This is a more schematic version of the photographic quilt almost walking together. The idea is that the orange strip represents Dan and the blue strip Brian. Slowly they come together but not completely. I will hand dye the strips of orange and blue to get the colours. What does orange and blue mean? For me again they are complementaries which was important to suggest contrast. I have chosen blue for Brian as he was largely cool and withdrawn through the issues with Dan, and orange for Dan who was anxious, angry and upset. In between the strips will be thin strips of patterned fabric in darker colours, greens, purples and browns. Green comes from the trees in the original photo with purples and browns just to contrast both tonally and with colour contrast with the blue and orange. The strips will be foundation pieced on to flannel in maybe 6 inch blocks. With the text I was going to use hand cut stencil and solarfast. I want the background to be darker than it appears here. More dark green, brown and purple. I should be able to use commercial fabrics here that I already have. I’m hoping the flannel will give a lot of stability to the quilt top and then I can possibly quilt down in pretty easily.

So things to do in regard to this quilt. Dye a nice brown orange and a deep blue. Sort out dark fabrics with the in between strips. Wash some flannel for foundation piece backing. Wash some calico for full backing. Mock up another tester pot holder. Cut stencils and print the text using solarfast. Try and expose to get a deep colour.

And do some research on other saqa quilters. If possible try and find quilters using traditional type quilting and just tweaking it for meaning.

I watched a quilt critique session run by Lyric Kinard. It was really well structured and went over formal elements and ways in which they may work to influence reading of the work. It got me thinking about the line in this work and how if I put a full length strip out of pattern down the right side it would create a block to the eye travelling from the top left to the bottom right. Instead it might be better to break up that line, as in the above drawing. Perhaps move the silhouettes into the far right spot. Colour I’ve already mentioned. Shape is very much vertical strips relating to vertical separation. Repetition but with variation. Plenty of symmetry but with a couple of different things to add interest. Texture is a tricky one – not sure how that relates to the meaning. The texture will turn out to be vertical ridges but I’m not sure what that means. I guess it will be a further representation of physical separation. I’m not really only referring to physical separation though. I’m wondering if my stuff is too simple.

Reading further into the book I’m now concerned by balance in the above composition. She talks about vertical solid shapes looking still. I find the text appears to be hanging from the top a bit precariously. Possibly it would be better to have the text intersecting the bottom three rows and stably situated amongst the blocks that better reflect the text. And then the figures could also be on the bottom row somewhere near the far right. Possibly that will allow the strips to flow in their zig zag unhindered and more clearly appear to be coming together at the bottom around the stable text and figures. Would give it a sense of groundedness at the bottom. I guess the final block placement can wait until it can be laid out with the other blocks.

In terms of line, specifically quilting line, I am thinking of more verticals pretty much over the whole thing but perhaps organic slightly wavy and also perhaps drawing out a rough figure silhouette in the orange and blue blocks.

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