothing. If possible, have it handy for future reference.

Itten Color Theory and Seasonal Palettes

Johannes Itten, in his color theory, color system, divided colors into 4 palettes based on the seasons. He did color studies and presented them to people and found that, universally, everyone could correctly name the season being represented. Try it yourself. Below are four of seasonal paintings by Itten. Can you guess the season that each represent? You can find the answer key at the bottom of this blog. Also, make note of the color study that you find most appealing.

4 Ways Subjective Timbre Affects Your Relationship with Color

Itten observed that people had varying reactions to the color palettes. This prompted a series of experiments with his students. In the end, he came to several conclusions related to Subjective Timbre.

1. Everyone has an affinity for one of these palettes over the others.

Which seasonal palette do you prefer? Now, take a look at your favorite object. Does it reflect this same color palette?

One of my favorite objects is this carpet that I purchased while living and teaching in Turkey.

My preference for an autumn color palette is reflected in my favorite rug.

Lea’s favorite rug from Turkey

2. Based on personal coloring (skin tone, hair color, eye color) a person will look better when standing next to one of these color palettes. Here are photos of me standing in front of 2 pieces of art that I created. One of these pieces reflects my personal color palette. Can you guess which seasonal palette I prefer?

Artists look better standing in front of works done in their preferred seasonal palette.

Lea in front of Crossing Over. Autumn palette.

Artists don't look good standing in front of a palette that doesn't match their personal coloring.

Lea in front of Puppy Love. Spring palette.

Itten’s work on subjective timbre became the basis for personal color analysis applied to makeup and wardrobe selection (ie: Color Me Beautiful), and interior design.Think about your favorite outfits, or articles of clothing. What seasonal palette is reflected in your favorite wardrobe choices?.

3. A person’s preferred color palette, the one they are naturally drawn to, is the same palette that is consistent with their skin tone, hair, and eyes or their personal coloring.

Are you noticing a pattern here? Are the colors of your favorite clothes consistent with your preferred color palette?

4. Finally, as artists, we do our best work when we are using our preferred palette.

Apply Subjective Timbre to Your Color Choices

Understanding subjective timbre and your personal color preferences can be helpful in your own creative journey. Think about your best artistic works. Are they done in your preferred palette? Also, consider pieces that you have created, and hated. Is it possible that the color palette is a factor?

I found that this is true for me. My preferred palette is autumn. Visit my Portrait and Genre galleries to see how this plays out in my work. You may notice that I occasionally stray from my preferred scheme. Depending on your preferences, you may find this pleasing, or not.

When seeking advice from others related to color, be aware that they are likely to respond based on their own subjective timbre. Likewise, when creating a piece of art for someone else, be considerate of their subjective timbre.

The point of this article isn’t to say that you always need to work in your preferred color palette, but rather, understanding subjective timbre can help you be more successful when working outside of your natural comfort zone.

Blame it on Subjective Timbre

Have you ever . . .

…attempted a guild challenge to use a specific fabric or color scheme with unfavorable results?

…attempted a new work of art based on the identified “color of the year” and struggled to make a composition work?

…seen work by an acclaimed artist and thought, “I know it should be working for me, but it just isn’t.”

…received an article of clothing as a gift from a dear friend, or relative that you deem hideous.? They saw it, loved it, believe it is beautiful, but you won’t be caught dead wearing it.

Understanding your personal relationship with color helps to make sense of all of these situations.

Learn More in My Color & Composition Class

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ANSWERS to Seasonal Paintings

Winter, 2. Summer, 3. Autumn, 4. Spring.

My color palette: Autumn

Positive and Negative Space in Art Quilting

Effectively using positive and negative space is key to creating compelling art quilt compositions.

Positive space is the area of the composition that is happening, or of interest

Negative space is the area around the positive space, and the area that is NOT happening, often referred to as “The Resting Space”

You can’t have one without the other, and both serve attention.

Manage Positive & Negative Space in Art

Negative space doesn’t have to be boring to be effective. It is possible to focus the eye and draw attention to the positive space, but not waste the negative space.

In my portrait quilts, I often create the figure, then audition it on several backgrounds to see what works best. White space worked well for my tribute to Malala, but something with more color and visual texture was needed to offset the solid mass of the figure in Busy Signal.

Portrait of Malala wearing a red scarf. Negative space is created 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.

Mottled and textural print fills the negative space to contrast with the bold figure irepresented with solid spaces.

Busy Signal, 25 in x 36
2017.

Auditions for Negative Space

Selecting appropriate fabric for negative space in your art is a skill that can be practiced in isolation. As with any skill: repetition builds proficiency. I suggest you do the following exercise in a deliberate and thoughtful manner. This experience will increase your knowledge base and make the process easier in the future.

Select a small motif. Begin with something simple, but repeat this process with more complex motifs.
Select a group of fabrics to audition. Look for connections to the motif, i.e. color scheme, shape, line, texture.
Place the motif on each of the fabrics and take a photo reference.
Make notes about the effect and the appeal of each combination.
Also, not the kinds of contrast that are at work: color, value, pattern, line.

a simple seashell motif is auditioned on a variety of fabrics.

Auditions with simple motif.

options to fill negative space with complex motif

Auditions with complex motif.

Notan: Light-Dark Harmony

Notan is a Japanese terms that means light-dark harmony. This is a way of looking at positive and negative space in terms of value.

The concept is that a composition works well when the light and dark spaces appear in balanced proportions and they work together to create interesting shapes. The light areas should group together and the same for dark areas. Notan commonly done in 2 values, can also work with 3 or 4 values.

Easy Notan Exploration

A simple exploration of this concept is to create mirror image compositions. The photos below show the process with a simple tree drawing, and black and white fabrics.

Begin with a simple drawing. Add lines to indicate where the design can be cut into 2 halves.
Transfer the drawing to paperbacked fusible and iron to black fabric
Cut the design in half and then cut the tree from the background.
Fuse the back pieces onto white fabric as shown.

simple tree drawing for notan exploration

Explore notan using a simple design.

Mirror image tree with 2-value notan.

Here is another version of this experiment using 3-value notan.

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

Mirror image tree composition created with 3-value notan.

Evaluate Positive & Negative Space Using Notan

The concept of notan can be used evaluate or develop a pictorial composition that is balanced and pleasing. Here is a 5-step process:

Open an image in a photo-editing program
The Long Goodbye
Grayscale the image
Composition in grayscale.
Posterize at 2 levels.
Composition posterized in 2 values.
Change mottled areas to white, or black.
Composition in 2-value notang.
Evaluate the interaction of black and white shapes. If the interplay between black and white; positive and negative space is interesting, this is an indication that the composition is appealing.

Managing positive and negative space is no guarantee that you will create a masterpiece. Consider this just one of the ingredients in the recipe for success.

Learn More in My Color & Composition Class

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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

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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

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Shirley Chisholm on Women’s Work

Shirley Chisolm fabric portrait from Women's Work quilt, front view, wearing lime green dress, walking down stairs among protestors and legislators

Shirley Chisholm on Women’s Work

Shirley Chisholm(1924-2005) on WOMEN’S WORK, is located at the bottom of the stairs, wearing a lime green dress. She is situated between legislators and demonstrators marching forward down the stairs. Shirley, known as a courageous, and tireless champion for the poor and working class, is famous as the first black woman to serve in Congress. She was also the first black female presidential candidate from a majority political party.

Fierce Advocate

Born Shirley Anita St Hill on November 30, 1924 to Caribbean Immigrants from British Guyana and Barbados, her father was a factory laborer, and her mother was a domestic worker and seamstress. The family lived in the Bedford–Stuyvesant neighborhood of Brooklyn. Believing it would provide a safer environment, Shirley’s parents sent her and three younger sisters to live with their grandmother on the island of Barbados. The girls lived there for about 7 years. Shirley attributes much of her success to the early education she received in the traditional British school system of Barbados. Upon her return to New York City at the age of 10, she performed well in the integrated, but mostly white classrooms.

After high school, Shirley earned a Bachelor of Arts at Brooklyn College where she also won awards for debate. Then, she worked in an early child care center, married Conrad Chisholm, and earned her Masters in Elementary Education from Columbia University. She worked her way up to director of the Hamilton-Madison Child Care Center in the 1950’s, and became an educational consultant to New York City’s Bureau of Child Welfare from 1959 to 1964.

Shirley learned to fight for social justice in her teens from her father who was an active member of a labor trade union. Her confidence, speaking skills, and grit made her an effective advocate for civil rights, women’s rights, and workers rights. She was elected to the New York State Assembly in 1965, and became the first black woman elected to the US House of Representatives in 1968. She served her constituents as a fierce, and vocal legislator.

Unbossed & Unbought

Shirley’s campaign slogan, “Unbossed and Unbought,” was an apt description. At first, Shirley

was appointed to the Agriculture Committee. This was the result of efforts by Southern

congressmen to put her in a place where she would have little influence or power. Angered, she waged a campaign to be reassigned. This was unheard-of since freshmen representatives were expected to follow the rules without complaint. In the end, Shirley got her way, but not before she found a silver lining in agriculture. In the late 1960’s farmers in the midwest had surplus food that they couldn’t sell. Shirley teamed with Senator Bob Dole from Kansas and, together, they started what would become the Food Program for Women, Infants, and Children (WIC) to provide food supplements to at-risk women and their infants.

Long desk with 3 black male legislators and Shirley Chisholm sitting behind

Congressional Black Caucus.

During her seven terms in Congress, Shirley successfully helped pass numerous pieces of legislation that gave voice and power to those who were ignored by the government. She opposed the VietNam War and fought to reduce military spending in favor of increasing funds for domestic social programs. She pushed through legislation that expanded funding for day care and education, and expanded minimum wage protections for domestic workers. In support of women, Shirley hired only females to work in her congressional office, and half of her staff were black.

Presidential Run

Finally, in 1972, Shirley decided to run for President as the Democratic candidate. She became

Campaign Poster

the first black candidate from a major party, and the first woman Democratic party candidate. A major obstacle for her campaign, were the black male colleagues within the party. Shirley claimed that she faced more discrimination for being a woman, than for being black. Winning the nomination was a long shot, but, Shirley hoped to amass enough support to be able to influence the party platform. She planned to demand a black vice-presidential candidate, and insist on diversity in cabinet, and agency appointments.

Shirley invited all to “Join me on the Chisholm Trail” as she campaigned across the country on a shoe-string budget, and heavy reliance on volunteers. Her policy positions included support for:

Anti-poverty legislation
Shirley speak at Democratic Nat’l Convention
Ending the VietNam war
Abortion rights
Gay rights
National health insurance
Legalization of marijuana
Fair housing laws
Busing as a temporary means to desegregate schools

Shirley built a broad coalition of supporters, but, she did not win the nomination. She did, however, come in 4th in a field of 15 candidates at the Democratic Convention. She inspired women worldwide, and was voted as one of the 10 most admired women in the world. After the election, Shirley returned to Congress where she served another 10 years. In retirement, she remained involved in many political organizations, spoke at colleges to encourage student activism, and continued to fight for women’s rights.

What about those demands at the convention…

In her run for president, Shirley hoped to gain the clout to demand a black vice presidential running mate, and diversity in cabinet and agency appointments. That was in 1972. Not until the election of Joe Biden and Kamala Harris in 2020, nearly 50 years later, did those demands became a reality. At the inauguration ceremony, Harris wore purple as a tribute to Shirley Chisholm whose campaign colors were purple and yellow.

My take away…

The pace of equality is much too slow. In researching Shirley Chisholm, I must confront the question, “What are you doing about it?”.

As a high school teacher, I work with many students from marginalized groups: young women and children of immigrants. They often do not have a family history of education or activism, so, I try to plant those seeds. I challenge students to be the first in their families to graduate from high school, to set a goal of attending college, and to register to vote. These steps can change the path of an entire family for years to come.

girl standing, inserting ballot into collection box outside in snow storm

1st Time Voting

In the 2020 election, a former student contacted me because she wanted to vote. She didn’t know how, and no one she knew had ever voted in a US election. Over the phone, I talked her through the registration process. When her ballot arrived, I explained each of the issues, and shared a booklet from the state voting commission with more information. After talking her through marking and sealing her ballot, I drove her to the drop-off site and told her, “Next time, bring two friends and we’ll do this again.”

See the Women’s Work Quilt

See Ida B Wells on Women’s Work in person. This quilt will debut as a featured work in the exhibit Women’s Voices, Women’s Votes, Women’s Rights, at the Clinton Presidential Library, in September 2021. Look for more details on the Events page of this website. Follow this blog for more stories of amazing women. Follow this link to see more of Lea’s Portrait Quilts.

Learn More About Shirley Chisholm…

Michals, Debra. “Shirley Chisholm.” National Women’s History Museum. 2015. www.womenshistory.org/education-resources/biographies/shirley-chisholm.

History, Art & Archives, U.S. House of Representatives, ““Catalyst for Change”: The 1972 Presidential Campaign of Representative Shirley Chisholm,” https://history.house.gov/Blog/2020/September/9-14-Chisholm-1972/(January 30, 2021)

Shirley Chisholm: First African American Congresswoman (March 31, 2020). Timeline-World History Documentaries. https://www.youtube.com/watch?v=Fz-dfJIprkY

Shirley Chisholm Biography, Encyclopedia of World Biography, (January 30, 2021). https://www.notablebiographies.com/Ch-Co/Chisholm-Shirley.html

Dovid Zaklikowsk (January 20, 2021) Turning Disappointment Into Food for the Hungry. The Rebbe.org. https://www.chabad.org/therebbe/article_cdo/aid/558041/jewish/Turning-Disappointment-Into-Food-for-the-Hungry.htm

History.com Editors (December 10, 2020). Shirley Chisholm. A&E Television Networks. https://www.history.com/topics/us-politics/shirley-chisholm

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.

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