COLOR PLAY COLOR TOOL. Color Play for Quilters. with Joen Wolfrom. Supply List. Supplies & Resources ULTIMATE 3-IN-1 BY JOEN WOLFROM NOW AVAILABLE AT

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1 Supply List COLOR PLAY BY JOEN WOLFROM ULTIMATE 3-IN-1 COLOR TOOL NOW AVAILABLE AT.COM General Tools Ruler, eraser, pencil, glue stick, paper scissors, fabric scissors and/or rotary cutter and mat, several sheets of plain white drawing paper and/or construction paper, a good selection of colored pencils. Fabrics You will be using fabrics from your fabric stash or collection. You do not need to purchase new fabric unless you find that you do not have adequate fabrics in your stash/collection to do the activities. Generally, large scraps of fabric or fat eighths or fat quarters will be more than adequate for each fabric. Visuals 3 5 images that you absolutely love because of their colors not their designs. You may find these images from photographs, greeting cards, calendars, advertisements, or other similar sources. Working Tools Value finders, both red and green, (If you have the 3-in-1 Color Tool, you will find these value finders included.) Optional 3-in-1 Color Tool by Joen Wolfrom; published by C & T Publishing Color Play by Joen Wolfrom, 2000 Visual Coloring by Joen Wolfrom, 2007 Studio Color Wheel,

2 Supply List Optional Painting Activities If you want to do the extra painting exercises that are introduced in Lessons 2 and 3, you will want to have the following supplies on hand: 1-2 packages of 3"x 5" unlined index cards 1 large, sturdy black paper for your painted color swatches and color wheel 2-3 paint brushes, approximately 1", flat, moderately priced (You do not need expensive brushes, but cheap brushes fall apart easily) Small open container or palette board for mixing paint 2 containers for holding water Paint mixing tools, such as coffee stirrers or palette knife 1 plastic spoon Several toothpicks Towel, rag, old fabric, or paper towels for wiping brushes Liquitex Heavy Body Acrylic paints (59 ml/2 oz) For color-wheel swatches: 1 each of Cadmium Yellow Light, Brilliant Blue, and Medium Magenta For color exploration: 1 each of Titanium White, Mars Black, Neutral Gray Value 5, and tubes of 1-3 of your favorite pure colors End 2

3 Color Glossary A color plan is an organized way to select and use colors. Analogous colors: Analogous colors lie next to each other on the color wheel. Analogous color plan: An analogous color plan uses colors that lie side-by-side on the color wheel. The analogous color range is usually 3, 5, or 7 colors. Atmospheric perspective: Particles in the air cause distant items to appear lighter in value, grayer in color and less distinct in details. This natural effect is one of the best methods to create the illusion of depth in designs. Color family: The main member of a color family is its pure color. All other hues in the family include all colors that are created when the pure color is whitened (tinted), blackened (shaded), and/or grayed (toned) in any amount. Color illusions: Illusions that can be created through the manipulation of color. Such illusions include depth, luminosity, luster, iridescence, opalescence, shadows, highlights and transparency. Color plans: An organized way to select and use colors. The best known, most popular, and most successful color plans are those designed and used in nature. Nature s major color plans are monochromatic, complementary, analogous, split-complementary and triadic. Color temperature: Relatively speaking, colors may appear warm or cool in a design. A color s temperature depends on how close it is to yellow on the color wheel and what other colors surround it. Colors close to yellow, such as chartreuse and golden-yellow, are considered warm while colors farther away, such as blue, violet, and purple, are usually considered cool colors. Tip: Warm colors tend to advance in a design while cool colors tend to recede. Complementary color plan: A complementary color plan is one that uses two colors that lie opposite each other on the color wheel. Besides the two pure colors, you can use any tints, shades and tones from these two families. Depth: Depth is the ability to have dimensionality or the ability to appear to have dimensionality. In design, the illusion of depth can be created by overlapping elements, by color temperature, and/or by atmospheric perspective. Next 3

4 Color Glossary Ives Color Wheel: The Ives Color Wheel is based on the light wave s prismatic colors. It is the standard scientific color wheel that has broad use in both the scientific and art worlds. This color wheel is named after Herbert Ives, the inventor who developed the color wheel. (Frederic and Herbert Ives, father and son, were pioneer inventors in the study of light, photography and color.) The Ives Color Wheel s primary colors are yellow, magenta (sometimes referred to as magenta red), and turquoise blue (also known as cyan). All pure colors can be made from the blending of two pairs of these three primaries. This is the color wheel all quilters and artists should be using. Luminosity: Luminosity is glowing light or the illusion of glowing light. The light from the sun, electricity, or a candle glows. A glowing illusion is considered luminous. Luster: Luster is light that has been reflected from a luminous source. Also, luster can be the illusion of reflected light. For example, sunlight can be reflected on water or snow. This reflected light is called luster. Similarly, a glowing candle or a lamp light can be reflected onto a table, a floor or some other object. This reflected effect can be considered lustrous. Monochromatic color plan: A color plan that only uses the hues from one color family. It can be a combination of the pure color with any of its whitened, blackened or grayed colors. Overlapping: When one object is placed or overlapped onto another object, a sense of depth is created. The top object appears closer to us than the overlapped object. This is a particularly easy way for appliquérs to create dimensionality in close-up representational designs, such as flower bouquets, gardens, people and pets. Tip: Color temperature does not play a role when overlapping is present. Pure colors: Pure colors are those colors that are either primary colors (yellow, magenta, turquoise blue/cyan) or colors made from the blending of two primary colors. Shades: Shades are colors that are created by adding black to a pure color. The amount of black can be slight or quite pronounced. Shades include such colors as navy, rust, brown, olive, deep purple, maroon, raspberry and dark blue. Split-complementary color plan: This color plan is a combination of two color plans: analogous and complementary. The beauty of this plan is its ability to include a temperature shift. Thus, warm and cool colors are almost always Next 4

5 Color Glossary present. Generally, the temperature shift is created by incorporating the complement of the middle color in the selected analogous range. Tints: Tints are colors that are created by adding white to a pure color. Tints include apricot, pink, robin s egg blue, peach, lavender, light blue and mint green. Tones: Tones are colors that have been grayed in some way. They can be derived from pure colors, tints, or shades. Their toning quality can range from slightly grayed to mostly grayed. Common tones include beige, tan, rose, heather, salmon and dusty teal. Triadic color plan: The triadic color plan combines three colors (color families) that lie equal distance from each other on the color wheel. The primary triadic color plan includes yellow, magenta and turquoise blue/cyan and all of their color blends. Quilts using this triad usually use a wide array of colors. Two other triadic color plans are red, blue and yellow-green; and orange-red, spring green and blue-violet. Value: Value refers to how light or how dark a color is. If a color is dark, it is low in value. If a color is light, it is high-valued. If a color is neither dark nor light, it is middle-valued. Visual coloring: Visual coloring is a method of selecting colors based on intuitive color choices rather than on color plans. End 5

6 Selecting a Color Plan Select a color that you would like to explore with your colored pencils and the four block designs on the following page. Limited Activity With your featured color, color each block in a different color plan. Your choices will be four of the following five plans: monochromatic Analogous Complementary Split-complementary Triadic Tip: Use the Color Play book, the Studio Color Wheel, or the 3-in-1 Color Tool as a reference to your featured color s color plan partners. Full Activity: Make five copies of this page. Assign each page one of the five color plans. With colored pencils, color each block in the assigned color plan for that page. Notice how some designs work better with one color plan than another. Also notice if there is a color plan you seem to like better than others. Next 6

7 Vignettes Because value plays such an important role in your quilt s design, it s important to give yourself the opportunity to play with value in different ways. Creating little design vignettes that focus on different value strategies is a perfect way to experiment and learn about value. Thus I have provided you with some value-play activities. These are really open-ended suggestions. Allow yourself to go with your own ideas. Play as much as you can. If possible, do one value vignette each day for a week - or more. Post some on our class board, so we can see what you have done.. Value-Strategy Suggestions for Your Vignettes Create a design using only high-value colors (light). Create a design moving from high-value to medium- value (light to medium). Create a design using only mediumvalue to low-value colors (medium to dark). Create a design using the full spectrum of high, medium, and low values. Create a design featuring value gradation. Use a wide a value range as you wish. Create a design using strong value contrast (high/low). Try to create a dramatic effect. Create a design featuring your favorite value range; add some value variation and/or contrast. Create a design using black or a very dark background (low-value). Create a design using a middle-value background. Create a design using a high-value background (light). Value-Play Vignette Theme Suggestions Your design vignette can be a scene - or not. It can be whimsical, beautiful, contemporary, country or anything you choose. Just do whatever pops into your mind. Here are some themes to consider: cats, dogs, other animals; bottles, coffee cups, birds, camping scenario, balloons, sewing/ quilting tools, sunrise/sunset, favorite foods, Christmas motifs, snowman scene, leaves, flowers, trees, hearts, letters or the alphabet, birdhouses, tree houses, books, socks, pinwheels, chairs, stars, favorite vacation spots, home, childhood fantasies, pencils, blobs, candies, gingerbread men, Next 7

8 Vignettes Sunbonnet Sue, umbrellas, jawbreakers, buttons, toys, pies, ice cream cones, popsicles, picnic items, sports items, game items absolutely anything that comes to your mind. With colored pencils, color each block in the assigned color plan for that page. Notice how some designs work better with one color plan than another. Also notice if there is a color plan you seem to like better than others. Other Considerations Once you have established a vignette theme and determined the value strategy, select your colors and fabrics. Lastly, you will want to decide on your vignette s size (dimensions). Listed below are basic design ratios and sample sizes. Feel free to use different ratios for different vignettes. Sometimes you might start with one ratio, but find that as your design evolves, it will fit better with another one. Be flexible and have fun. Basic Design Ratios 1:2 ratio, examples: 2" x 4" 3" x 6" 1:3 ratio examples: 2" x 6" 3" x 9" 1:4 ratio, examples: 2" x 8" 3" x 12" 1:5 ratio, example: 1" x 5" 2" x 10" 2:3 ratio, examples: 2" x 3" 4" x 6" 3:4 ratio, examples: 3" x 4" 6" x 8" 8:13 ratio examples: 3 ¾" x 6" 6" x 9 ¾" Extra Activity To broaden your value experience further, select your favorite design vignette. Then make several new vignettes, using this design except for the value use. With each new vignette, change the value strategy used. Notice the differences in the vignettes due to the way you used value. 8

9 Selecting a Color Plan 9

10 P Color Wheel yellowgreen orangeyellow yelloworange goldenyellow yellow chartreuse spring green orange green orange-red blue-green red aqua green blue-red aqua blue magenta turquoise blue/cyan P P fuchsia cerulean blue purple blueviolet redviolet violet blue 10 Color Wheel Drawing by Joen Wolfrom

11 Creating the Illusion of Depth in Block Designs Select as many blocks as you wish for this activity. Color each selected block, so that you create dimensionality within the design. Generally speaking, the top layer will be the brightest and most colorful. Subsequent layers will be lighter in value and grayer in color. The amount of lightness and grayness will vary, depending on how far into the distance you want a layer to be. Additional option: Feel free to change a block s design in any way by whiting-out lines or shapes and/or drawing in new lines or shapes. Godey Design Godey Design Also known as Ohio Star and Variable Star (Godey s Lady Book, 1862) Make three or four layers for this block s design. 11

12 Creating the Illusion of Depth in Block Designs Lattice Star Star (Joen Wolfrom, 1995) Use at least three layers for this block s design. 12

13 Creating the Illusion of Depth in Block Designs Star Flower (Joen Wolfrom, 1996) Create at least three layers in this block s design. 13

14 Creating the Illusion of Depth in Block Designs Weathervane (historic traditional block) Create at least three to four layers in this block s design. 14

15 Creating the Illusion of Luminosity, Luster and Depth Select as many blocks as you can for this activity. Use colored pencils to draw in your blocks designs. Try to include the illusions of luminosity (glowing) and luster (reflected light) whenever possible. In all selected blocks, also create the illusion of depth (each layer becomes lighter, grayer, and less distinct as it recedes into the distance). Additional option: To enhance the illusions of luminosity, luster, and/or depth, you can change the block s design in anyway. For instance, you can omit lines (white-out) and/or you can draw new lines or shapes. 15 Blazing Tulips Blazing (Joen Wolfrom, Tulips 2008) This block can accommodate the illusions of depth, luminosity and luster.

16 Creating the Illusion of Luminosity, Luster and Depth Dancing Star Dancing Star (Joen Wolfrom, 1996) This block can accommodate the illusions of depth, luminosity and luster. If you include luminosity, it would need to be in the background to be realistic. 16

17 Creating the Illusion of Luminosity, Luster and Depth Mexican Cross (historical traditional block) Try to color this block so that there are five layers. 17

18 Creating the Illusion of Luminosity, Luster and Depth Star Stretch Stretch (Joen Wolfrom, 1997) This block can accommodate the illusions of depth, luminosity and luster. There are at least four layers in this design. 18

19 Atmospheric Perspective Atmospheric Perspective 19

20 Storm at Sea (version 1) This design is the original quilt setting for the Storm at Sea block. Each block is complete with no sharing parts. This setting creates lots of movement and many wonderful design options. Print off several copies, so that you can explore this design in several different ways. Consider using one design to play with visual coloring---or another color plan. Feature value change in another version---perhaps even working in luster. You might find a way to use luminosity too. You can opt to create an overall surface design or you can focus on the individual blocks. Give yourself permission to explore, take chances, and innovatively color to your heart s content. Make as many versions as you wish. Storm at Sea Storm at Sea Version 1 20

21 Storm at Sea (version 1) Storm at Sea This design is the original quilt setting for the Storm at Sea block. Each block is complete with no sharing parts. This setting creates lots of movement and many wonderful design options. Print off several copies, so that you can explore this design in several different ways. Consider using one design to play with visual coloring---or another color plan. Feature value change in another version---perhaps even working in luster. You might find a way to use luminosity too. You can opt to create an overall surface design or you can focus on the individual blocks. Give yourself permission to explore, take chances, and innovatively color to your heart s content. Make as many versions as you wish. Storm at Sea Version 2 21

22 Credits Instructor Producer Videographer Switcher Video Editors Hair and Makeup Artist Motion Graphics Artist Trailer Editor Graphic Designer Copy Editor Presentation Editor Senior Presentation Editor Instructional Designer Senior Manager of Production Operations VP, Lifestyle Content Joen Wolfrom Rachel Link Jarrod Sumpter Adam Speas James Clark Gabriella Anderson & Vicki Wheeler Heather Crank, JonPaul Riggle Ari Feldman Amy Retureta Lori Ozzello J.C. O Connell Lisa Greim Alissa Norton Craig Ormiston Emily Lawrence 22