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Friday, February 5th, 2010

Turquoise has been selected as the 2010 “color of the year.” The color does not appear on any standard Color Wheel, unless one is using the Charles Ives model. In thinking about this color, it is amazing to think of the way colors and styles go in and out of fashion. In my senior high school photo, I am wearing a turquoise sweater that I loved. There is something very special about that color.

Ives Color Wheel constructed by Patricia

A teaching tool made by Patricia Cummings to illustrate the Charles Ives color wheel that features turquoise

Pat - high school picture/turquoise sweater

Patricia wearing a turquoise sweater in a faded photo from 1969

This morning, I received an e-mail from a shop that is offering a small quilt with just square patches, some of them … turquoise! The photo showed a small wall quilt with large square, machine quilted. It is funny to have lived long enough to see colors, that were familiar in home decoration and in clothing, making a revival. Large prints were the rage in the 1950s period. I remember being mortified when my mother purchased a skirt for me that featured a bold designs with swirling purple colors on a white background in curvilinear lines. I didn’t want to wear it!

The idea of cutting squares and sewing them together is “retro,” as well. An art quilter wouldn’t be caught dead doing that. Yet, for the beginner, that type of sewing is the most comfortable way to learn. With more advanced training, quilters can attempt appliqué, curved piecing and other more advanced techniques. We all start (started) somewhere.

On Sundays, it seems that public television stations often bring back videos of bands from the 1950s, 1960s, and 1970s, in particular. We are treated to the first performance of the Beatles in America, a show that I saw, as it was happening, and a show that fans of the Beatles now, who were in diapers then, or not yet born, can enjoy.

Themes of art, and music, often seem to be recycled. Perhaps this is true because there really is nothing unique in the human experience. Often, ideas are universal in scope. They remind of our roots and our beginnings, as does our artistic output.

To read more about color, see my file:

Have a great day!

Patricia Cummings
Quilter’s Muse Publications

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Thursday, January 21st, 2010

A long time ago, when working with Photoshop Elements photo modification software, I discovered that it is best never to choose “Black and White” as a color combination, even when an old photo IS “Black and White.” If you look closely at the photo, you will notice that there are many gradations of color. One would not think that to be true, but it is. I noticed the variations in Black, just last week, when I was wearing a pair of Black slacks and a Black blazer. White blouses can vary considerably in their degree of whiteness.

In quilting, blank spaces (like expanses of white) can give the eye a place to rest.

In fact, in the absence of “nothing,” surrounding shapes take on more meaning. White can signify snow, as it does in one wall quilt I made just before I went to the hospital for a biopsy. Not knowing whether or not I would be diagnosed with cancer, I made a wall quilt that visually-represented important considerations in my life. The quilt shows my husband and I together in a sleigh. In the distance there are mountains, a moon, and a small stone church with a cross at the top, and nothing else.

As I thought about life and about death, I felt that love and faith were the two main reasons why life itself made any sense at all. I hand quilted the white expanses of fabric so that the scene looked like windblown snow. When the quilt was finished, I’d quilted out the angst and fear of the impending possibilities. And people wonder why quilters quilt?

Yvonne Porcella, an avid Art Quilter, is known for her Black and White checkerboard designs that she often adds to her quilts. Black and White together make a striking statement, but the key to the appreciation of her work is to realize how she adds in color and in what manner.

Just like life itself, not much of anything is strictly “Black and White.” There are always gradations of meanings and interpretations. When someone sees a movie, or reads a story or a poem, that person will judge any content based on his/her own previous experiences. We all slightly misinterpret the intent of a speaker simply because we are not inside his/her head! We can only understand what we “think” the person meant.

Of course, when I was growing up, a standard riddle was, “What is Black and White and Red (read) all over?” The answer was: “a newspaper.” The old Black and White television set that we had in the 1950s certainly was not strictly in those two colors.

The challenge for artists comes when trying to render an image solely in Black and White. By necessity, additional subtle hues must be present in those two basic colors, or the work can look flat and uninteresting. The variance of tonal values seems to be one key to a successful painting or quilt. If one is mixing paints, the color Gray can be achieved by mixing Black and White. I am suggesting that various “shades,” or values, of Gray could add more interest to a two color composition with a limited palette of Black and White.

We will never know everything, and we only learn by doing and by incorporating the suggestions of others, when we are learning the principles of art.

Note: Black, in our society, is often associated with death and mourning; and white is linked to wedding dresses. Color usage changes across time and across cultures. Is it in Korea that wedding dresses are Black? In early America, wedding dresses were the “best” dress of two dresses: one dress was an everyday dress and the other a “Sunday best” dress.

Be observant of color, at all times. Appreciate the colors of nature: the sky, the sea, animals, plants, flowers, fish, and people. One of my favorite things to do is to ride through the Vermont countryside in the springtime wearing Polaroid sunglasses, appreciating the many different, emerging colors of Green in the trees, bushes, and fields. It would be a dull world if anything at all was cialis online pharmacy no prescriptionBlack or White. Luckily, we can enjoy every color and the enormity of variations. Did you know that there are more colors than can be seen with the naked eye?

Patricia Cummings

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Tuesday, October 6th, 2009

The Soo-Nipi Quilt Guild is known for the quality of work of its members. For years now, we have attended their small show that is held in The Library Arts Center, Richards Free Library, 53 N. Main St., Newport, New Hampshire. In the early 1990s, I presented a program about quilt dating there. At any rate, we always look forward to seeing the latest work and this year, we found exceptional variety and lots of eye-candy! The exhibit runs from Oct. 3 through Oct. 17, 2009, 11-4 (closed Mondays).

overall view of part of the show

This photo shows an overall view of just a portion of the show. Even so, one can readily see the variety in colors and styles employed in quilts and wall hangings.

My favorite item in the show was not a quilt at all! I fell in love with a pillow titled, “Dragonflies and Plum Blossom Pillow.” Perhaps, I am partial to Dragonflies, as a motif. They always make me smile. My last article in cialis online pharmacy no prescription magazine was called, “Three Centuries of Decorative Pillow Making.” (Nov. issue that will soon be off-sale).

Dragonflies - pillow

This appears to be an original design made by Chris Major of New London, New Hampshire.

Jim's favorite quilt in show

Jim had the chance to pick his favorite for this article. Unfortunately, we did not write down the name of the quiltmaker, nor her town of origin. This quilt won a ribbon, as well it should have. If anyone knows who made the beautiful quilt, please contact us immediately at: We will add her name.

The following photos are landscapes:

Bement Bridge

This covered bridge in Bradford, NH, the Bement Bridge, was built in 1854 and spans the Warner River. Only $500. was needed to build this bridge. For more information and other photos, please see this site: Jim spotted this on the way and so, he stopped to take this photo.

foliage

This photo was taken on the way to the show.

2nd foliage photo

Another foliage shot

Newport river

A winding river in Newport upon whose edges once sat various working mills

church and village green

Church in Newport and part of the Village Green

We hope you have enjoyed being part of our little excursions. To top things off, we stopped at the . They have all kinds of canvases for hooking rugs, wools, tools, blankets, sewing notions, note cards, clothing, etc. It is an upbeat shop with relatively high prices but quality goods.

To get back to reality, Jim went to pick up some new storm windows that he will begin installing on the next day that it does not rain. Wonderful show, wonderful foliage, and so far, great weather!

All photos were taken by James Cummings, and photo edited by Patricia Cummings.

Until later,

Patricia Cummings
Quilter’s Muse Publications

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Wednesday, August 26th, 2009

The last time I visited with a dear friend of mine, she left a quilt with me that she calls “Yellow Work” Quilt. Most likely, it was made in Pennsylvania. The color is a good tip-off to that. She accompanying paperwork states that the quilt is from circa 1930, and measures 76″ long x 75″ wide, approximately twin size today.

whole quilt - c. 1930

Whole view of Cheddar Color Embroidered Quilt

Like Redwork, Bluework, Greenwork, Purple Work, Variegated Work, etc. this quilt has line drawings that were rendered into designs with the use of cheddar color thread. All of these kinds of embroidery use the same technique: Surface Embroidery with Outline Stitch Embroidery being the predominant factor.

The surface represents some designs that are clearly from the Kate Greenaway era before the turn of the 19th century to the 20th century. (Kate died in 1901). This kind of embroidery is still popular today and is the topic of my e-book: cialis online pharmacy no prescription, available to purchase as a mail-order product from our website.

Here is a close-up of the quilt just shown:

Close up of Kate Greenaway-like figure

All photos, on our blog and website, copyrighted; property of James Cummings, photographer, cialis online pharmacy no prescription

Many of the motifs on this quilt are botanical, as are the designs in the borders. The quilting is “Baptist Fan” style, sometimes called “Methodist Fan,” depending on who was behind the needle! I certainly treasure the chance to enjoy seeing this beautiful piece of work, from a time when quilters really did a lot more handwork than we are seeing today, oftentimes.

Blessings to my friend. She has hinted that she may just reclaim this wonderful quilt, at any time, so I guess I should get busy studying all of the details!

Patricia Cummings

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Tuesday, May 20th, 2008

As a quilter, what do you think of most often when you hear the color name, “red?” I think of red berries, red tulips, red roses, and most especially, red and green quilts, my favorite. The colors red, green, and white are most appealing! Since the early nineteenth century, quilters have agreed with that idea, and have put together the most intricate, flower laden quilts imaginable. Some of the designs have been rather abstract; others, more straightforward.

Red is a color used to symbolize danger. Stop lights are red. Fines are levied for “running a stop light,” and with good reason. Someone could be injured.
Red is the color of the cloth that is waved in front of a bull during a bull fight. Supposedly, it infuriates the bull to see red. For all we know, bulls may be color blind! I wonder if anyone has tested that idea yet? Maybe the bull is angry that the matador would wave cialis online pharmacy no prescription in front of him. Red symbolizes the inevitable loss of blood and loss of life for the powerful animal.

Red is the color of blood and therefore, symbolizes sacrifice. In so saying, the troops of the battlefield are remembered. On a smaller scale, a little kid may fall down, and upon seeing “red,” Mother places a small bandage, perhaps on a wounded knee, and adds “a kiss to make it all better.” In more serious situations, “red” (blood) can mean the difference between life and death, and transfusions are necessary to the continuance of life.

Red sometimes indicates anger as demonstrated by what I call the “suicide quilt.” A woman threatened that when her all-red quilt was completed, she would kill herself, and she did! Viewing so many pieces of red cloth together was a rather startling experience.

On the other hand, red, green, and white quilts represent a leap of joy, a representation of abundance, and a celebration of LIFE, most fitting and heartily apropos to the Christmas season. However, life has two sides, the other side of joy being anger and violence.

The color red does not care how it is used. He’s a versatile guy. You’re apt to find red anywhere, and in the least expected places. My favorite place to see red and green quilts is in books. One booklet in my collection is called “Quilts in RED and GREEN: The Flowering of Folk Design in 19th Century America.” The out of print, museum publication features interior pages that are printed in black and white, probably due to high costs for color printing. Nonetheless, design elements of those extraordinary quilts of the past can be seen and enjoyed. We just have to use our imaginations a little more!
Enjoy the day!

Patricia Cummings