I continued on last week’s theme of blocks made up of thin lines. I stuck with the curvy block and added a few more, then jumbled them up. I wanted to design the blocks so that there’d be instances of (some of) the lines continuing from one block to the next. And I separated the blocks using sashing of the same thickness.
I played around with colours for ages, but didn’t find anything that I liked as much as the black and white.
The whole design feels quite whimsical to me, hence the candy colours, I think.
Or each block could be coloured differently. This gives the whole design quite a different feel (maybe also because my choice of colour palette’s not so hot).
Or monochrome. I picked a vibrant yellow, and then reversed it, but of course this would work for any combination of two colours.
This design reminds me a bit of breeze blocks, those concrete blocks that let air through. (Speaking of which, check out how quilter Ben Millett created 4″ breeze-block-like units earlier this year, here and here. I’m hoping he makes them into a quilt!)
My design could be made into a quilt pattern – with blocks in whatever arrangement you wanted – using a combination of normal piecing (for straight bits) and paper piecing (for curves) for accuracy. Lots of variation and versatility!
One of the artists I follow on Instagram is Stanislaw Wilczynski (@digimatism). He’s a tattoo artist, based in Moscow, who combines suprematism, minimalism and composition to create ‘digimatism’: “pure, non-evocative, abstract shapes created by means of digital technologies”. Basically, simple yet stunning geometric tattoos. Some of his designs use small angled lines repeated (apparently) at random, which inspired me to create this week’s design.
This design could be pieced fairly easily by designing a 2 x 2 block with a diagonal stripe down the middle (maybe using paper piecing for accuracy). Rotating the block would allow you to change the direction of the stripe, and the blank spaces between some of the stripes could be achieved by adding 2 x 1 rectangles between the blocks. The blocks are arranged in columns, which could be separated with sashing.
I decided to play around with the design a bit more, adding a few more lines in.
I set myself a rule for adding lines: each new line had to be perpendicular to the two lines it was connecting. I didn’t want any angles other than right angles in there. Not every line is joined up with another; I tried to balance the length and position of the new joins across the whole design. Although I can see some areas that are busier than others.
Like the first design, this one could be made into a quilt using paper-piecing – although it could be pretty cumbersome and time-consuming to figure out all the different blocks and their placement. Perhaps it’s just useful as a thought experiment instead 🙂
In the past week, I found myself with some unexpected sketching time – but no dot pad. Instead, I pulled out a Moleskine grid notebook. I don’t normally use grid paper to sketch anymore, because I find that the printed lines limit my imagination a bit. But in this case, it didn’t really matter, because I already had an idea for a design I wanted to explore.
I only had a red gel pen with me, so I just used four levels of shading to differentiate the pieces in each block. The blocks are set on point, but they could just as easily be swivelled 45 degrees to be set normally, with no need for partial blocks on the top, bottom and sides.
I mocked up the same design in EQ8 when I got a chance, but I don’t think it looks any better or clearer than the hand-drawn version. The only advantage is that I can colour it differently; this version is my homage to the new Pantone Color of the Year: Living Coral.
I also realised later that I’d oriented the blocks slightly differently, but I don’t think that matters so much.
This design could be made into a quilt pattern very easily using strips – lots and lots of strips!