Guest series 2012:Â I asked fellow bloggers, makers and creatorsÂ to write on their creativity and focus their essay on one of four topics: creativity and health, creativity and business, creativity and parenting or creativity and process. I am very excited to have a wonderful lot of fellow creative folk guest posting here at whipup.net over the next couple of months. Please welcome…
Chawne is a multi-craftual quilter who channels all her nervous energy into making blankets and quilts to keep folks warm. She blogs about the processes at Completely Cauchy.
Thanks a bunch to Kathreen for asking me to guest post about my creative process. I thought that I might illustrate my â€œprocessâ€ with my most recent patchwork project.
My style of patchwork is predominantly improvisational with use of the full color spectrum at once. Overall, my inspirations for patchwork quilting are historical: the quilters of Geeâ€™s Bend and Anna Williams, while Malka Dubrawsky provides some food-for-thought with colors.
Sometimes I sketch ideas beforehand, but most often my quilts are started impulsively without any planning other than choice of fabrics. But when a quilt is intended to be large, I will stop for a moment to sketch out some ideas on how to incorporate the impulse pieces into a cohesive design. In either case, the final product rarely resembles the sketch. Really, this brief planning is more of a moment to make sure that the engineering of the construction is sound and that the materials available are optimized within the vision.
A few weeks ago, my friend LynneÂ sent me a small packet of scraps of Oakshott shot cotton in various colors. I enjoyed the immediate constraint of the various sizes, shapes, and colors of the scraps that served as initial constraints on the patchwork possibilities. I envisioned using the fabrics to make miniature traditional precision-pieced quilt blocks for a smaller-scale quilted wall-hanging.
But after making as many quarter-square triangles as the fabric constraints would allow, only a few skinny strips remained. Without enough fabric leftover to make much else, I use my own improvisational techniques to make small blocks of improv (see my simple improv tutorial). It was impulsive to deviate from the precision plan and I couldn’t yet see how the blocks might work together. All these pieces were left on my sewing table for a few days as I reconsidered the design.
Days later, more fabric arrived (a gift from the owner of Oakshott) and I kicked into high gear on a much larger idea. There must be a way to combine precision-piecing with improvisation. The traditional blocks could serve as a calming influence on the potentially wild and crazy improv sections, maybe?Â Â That is, exerting a modicum of control on what might become an un-tameableÂ beast should, at the very least, be interesting.
Block by block, the design was doubtful. But things seemed to come together in the end. This is still a work-in-progress: the patchwork still needs to be quilted. Any ideas?
My own creative process is most effective when working under severe constraints–either given by limited fabric resources or by limitations in the ability to build a good patchwork that will stand the test of hard use and laundering. Sometimes I succeed, butÂ other times I have to go back and begin again. But working improvisationally means that “mistakes” become “opportunities” in a second attempt at a design.