Class Preparation: Part 2
Class Preparation: Part 2
UNDERSTANDING COLOR If you participated in the 2014 Skill Builder BOM, this information on color will be a review of what we covered last year. For those of you new to the Skill Builder BOM, we’re going to dive into a little Color Theory! In order to use color effectively in your sewing projects, you will need to have a basic knowledge of Color Theory (hue, value, and saturation). Once you have this foundation, choosing effective, balanced, and beautiful color schemes and pulling custom fabric bundles for your projects will be much easier!
FIG. 1
The Foundation of Color Hue is what is referred to as color (that car is “blue”, that book is “red”, that fruit is “orange”). Hue is also used when speaking of a group of colors, such as “green hues”. If you look at the color wheel, each of the 12 spokes represents a hue. The lightest inner ring of a color wheel spoke is the lightest hue. The darkest outer ring of a color wheel spoke is called a pure hue (FIG. 1). Using a lot of pure hues together in a project can add a fun and playful look to a design.
FIG. 2
Value describes the darkness or lightness of a hue (is sometimes referred to as brightness). In FIG. 2, the left swatch is set to 60% brightness and the right swatch is set to 100% brightness. Both are still the exact same hue (color). 1
A great way to grasp color value is to take a photo and turn it black and white (FIG. 3). When you take away the color, you can still make out what is in the photo. This is because of the different values of color in the photo. Saturation is the measure of how pure or intense a hue is. In FIG. 4, you have swatches in the same hue and value, but they are very different because of the amount of saturation. One swatch is set to 100% saturation and the other 50% saturation. A swatch that is highly saturated will be much purer and brighter compared to a swatch that has been diluted with white, or darkened with black or gray.
FIG. 3
Are value and saturation the same thing? No. It can be very hard to differentiate between the two, but they’re different. With saturation, you’re considering how pure or intense the hue is. With value, you’re not considering what the hue is at all, just how light or dark it is.
Tweaking Colors Now that you understand hue, value, and saturation, let’s talk about how we can tweak colors to create different color palettes.
FIG. 4
Tints, Shades and Tone A tint is a mixture of a color (hue) with white, which increases the lightness of the color. A shade is a mixture of a color (hue) with black, which decreases the value and provides a darker color. A tone is a mixture of a color (hue) with gray, or the product of tinting and shading. Mixing any color with a neutral color will affect the saturation and value of the color (hue), however, the hue will remain the same. (FIG. 5)
FIG. 5
Now let’s experiment further with hue, value, and saturation to learn how they can work together to affect colors. In FIG. 6, you will see that the hue (H) and saturation (S) are identical for all five squares, but the value/brightness (B) is dropped 10% per square.
FIG. 6 In FIG. 7, the hue (H) and value (B) are identical for all five squares, but the saturation (S) is dropped 10% per square.
FIG. 7 In FIG. 8, the hue (H) is identical for all five squares, the saturation (S) has been dropped by 50%, and the value (B) drops 10% for each square. Keep in mind that for all three of these examples the color (hue) is exactly the same!
FIG. 8
3
Primary
Color Harmony There are a few color rules based on the color wheel that have been established as a standard to use when choosing harmonious color schemes. Monochromatic colors are groups of colors that are from one hue (spoke) of a color wheel, but look different because of the effect of tint, shade, and tone. Monochromatic color schemes are very appealing because of the balanced look they give (FIG. 10).
FIG. 9
Monochromatic
Analogous colors are groups of colors that are next to each other on the color wheel. Analogous color schemes have one dominant color and two colors on either side complementing the dominant color. Analogous color schemes are often found in nature (FIG. 11). Complementary colors are a group of colors that are opposite of each other on the color wheel (red and green). Complementary color schemes can be very vibrant because of high contrast. However, you must use these color schemes carefully so that it is not overwhelming. Use complementary color schemes when you want something particular to stand out, but try to stay away from using complementary color schemes in large amounts (FIG. 12).
FIG. 10
Analogous
Compound colors are a group of colors based on a variation of complementary colors. In addition to the base color, it uses the two colors adjacent to its complement. Using compound colors gives you the visual appeal of complementary colors, with a bit more freedom (FIG. 13).
FIG. 11
Complementary
Triadic colors are a group of colors that are evenly spaced around the color wheel. Triadic color schemes tend to be very dynamic, even if you use unsaturated hues. The key to using triadic colors successfully is finding the perfect balance of colors. Try using one color to dominate and the others as accents (FIG. 14).
FIG. 12 4
Compound
Custom colors are a group of colors that you bring together on your own without using a specific color rule. There are often color schemes that do not fit into one of the color rules, but are still very pleasing to the eye. Once you have built a foundation of color into your knowledge base and use the color rules often, you should find yourself feeling much more confident in creating custom color palettes.
Color Tools
FIG. 13
When you first begin playing with color, it helps to use tools. I usually use two tools to help me put together color schemes.
Triadic
If you would like to play with different schemes using color rules like Triadic, Monochromatic, and Analogous, then check out the free online app by Adobe called Kuler. This app has a very clean, easy-to-use interface. Go ahead and play with the different color rules and see how colors can be effected (FIG. 15). If you would like to pull colors from an image, a great tool is Palette Builder 2 by Play Crafts. This app was specifically designed for sewists and gives you a list of coordinating Kona Cotton solid colors.
FIG. 14
Understanding Color: Conclusion You should now have a really good understanding of what “color” is, and with that understanding you can build a foundation that will help you when you plan your quilting projects.
FIG. 15
5
CHOOSING YOUR FABRIC When I am working on a new quilt project or designing a new pattern, these are the the steps I take in choosing my fabrics:
Step #1: Perception & Feelings Consider how you want the quilt to be perceived. Perhaps you’re making a quilt for a college graduate and you want it to look sophisticated and trendy. You can achieve this perception of your quilt by using colors properly.
FIG. 1
Step #2: Choose a Color Scheme With a desired perception and a background on color theory, you will need to choose a couple color scheme candidates. For my Technicolor Galaxy quilt, I will be using a classic rainbow color scheme, but you could also choose a completely different color scheme if you wanted. (FIG.1)
Step #3: Audition Colors Before you get too excited and start pulling fabrics from your stash, it is important to audition the schemes and choose your favorite.
FIG. 2
Get out your colored pencils and print copies of the Technicolor Galaxy Coloring Sheet, and color to your heart’s content.
Step #4: Pull Your Solids The next thing to do is pull solids based on the color scheme you have chosen. When you are working with fabric, you will find the greatest challenge is finding the right color in the brand fabric you love. However, you have to work within the limitations of the brand fabric or options you have. One of the reasons I personally use a lot of Kona® Cotton Solids is because they have over 300 colors to choose from! (FIG.2)
FIG. 3
6
Step #5: Mix in Your Prints I personally love working with Kona® Cotton Solid fabrics in quilting and use them more often than printed fabrics. In fact, it can be a lot easier to choose fabrics using solids and it is a great place to start if you are a beginner. If you want to make a quilt from just solids, you can convert your color palette using a Kona® Color Card. But, what if you want to use some prints? The main mockup of the Technicolor Galaxy quilt is displayed in all solid colors, but I am using a mix of prints and solids for my quilt.
FIG. 4
If you want to go a step further and try out prints, then it’s time to raid your stash or start shopping! When using prints, it is important to consider three factors: scale, density, and dominance. Scale The main design on a printed fabric will fall into one of three categories: large scale (4” or larger), medium scale (around ½” to 4”), or small scale (½” and smaller). When you are quilting, you must consider the fact that the fabric will be cut up in to pieces, most likely small pieces. How will the print look cut up? (FIG. 4 & 5)
FIG. 5
Density (or spacing) Prints on fabric are often spaced either showing little-to-no background, or spaced showing lots of background. The density of the spacing will greatly affect the next factor – color dominance. (FIG. 6)
FIG. 6
Color Dominance Dominant colors tend to “push through” the design so they are the main color (or colors) you see, while recessive colors blend into the background more. When you’re choosing fabrics based on a color scheme, determining the dominant color in the fabric will be absolutely crucial. (FIG. 7)
FIG. 7
7
Step #6: Bulk it Up Once you have your favorite fabrics chosen, you will most likely realize you don’t have enough fabric to make an entire quilt.
FIG. 8
Perhaps your base color scheme only had six colors. To help you bulk up your selection, consider adding a few more values of each of your intial colors (6 reds, 6 blues, etc). Remember, as I mentioned before, the value describes the darkness or lightness of a hue. Once you feel pretty satisfied with your selections, try taking a black and white picture of your fabric to see if you have a good range of color value for that one color. In FIG. 8, you will see a nice range of value in the selection of fabric.
Choosing Your Fabric: Conclusion Remember to start first by establishing the desired perception of the project. From there, you can go color crazy. Also remember that it is easier to learn to work with color and fabrics if you first start with solids. When playing with prints, always consider the three factors: scale, density, and dominance. Ultimately, working in this order can really improve your color/fabric choices.
8
UNDERSTANDING COLOR If you participated in the 2014 Skill Builder BOM, this information on color will be a review of what we covered last year. For those of you new to the Skill Builder BOM, we’re going to dive into a little Color Theory! In order to use color effectively in your sewing projects, you will need to have a basic knowledge of Color Theory (hue, value, and saturation). Once you have this foundation, choosing effective, balanced, and beautiful color schemes and pulling custom fabric bundles for your projects will be much easier!
FIG. 1
The Foundation of Color Hue is what is referred to as color (that car is “blue”, that book is “red”, that fruit is “orange”). Hue is also used when speaking of a group of colors, such as “green hues”. If you look at the color wheel, each of the 12 spokes represents a hue. The lightest inner ring of a color wheel spoke is the lightest hue. The darkest outer ring of a color wheel spoke is called a pure hue (FIG. 1). Using a lot of pure hues together in a project can add a fun and playful look to a design.
FIG. 2
Value describes the darkness or lightness of a hue (is sometimes referred to as brightness). In FIG. 2, the left swatch is set to 60% brightness and the right swatch is set to 100% brightness. Both are still the exact same hue (color). 1
A great way to grasp color value is to take a photo and turn it black and white (FIG. 3). When you take away the color, you can still make out what is in the photo. This is because of the different values of color in the photo. Saturation is the measure of how pure or intense a hue is. In FIG. 4, you have swatches in the same hue and value, but they are very different because of the amount of saturation. One swatch is set to 100% saturation and the other 50% saturation. A swatch that is highly saturated will be much purer and brighter compared to a swatch that has been diluted with white, or darkened with black or gray.
FIG. 3
Are value and saturation the same thing? No. It can be very hard to differentiate between the two, but they’re different. With saturation, you’re considering how pure or intense the hue is. With value, you’re not considering what the hue is at all, just how light or dark it is.
Tweaking Colors Now that you understand hue, value, and saturation, let’s talk about how we can tweak colors to create different color palettes.
FIG. 4
Tints, Shades and Tone A tint is a mixture of a color (hue) with white, which increases the lightness of the color. A shade is a mixture of a color (hue) with black, which decreases the value and provides a darker color. A tone is a mixture of a color (hue) with gray, or the product of tinting and shading. Mixing any color with a neutral color will affect the saturation and value of the color (hue), however, the hue will remain the same. (FIG. 5)
FIG. 5
Now let’s experiment further with hue, value, and saturation to learn how they can work together to affect colors. In FIG. 6, you will see that the hue (H) and saturation (S) are identical for all five squares, but the value/brightness (B) is dropped 10% per square.
FIG. 6 In FIG. 7, the hue (H) and value (B) are identical for all five squares, but the saturation (S) is dropped 10% per square.
FIG. 7 In FIG. 8, the hue (H) is identical for all five squares, the saturation (S) has been dropped by 50%, and the value (B) drops 10% for each square. Keep in mind that for all three of these examples the color (hue) is exactly the same!
FIG. 8
3
Primary
Color Harmony There are a few color rules based on the color wheel that have been established as a standard to use when choosing harmonious color schemes. Monochromatic colors are groups of colors that are from one hue (spoke) of a color wheel, but look different because of the effect of tint, shade, and tone. Monochromatic color schemes are very appealing because of the balanced look they give (FIG. 10).
FIG. 9
Monochromatic
Analogous colors are groups of colors that are next to each other on the color wheel. Analogous color schemes have one dominant color and two colors on either side complementing the dominant color. Analogous color schemes are often found in nature (FIG. 11). Complementary colors are a group of colors that are opposite of each other on the color wheel (red and green). Complementary color schemes can be very vibrant because of high contrast. However, you must use these color schemes carefully so that it is not overwhelming. Use complementary color schemes when you want something particular to stand out, but try to stay away from using complementary color schemes in large amounts (FIG. 12).
FIG. 10
Analogous
Compound colors are a group of colors based on a variation of complementary colors. In addition to the base color, it uses the two colors adjacent to its complement. Using compound colors gives you the visual appeal of complementary colors, with a bit more freedom (FIG. 13).
FIG. 11
Complementary
Triadic colors are a group of colors that are evenly spaced around the color wheel. Triadic color schemes tend to be very dynamic, even if you use unsaturated hues. The key to using triadic colors successfully is finding the perfect balance of colors. Try using one color to dominate and the others as accents (FIG. 14).
FIG. 12 4
Compound
Custom colors are a group of colors that you bring together on your own without using a specific color rule. There are often color schemes that do not fit into one of the color rules, but are still very pleasing to the eye. Once you have built a foundation of color into your knowledge base and use the color rules often, you should find yourself feeling much more confident in creating custom color palettes.
Color Tools
FIG. 13
When you first begin playing with color, it helps to use tools. I usually use two tools to help me put together color schemes.
Triadic
If you would like to play with different schemes using color rules like Triadic, Monochromatic, and Analogous, then check out the free online app by Adobe called Kuler. This app has a very clean, easy-to-use interface. Go ahead and play with the different color rules and see how colors can be effected (FIG. 15). If you would like to pull colors from an image, a great tool is Palette Builder 2 by Play Crafts. This app was specifically designed for sewists and gives you a list of coordinating Kona Cotton solid colors.
FIG. 14
Understanding Color: Conclusion You should now have a really good understanding of what “color” is, and with that understanding you can build a foundation that will help you when you plan your quilting projects.
FIG. 15
5
CHOOSING YOUR FABRIC When I am working on a new quilt project or designing a new pattern, these are the the steps I take in choosing my fabrics:
Step #1: Perception & Feelings Consider how you want the quilt to be perceived. Perhaps you’re making a quilt for a college graduate and you want it to look sophisticated and trendy. You can achieve this perception of your quilt by using colors properly.
FIG. 1
Step #2: Choose a Color Scheme With a desired perception and a background on color theory, you will need to choose a couple color scheme candidates. For my Technicolor Galaxy quilt, I will be using a classic rainbow color scheme, but you could also choose a completely different color scheme if you wanted. (FIG.1)
Step #3: Audition Colors Before you get too excited and start pulling fabrics from your stash, it is important to audition the schemes and choose your favorite.
FIG. 2
Get out your colored pencils and print copies of the Technicolor Galaxy Coloring Sheet, and color to your heart’s content.
Step #4: Pull Your Solids The next thing to do is pull solids based on the color scheme you have chosen. When you are working with fabric, you will find the greatest challenge is finding the right color in the brand fabric you love. However, you have to work within the limitations of the brand fabric or options you have. One of the reasons I personally use a lot of Kona® Cotton Solids is because they have over 300 colors to choose from! (FIG.2)
FIG. 3
6
Step #5: Mix in Your Prints I personally love working with Kona® Cotton Solid fabrics in quilting and use them more often than printed fabrics. In fact, it can be a lot easier to choose fabrics using solids and it is a great place to start if you are a beginner. If you want to make a quilt from just solids, you can convert your color palette using a Kona® Color Card. But, what if you want to use some prints? The main mockup of the Technicolor Galaxy quilt is displayed in all solid colors, but I am using a mix of prints and solids for my quilt.
FIG. 4
If you want to go a step further and try out prints, then it’s time to raid your stash or start shopping! When using prints, it is important to consider three factors: scale, density, and dominance. Scale The main design on a printed fabric will fall into one of three categories: large scale (4” or larger), medium scale (around ½” to 4”), or small scale (½” and smaller). When you are quilting, you must consider the fact that the fabric will be cut up in to pieces, most likely small pieces. How will the print look cut up? (FIG. 4 & 5)
FIG. 5
Density (or spacing) Prints on fabric are often spaced either showing little-to-no background, or spaced showing lots of background. The density of the spacing will greatly affect the next factor – color dominance. (FIG. 6)
FIG. 6
Color Dominance Dominant colors tend to “push through” the design so they are the main color (or colors) you see, while recessive colors blend into the background more. When you’re choosing fabrics based on a color scheme, determining the dominant color in the fabric will be absolutely crucial. (FIG. 7)
FIG. 7
7
Step #6: Bulk it Up Once you have your favorite fabrics chosen, you will most likely realize you don’t have enough fabric to make an entire quilt.
FIG. 8
Perhaps your base color scheme only had six colors. To help you bulk up your selection, consider adding a few more values of each of your intial colors (6 reds, 6 blues, etc). Remember, as I mentioned before, the value describes the darkness or lightness of a hue. Once you feel pretty satisfied with your selections, try taking a black and white picture of your fabric to see if you have a good range of color value for that one color. In FIG. 8, you will see a nice range of value in the selection of fabric.
Choosing Your Fabric: Conclusion Remember to start first by establishing the desired perception of the project. From there, you can go color crazy. Also remember that it is easier to learn to work with color and fabrics if you first start with solids. When playing with prints, always consider the three factors: scale, density, and dominance. Ultimately, working in this order can really improve your color/fabric choices.
8
