- Hi, I'm Deanna Springer.
On behalf of Nancy Zieman Productions and PBS Wisconsin,
thank you for joining us
for this special educational presentation.
Please add your questions for the presenter in the chat,
and stay tuned for a Q&A after the lecture.
Then be sure to explore everything else
The Great Wisconsin Quilt Show has to offer,
including beautiful quilt exhibits
and an interactive vendor mall.
Thank you and enjoy.
[bright music]
- Hello, I'm Bill Kerr.
- And I'm Weeks Ringle.
- And we're here at Modern Quilt Studio
to introduce you to Solids: A World of Color.
- We'll be talking throughout this presentation
about how you can use solids in conjunction
with other fabrics in your stash,
but also how you can use them on their own
to produce a really bold and graphic quilt.
- So we'll be walking you through
a few quick specific quilts, kind of little case studies,
and explaining what we've done.
And I hope we'll get you excited about color and using it.
- And also, how we put together palettes
when you don't start with a focus fabric.
- Oh, it's so different with solids.
There's no big theme or diva print.
You just have color.
- There are a variety of solids available
by many manufacturers, and all are a little bit different.
So we're gonna point out some things
that are helpful to look for when you're buying solids.
And the first thing I would look for would be the weave,
that you want to look for a weave
that's not too bulky for your particular use
or not too thin for your particular use.
All of the ones we'll be talking about today
are the Benartex Superior Solids,
which we find to be very...
They're kind of the Goldilocks of solids. [laughs]
- They feel so nice and the colors are true.
They're just really nice quality.
And as Weeks said,
there are lots of different solids out there.
Some are heavier and may be great for a kid's quilt
that you're going to be really rough with.
There's some that are a bit lighter weight
that are wonderful for needle-turn appliqué.
And the Superior Solids are just ones
that we happen to really like.
But another reality is what can you get?
You know, what can you get at your local quilt shop?
And what do you have access to online?
- So sometimes, people will think
that having the largest variety of colors
is the reason to use one brand.
But we've found that actually,
you can use a smaller number of colors,
but it's getting the right colors
that you need for your particular project.
- And so that's why solids,
if you like building a stash, they're terrific.
You see a color you like,
it seems like good quality, get it.
You'll use it.
And one thing that's interesting with solids,
because they're dyed,
there's no salvage with identifying information.
So if you find a solid that you absolutely love
and you think you might need more of later,
you might write with a Sharpie on the salvage
exactly what it is.
So you know, a year from now,
if you need more, you can get it.
- Whether you're buying your fabric
from your local quilt shop or online,
it's especially helpful to be able
to have access to a swatch card.
And one of the things that having a swatch card does
is it enables you to audition at home
in the light where you have all of the rest of your stash,
individual fabrics without feeling pressured to,
you know, run the next errand or be in a hurry to do it.
The swatch cards that we find most useful
are the ones that have this little,
that only the top is glued down,
and so you can overlay even a little swatch,
on top of the rest of your palette to see.
This one also has all of their wonderful neutrals
that are part of the Superior Solids line
that we find especially useful.
They may not be the ones
that you necessarily look at and think,
"Oh, I wanna make a whole quilt around that."
But they're the worker bees
and they make the brights look brighter.
- And neutrals can be light or dark.
They're just kind of, they blend into background
and, as Weeks said, they help other colors shine.
- And especially if you look at some of the neutrals,
I think we've got, we call them the Essential Solids Bundle
that we have on our website.
These neutrals aren't what you would think of
as being regular neutrals.
A lot of people think of neutrals
as just white or black or gray. - Or gray.
- But there are real subtleties
in some of the colors in the Essential Solids Bundle.
And whether it's this very, very pale celadon,
or it's these taupes and camel colors and blues,
there are a variety of uses for these.
The flint I know we're gonna show later.
So I would really encourage you to be able to,
even if you're gonna buy locally from your local quilt shop,
to be able to get a swatch card.
Many manufacturers sell them now.
And I know we have them on our website as well.
- And so that'll help you select.
And it's true that dye lots may vary a little bit over time,
but they're generally pretty consistent.
And it's another difference with solids.
Most manufacturers keep their solids line
for years and years.
And you all know what it's like with prints.
You fall in love with a print,
you start using it, you need more, poof, it's gone.
You know, solids are really timeless,
both in the fact that they don't date a quilt.
When you look at a quilt that's made of solids,
you don't immediately think, "Well, that was really 1980s."
You think, "That was blue, that was green."
- Right. - It's very timeless.
And the other thing that we love about solids
is they're a wonderful way to show off your quilting,
because you do see the quilting.
And it scares people, it's okay if you're a little scared,
like, "Oh," you know, "it doesn't hide anything."
I actually look at it as an opportunity.
It's easier to see what you're doing
as you quilt in general on solids,
because you don't have the distraction of prints.
But also one of the things you'll see,
as we show some of our quilts, is that quilting can be simple.
You don't have to go crazy.
If you like to do that, you can,
but simple quilting can look just marvelous on solid quilts.
And we have a publication
called A Quilter's Guide to Solids ,
which has five patterns
and a lot of detailed information
about working with solids, how to make palettes,
and that can be a great guide.
But let's just get you now
looking at some of the quilts that we've developed and made,
and explain our thinking as we did them.
So the first quilt I'd like to talk about
is called White Caps, and it's featured
in A Quilter's Guide to Solids .
And take a look at this,
and you can see there's a lot going on.
You have these blocks that are five strips
of alternating colors.
And then there are what I call the divider bars,
which are the white and navy blue.
They look black on screen probably,
but we actually used navy blue
because it wasn't quite as stark.
- Let's talk about the palette for White Caps.
If you look in the flat shot, you'll see that the hues
are analogous blues and greens.
Analogous refers to next to each other on the color wheel.
But you'll also notice
that there are a variety of saturations.
Saturation being the intensity or the purity of the color.
And you'll see that there are some grayer greens.
And some, I think we would call them
muddier blues and greens,
and some that are more bright and bold.
And many people often think that you can't combine saturations,
low saturated fabrics with high saturated fabrics.
But I think you'll see in this quilt that it actually,
it's kind of like sweet and salty.
They bring out the best in each other.
- It's a total salted caramel kind of quilt.
And if you look,
let me show you specifically a couple of these blocks here.
So in this first block,
and by block I'm talking about those five strips,
the alternating three and two, the first one, you see the block
because there are different values of blue.
One is lighter, one is darker.
This next block, you see the block
because there are different hues.
One is blue and one is green.
And this last example,
you have one that is more intense,
brighter, and one that is duller.
And no matter what combination of hue, value, and saturation,
as long as you have contrast,
you're going to see that striped nature of the block.
- One of the things that people ask us about piecing quilts
is when you have a big pile of fabrics,
how do you start pairing them up?
And one of the things
that's especially important in this quilt
is to not try to pair things
that are too similar in terms of saturation,
but you want contrast with both the saturation
and the value in each block.
- Yeah, sometimes you might be tempted.
You might have like a bright blue and a bright green,
and you think, "Oh, they're so pretty together."
But maybe you put the bright blue with a dull green.
- Exactly. - Because in the end,
it's about what's happening in the entire quilt,
not just in the individual block.
- And you want that palette to be beautifully distributed
throughout the whole quilt. - Exactly.
- Another example of a quilt with solids
is our Accordion quilt.
What we like about the Accordion pattern
is the graphic nature of it.
It's from Modern Quilts Illustrated #11.
- And it's a simple block.
The structure is rows of these kind of tight Vs.
The block is a V with that little center fill.
And it's similar in many ways to White Caps
in that you're looking for contrast
so you can see the shape of the block.
The colors are completely different, though.
- The colors, if you look at them,
the palette is all over the color wheel.
But if you look at the values in the flat shot,
you'll see that there aren't light, light, lights,
it's mostly medium to dark values.
So if you were to look at it on the color wheel,
it would be things from the middle of the color wheel
to the outer edge of the color wheel.
- And together, it gives you a very rich set of colors.
The other thing is you can take whatever palette excites you
and apply it to this pattern.
It's really versatile.
One of the fun things
about publishing Modern Quilts Illustrated
is people post what they've done.
And we've seen so many beautiful variations
of this quilt in completely different color palettes.
- How do you start combining
when you've got all your cutting done
and you've got those piles?
And I always made sure when I was doing it,
we worked on all these quilts together,
but I was always looking to make sure
that there was enough contrast in value and hue.
So even combinations that you wouldn't necessarily
put together to wear as a top and bottom,
for example, in your clothing,
would like this green and this purple, for example,
really do look great when you look at the final quilt,
because you have a very consistent distribution
of lights and darks.
If you had decided to pair two darks and two lights,
you would have ended up with either hotspots or holes
in the overall quilt.
- Those two ideas of the hotspot or the hole,
good things to avoid. - Absolutely.
Our next quilt is our Swatch quilt,
which is one of our most popular designs.
- We've made this in solids and with tone on tone prints.
And it's a transparency quilt
where your mind imagines that these squares are transparent
and one in front of another.
- If you look at the styled shot,
you'll see that there are a variety of overlapping squares.
And we achieved that--
And this is actually easier to make with solids,
because there are so many options for you.
But if you look,
you'll see that there are overlapping solids
that create that illusion of transparency.
In A Quilter's Guide to Solids ,
you can see a different palette that we used as an illustration
to demonstrate how you can take the same idea
and apply it to a totally different palette.
- And we've done that with all of the quilts
in A Quilter's Guide to Solids ,
because it kind of jump-starts your imagination.
Plus, if you like one of the illustrations we've done,
we've actually listed the exact fabrics we used in it,
so it's like a little built-in shopping list.
- You can make your own kit basically...
- You could, you could. - ...if you wanted to.
One of the things that people ask us,
with this quilt in particular, is about quilting it.
And that when you have--
And it applies really to a lot of solids quilts,
what color do you use for thread?
And people are often surprised
that we used a white thread for the quilting of Swatch,
because you don't see it as much as people think you're going to.
- They're often afraid, like,
"Oh, I don't want to use white on that purple and that red."
And yet the reality is the white is,
you know, overpowered by this strong, strong color
and it looks fresh, it looks great.
And, you know, you can try whatever you want.
I've seen people switch colors in each section.
But we just did a dense, all-over quilting pattern,
what we call a labyrinth quilting pattern,
and it looked terrific.
- Our Infinity quilt is a totally different palette.
And this is a soft green and yellow and blue palette,
but it also has a bit
of that transparency effect as well.
- It does, you have these thin strips that overlap,
but it's much more subtle. - Mm-hmm.
- And it's, I think, a wonderful quilt to make.
And one that is...
It really lends itself to solids beautifully.
- And you compare the saturation
that you saw in the Swatch quilt with the softness of Infinity,
but Infinity could also be made in brights as well.
This is the thing that's so fantastic about solids,
is that you can figure out exactly
what tone you want for your quilt.
Do you want it bright and graphic and bold?
Or do you want it soft
and more subtle and understated?
- We've actually made the Infinity quilt now
in three completely different palettes.
We made it on a beautiful off-white.
It was very colorful though,
with kind of melons and peaches. - Peaches.
And blues and greens. - And we also did one
that was entirely earth tones. - Mm-hmm.
- And it's a different quilt each time,
but you know, what fun in each case.
- And you can see, again,
in the alternate colorway diagrams
in A Quilter's Guide to Solids ,
how different it looks in a totally different palette.
What I think is really great about solids too,
is that you're able to really get fine differences in color.
Whereas with prints, you have...
It's kind of, if it's not exactly the same print,
you're gonna really notice it.
Whereas you could substitute
a slightly different yellow than we used
and it would probably work fine.
- Right, absolutely.
And this Infinity quilt,
it's a good example of the quilting
just really being secondary in this quilt.
We stippled it with kind of a camel-colored thread.
This quilt was about subtlety.
It was about quietness.
We didn't want flamboyant quilting,
which is quite different from the next quilt we'll show you.
- Well, actually though, before we move on,
I do wanna add that I think that there is a feeling
sometimes that elaborate quilting
is always better than simple quilting.
And I think this is a really great example
of if you have a soft, understated quilt,
you really don't want fancy, elaborate quilting.
You want something that's gonna be
kind of an all-over soft texture.
And then there are other times, like in Rank and File,
where you really wanna go crazy with the quilting.
So Rank and File is kind of the big kahuna. [laughs]
- Of solids. - Of solids, absolutely.
- Once you've built up your stash.
- Or you've had a swap with a lot of friends.
- Actually, a swap is a great idea.
This quilt that you can see here in the styled shot
has an overall ombre from light to dark,
but it's 150 different solids
to get from that top row to the bottom.
- We had years and years of swapping
and buying little, you know, fat quarters
from a variety of manufacturers to be able to put together.
We do not have kits, alas.
- Oh, no, no, no, don't ask, don't ask.
I bet there are solids from at least
eight different manufacturers in this quilt.
- Over 20 years. - Over 20 years.
And this is a complex quilt.
There are complex shapes,
but it's a simple idea that unites it all.
However, we did want this to be a real showcase.
And if you look at the detail here,
you can see Weeks's free motion quilting on this.
She did this just incredible kind of doodle quilting
that is controlled, yet spontaneous.
- No marking whatsoever.
- No marking.
- No plan. - And she's even ombred.
It goes from light to dark in the quilting thread
as it goes down.
And so this is truly a celebration of solids.
- And if you were thinking about taking on Rank and File
or doing your own version,
I would encourage you to lay out all,
because there are so many fabrics,
and you don't have to use 150, but lay out everything you have
so you see where the gaps in your ombre are.
You can see in this photo how we spread ours out
all the way down our cutting table,
and we moved things around by looking at it from a distance.
- Right, so each of those stacks that you see
represents one of the rows of the quilt.
So we knew that that one stack of lights
would come before the next stack that got a little darker,
and then it gets a little darker.
And this doesn't have to be multi-colored.
If you are a collector of greens,
you could do an incredible fade from light green to dark green.
- I would also encourage you,
when you're thinking about the individual blocks,
again, to make sure you have really,
the consistent level of contrast from top to bottom,
because you don't want it to look like
there's a blue quilt happening on one side
and a pink quilt happening on the other side.
- Yeah, so that is, as Weeks said,
the big kahuna of solids quilts.
- We also wanna look at examples of quilts
that use solids with prints.
- Because you might think right now,
"Oh, solids will only work with solids."
No, they really can play well.
Especially, like one of our favorite uses for solids
is as a field or a sashing fabric
that gives you a very crisp edge around prints,
and it can really show the structure of a block nicely.
- In our Woodlands quilt,
you'll see just how powerful the light khaki solid is
in showing off the colors in our vintage fabric line.
- Yeah, so these are all prints that we designed
and they have different scales.
And if you look at this photo,
you see there are yellows, blues,
you know, aquas, greens, berries.
And that light khaki is a great neutral.
It's not white, it's not gray.
This line was called Vintage.
We wanted it to feel like an old friend.
And that solid helps achieve that.
- One of the things that's really helpful
when you're looking to find a sashing color
or a field color for a palette,
is to do something that I think is counterintuitive
and counter to what many people have been taught.
Many people have been taught
that you wanna use a background color
that is found in one of...
- That you pull out. - That you pull out, right?
And actually, in many cases,
especially with neutrals that you're looking for,
you want a color in the background that does not appear,
so you have equal footing
for all of the colors within the palette.
- Because this light khaki isn't in any of the prints,
so regardless of whether it's adjacent
to the berry or to the aqua,
you're going to have a clean, crisp, equal edge.
- In our Dress Up quilt,
you'll see how beautifully a soft cream
plays against the peaches and greens
and blues and purples from our Printology line.
It's sometimes difficult to determine
whether a white or a cream would look better.
But if you look at the general undertones of the fabric,
sometimes you can get a sense as to whether a particular white
will make the quilt look a little too stark
or it will appear blue
next to the other fabrics in the line.
So be very careful when you're looking at whites
and auditioning them
to have all of the fabrics together under the same light,
because it's easy to assume
that one white works for all palettes.
- Exactly, we have a variety of whites in our stash,
but with the Benartex Solids that we carry on our website
and that we use all the time just because we love them,
their white works with a lot of fabrics,
and their vanilla is an off-white
that has been very, very utilitarian for us.
- Absolutely.
One unexpected neutral that people
are always surprised about is dark teal.
- Dark teal, oh my gosh, give me dark teal.
- The teal is really fantastic when you're looking at a palette
that's lighter than the teal.
So even though there might be teal in the prints
in other places, the background is much darker, so that...
- Than the overall, yeah.
Yeah, than all of the other prints in the palette,
so it sets everything up nicely for a good contrast.
- And when I tell people that dark teal is a neutral,
like, "No, it's not."
It's like, "Oh, it's a mindset."
You know, I think what we mean in this case
is it shows off other fabrics beautifully.
This is the Follow the Leader quilt.
And when you see it draped here,
you can see every one of the prints on it
stands out beautifully.
And we've made this quilt, oh my gosh,
I don't know how many times. - Mm-hmm.
Every time we've done it,
we've used a different solid background.
But we do find that using a solid
allows the prints to be at the forefront,
to really be the stars of the quilt,
and there's no competition from the background.
It's almost like a great framing device.
- So you can look at a swatch card,
and this is the other thing
that's nice about having a swatch card,
as opposed to just what might be in stock
at the local quilt shop,
is that there are a variety of neutrals
that you might not have considered.
For example, I mentioned the celadon earlier,
eggplant is a fantastic neutral, as is espresso brown,
as is a deep, deep, dark inky navy or an indigo.
- I'm very fond of the kind of blues, greens, plums
that are so dark that from a distance, you wonder like,
"Is that black or is that blue?"
Or that I always say colors that are hard to name
are often great solids to have in your stash.
- The rose gold is also a surprising neutral.
It looks fantastic with Civil War reproduction fabrics,
William Morris, and other fabric lines
that aren't super saturated,
because they're intended to represent the palettes
when dyes weren't quite as bright as they are now, but--
- But there's something crisp about it.
- Absolutely, absolutely.
And some of the taupes also can look really nice
with those reproduction fabrics.
- So I hope this kind of little dive
into the world of color through solids
is going to inspire you to try some, to think about them.
All of the quilts that we've shown here today
that were made with solids,
they can also work with tone on tone prints
and some with even medium scale prints.
But that world of solids is exciting
and we find very, very beautiful.
- And I think if you are somebody who is accustomed
to designing from a focus fabric
or designing from a pre-organized palette
around a print line, there are lots of different ways
that you can find inspiration for a palette
by working with solids.
And one of those ways is to take a fabric that you love
and look at the individual colors within that print,
and reassemble your own palette using solids.
- Yeah, so have fun experimenting.
Have fun sewing and dreaming.
And welcome to our world of solids!
>> THANK YOU FOR JOINING US FOR
THE WISCONSIN PUBLIC TELEVISION
úQUILT SHOW.
WE'RE TRYING TO GET PEOPLE
ONLINE.
THE POWER WENT OUT.
SO THE JOYS OF LIVE VIDEO.
BUT WE DO HAVE QUESTIONS ROLLING
IN AND I'M HAPPY TO ANSWER SOME
OF THOSE FOR YOU.
WE WERE HONORED TO WORK WITH
BILL AND WEEKS ON THE NANCY
TELEVISION SHOW.
NANCY AND I LEARNED LOTS FROM
WEEKS AND BILL ABOUT THEIR
MODERN QUILTING TECHNIQUES.
SO I'LL FIELD A COUPLE OF THOSE
QUESTIONS AND IN THE MEANTIME
WE'LL CONNECT WITH THEM ONLINE.
VERY MANY QUESTIONS ABOUT THE
COLOR WHEEL.
PEOPLE ARE ASKING, MICHELLE IS
ASKING IN MARYLAND, DO YOU HAVE
THE COLOR WHEEL AVAILABLE ON
YOUR WEBSITE?
AND THEY DO.
IF YOU GO TO
modernquiltstudio.com, THERE'S
A TEN-PACK OF THE COLOR WHEELS
THAT WEEKS WAS HOLDING NEXT TO
HER DURING HER VIDEO
PRESENTATION AND THEY'RE
DOUBLE-SIDED, SO IT'S REALLY 20
COLOR WHEELS IN ONE TO WORK WITH
YOUR QUILT TOPS AND HELP YOU
MATCH COLORS.
AND YOU CAN ALSO FIND THE MODERN
QUILT STUDIO ON OUR VENDOR MALL.
WE'RE SO HAPPY THAT WEEKS AND
BILL ARE ASSOCIATE SPONSORS OF
THE GREAT WISCONSIN QUILT SHOW.
THERE YOU'LL FIND MODERN QUILT
STUDIO LISTED.
JUST CLICK RIGHT THROUGH THEIR
WEBSITE AND SOCIAL SITES AND
CONNECT THERE AS WELL.
ONE QUESTION I'M SEEING THAT I
LEARNED EARLY ON FROM WEEKS BILL
IS FROM GWEN, WHO IS ASKING I
WAS TOLD IF YOUR QUILT TOP IS
VERY SQUARE AND STRIPED, YOU
SHOULD USE ROUND QUILTING.
DO YOU AGREE?
AND THAT'S ONE OF THE VERY FIRST
THINGS WE LEARNED FROM WEEKS IN
AN INTERVIEW NANCY DID FROM
NANCY'S CORNER WITH WEEKS AND
HER TECHNIQUE SHE SHOWED WAS HER
VERY SQUARE QUILTS SHE DID CURVE
QUILTING AND CIRCULAR QUILTING.
AND THE OPPOSITE WHEN IT'S A
VERY CIRCULAR QUILT, SHE DID
VERY MUCH STRAIGHT-LINE
QUILTING.
AND IT REALLY WORKS WELL
TOGETHER TO DO THE OPPOSING
QUILTING.
LOTS OF COLOR WHEEL QUESTIONS
AND HELPING WITH THE SELECTION
OF COLORS.
THE COLOR WHEEL REALLY DOES HELP
WITH THAT.
NANCY P. HAS A COMMENT.
OVER THE YEARS, MY APPRECIATION
OF SOLIDS WITH QUILTING HAS
GROWN IMMENSELY.
GO, SOLIDS, GO.
YOU'RE SO RIGHT, NANCY.
WEEKS AND BILL REALLY MAKE
SOLIDS SHINE AND COMBINING
DIFFERENT SOLIDS, ALMOST MAKING
THEIR OWN FABRIC BY COMBINING
DIFFERENT TONES AND SHADES OF
SOLIDS.
HERE'S A QUESTION FROM BARBIE.
WHEN YOU MIX PRINTS WITH SOLIDS,
DO YOU USE PRINTS FROM THE SAME
LINE OR PICK FROM DIFFERENT
LINES OR MIX PRINTS FROM
DIFFERENT LINES?
AND FROM ENJOYING WEEKS' AND
BILL'S QUILTS OVER THE YEARS, I
DO KNOW THAT THEY MIX AND REALLY
LET THE COLOR SHINE THROUGH.
AND LET'S SEE IF THERE'S ANOTHER
QUESTION.
THIS ONE'S FROM MICHELLE.
IN TESTING THE SATURATION,
PEOPLE SAY TO TAKE A BLACK AND
WHITE PICTURE TO VIEW THE
COLORS.
AND, MICHELLE, THAT'S A GOOD
POINT.
WHEN YOU TAKE A PICTURE OF A
QUILT OR SOMETHING YOU'RE LAYING
OUT, BLOCKS YOU'RE WORKING ON
AND THEN CHANGE IT TO BLACK AND
WHITE, YOU SEE THE TONE OF THE
FABRIC.
THE COLOR GOES AWAY.
YOU'RE NOT LOOKING SO MUCH AT
THE COLOR.
YOU'RE LOOKING AT THE TONES, THE
LIGHTS, THE MEDIUMS AND THE
DARKS.
WE KNOW FROM WEEKS AND BILL
REALLY LIKE THEIR MEDIUMS IN
DARKS AND THEY REALLY WORK WELL
TOGETHER WHEN YOU MIX THOSE UP.
AND I THINK WHAT WE'LL DO IS
SEND EVERYBODY TO THE GREAT
WISCONSIN QUILT SHOW WEBSITE AT
quiltshow.com, WHERE YOU CAN
CLICK ON THE VENDOR MALL AND
THEN CLICK THROUGH TO THE MODERN
QUILT STUDIO AND ASK YOUR
QUESTIONS DIRECTLY TO WEEKS AND
BILL ON THEIR SOCIAL SITES OR AT
THEIR WEBSITE.
IN THE MEANTIME, ENJOY
EVERYTHING THAT THE GREAT
WISCONSIN QUILT SHOW HAS TO
OFFER, INCLUDING THE BEAUTIFUL
QUILT EXHIBITS.
ENJOY.
- Deanna Springer: Thanks again for joining us.
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