Choosing a Subject: Fabric Collage By the Numbers #2
Tom and I would like to provide you with a sort of DIY Summer Collage Camp—or a Winter Collage Camp for those of you in the Southern Hemisphere. We’re calling it “Fabric Collage By the Numbers” since there will ne numerous posts (at least 16) addressing all the steps of creating a fabric collage quilt. We hope you’ll participate from wherever you are in the world—no travel involved!
Pulling from six and a half years of fabric collage blog posts as reference material, we’ve decided to delve into that content to give you a summertime lineup that you can follow along with. At the start of this series, there were eight weeks left of summer (not by the calendar but by the very subjective lens of the Maine climate!) so each week we’ll deliver two posts for a total of sixteen in the series—unless we re-discover more relevant posts along the way!.
Posts covered will include choosing your photo (posted on July 7) to hanging your fabric collage on the wall (planned delivery on August 27), we’ll cover each step with at least one previous post. (Nina Kellner’s in-progress cat from that class is featured above. And be sure to check out her fabulous finished quilt, “Brothers, ” in this Finish Line post!)
You may have read some of these posts before, so this will be a refresher for you. The information may also be reminiscent of information found in our online learning resource the Fabric Collage Master Class. If so, know that you’re not imagining things. Much of this information is gathered, reorganized and expanded upon in the Master Class. For more information about the Fabric Collage Master Class, click the button below.
Choosing Your Subject for Fabric Collage (Revisited)
Tom here. Susan is away teaching and she left me in charge. We’ll find out whether that was a good idea or not!
Until recently, I had watched Susan teach only in brief snatches here and there. For example, I spent some time in Susan’s October 2018 Portland, Maine Quilt Retreat recording students as they talked about how they chose their subjects. (Nina Kellner’s in-progress cat from that class is featured above. Be sure to check out the fabulous finished quilt, “Brothers, ” in this Finish Line post!)
However, during Susan’s Live Online Classes I’ve had a chance to watch her in action for days at a time, observing how she teaches and how she adapts her style to individual students.
Choosing an appropriate subject for their collage is one of the very first choices a student has to make. During the recent Live Online Classes Susan was able meet individually with each student before class and help guide them toward or away from particular subjects. Susan never outright vetoes a subject. However, she does point out the advantages or disadvantages of one subject over another. If a student insists on choosing a subject Susan thinks will be challenging, she often will ask them to choose an second, fallback subject—just in case. Then she encourages and instructs in exactly the same way as she usually does, with the same patience and eye for detail.
And she never says, “I told you so” if a student struggles, or even gives in and decides to move to Plan B.
Watching her guide these women, it brought to mind this post written more than two years ago. Susan has been giving lots of homework to her Live Online Class students, including making membership in the Fabric Collage Master Class a prerequisite. This post ought to be one of the first her students, or any fabric collage artist, ought to read.
(Original Post published on November 10, 2018)
What makes a good subject for fabric collage?
Since virtually any image can be recreated using this process, that’s not really a helpful question to ask.
Instead, speaking as a teacher of fabric collage, the question ought to be: Based on my experience, what makes a good subject for fabric collage?
If you are a beginner the answer is going to be different than if you have a lot of experience. Some subjects are great for beginners, others not so much. But as a beginner, how are you to know?
Hopefully, I can help you out in this blog post. In a classroom situation, believe me, the effort to help select a good subject is in my own self interest, as choosing a difficult subject can lead to a challenging class for both the student and me!
I have talked about how to choose a photo for fabric collage in “From Photo to Fabric: Choose the Best Shot.” While it’s important to consider the photographic criteria mentioned in that post—value, contrast, focus, composition, and so on—it would also be helpful to set some (flexible) guidelines on how to choose your subject.
Throughout this post I have sprinkled videos of students from my October 2018 Portland, Maine Quilt Retreat. Thank you for sharing, ladies! Each talks about the subject that she chose, and whether it was a good choice (Spoiler alert: Most of them were happy with their choices). Their experience may help you choose a subject for your first (or next) fabric collage quilt.
Linda Anderson is a good example of someone who chose a subject that for her was low-stress and playful. I used a close-up of her hippo collage as the opening photo for this blog post.
Nothing Is Impossible, But…
You might have this photo you really want to do. It’s a family portrait. Or a full-body shot of a beloved Labrador retriever. Or a blurry photo of the family homestead in Nebraska. It’s not that it can’t be done, just maybe it shouldn’t be done as a first project. If you try something difficult to begin with, you could be setting yourself up for frustration, and you might not be satisfied with the end result. That might cause you to give up on fabric collage altogether, which is an outcome we want to prevent!
One thing I’ve noticed is that students are getting more ambitious with their subject matter than they used to be. Looking back at my previous “On the Road” and “Finish Line” blog posts and all the successful quilts done in my past classes, maybe I’ve given people a misleading sense of what to expect from a first class. In general, expectations run high and there’s work involved to make those expectations manageable for each individual.
What readers don’t see, and what I don’t usually talk about, are all the extra hours students put in, sometimes working until late at night after class. It may be a five day class, but the results show many more hours than the 6-hour class time. I also don’t emphasize the tears and the frustrated sighs that are not uncommon. People frequently go off and have drinks in the evening to de-stress. Yes, there are people who are able to jump into something more complicated, but the best results usually are achieved by those who keep it simple to start.
The point I want to make here is that while no subject would be impossible to do in fabric collage, there are some that are better choices based on your experience.
Kathi Allen said she was going to “throw caution to the wind” as far as her color choices went. Once I knew that, it helped me to direct her. I knew she was willing to take a more lighthearted approach rather than a serious approach.
Christy Beard has an affinity for birds. Some make good subjects, some according to Christy are more challenging.
Pets are a popular subject in class. The personal nature of the images can work two ways. The connection to the subject can help to inspire a person to persevere, as in the case of Amanda Graham, or it can place pressure on the student to capture the personality of a beloved pet, as Nina Kellner describes.
Guidelines
“The [pirate] code is more what you’d call ‘guidelines’ than actual rules.” —Captain Barbosa, “Pirates of the Caribbean”
I hate to make hard and fast rules. It’s against everything I believe in as an artist. However, I think I need to overcome my hesitancy and at least provide some guidelines. I’ll start with the things to avoid, then suggest some good subjects based on experience level.
Avoid
There are always exceptions but here are some subjects that tend give my students fits and that you might want to avoid, at least to start:
Full length figures: Unless they are life-sized, it would make a face small in proportion, making it tough to create in fabric. And clothing with all its edges and folds can be a chore to recreate.
Multiple people: Creating a portrait is hard. Now multiply that by 2 or 3 or more. You get the picture.
Black dogs: Or white dogs. Or any monochromatic animal, really. Variation in color or lightness and darkness (value) gives form to shapes. Unless the lighting is just right, a black dog is just that—black—making it difficult to define its form.
Very thin subjects: Long necked birds, snakes, dragonflies, and so on. When your subject is very narrow, there’s not much space to play with fabric, and that’s really what fabric collage is all about. A way around that is a willingness to make the design BIG.
Landscapes or still lifes: Yes, they can be done and done well. But creating a stand of trees, a field of grasses, a rocky mountainside, or vase of flowers can be repetitive and potentially uninspiring to the creator.
Never say never. Julie Peterson’s tractor is an example of a still-life within a landscape, both of which I tend to guide people away from. Her piece is, as they say, the exception that proves the rule.
Good Subjects
Beginners: Choose a subject that you can have fun with, something that you are willing to create as a playful fabric interpretation rather than a realistic interpretation. Animals can be a good start, but make it a close-up. A close-up of a face of any sort can be easily enlarged to a workable size. A good rule of thumb is to make it life size, or larger, which may mean you should crop it tight in order to make it more manageable. If you want to make a life-size portrait of your husky for example, you could concentrate on the head and face rather than the whole four foot long body.
For a beginner (or anyone) who wishes to take a more lighthearted approach to fabric collage, I’ve made designs available on my website such as: fish, bugs, butterflies, a stylized sea turtle, and sun and moon face motifs (especially if you want to work toward a portrait). Any of these work well.
Intermediate: Full Bodies of animals, moving into realism, if desired. People faces based on good photos.
Advanced: Similar subjects to above but with further elements, including portraits with multiple people or with hands or more of the body. You might even be tempted to use a photo of your subject that might not be ideal, where you have to imagine highlights and shadows, or complete and fill in what can’t be seen in the photo.
Vickie Ostrow based her quilt on a pattern from my book, Serendipity Quilts. Using a pattern selected from the ones on my website is a great choice for a first fabric collage quilt.
Sometimes when students choose a subject that has personal meaning to them, it increases the pressure on them to succeed. Bonnie Dinsmore’s blue crab had personal meaning for her, but she took a low-pressure attitude that helped her to have fun.
Dawn Erikson went outside of her normal color range to create her dog Nellie. Sometimes it’s easier to use non-realistic colors, which helps students to avoid the expectation of making their image “realistic.”
Use a Small Section—Then Go Big
Ask yourself: What’s the focus? What’s important?
Then cut out unnecessary background and distracting elements. Just because it’s in the photo doesn’t mean you have to include it. If there are hands in the photo and this is your first fabric collage quilt, consider cropping them out. Simplify, simplify, simplify—not only will it make your work easier, it will focus your work on what’s really important to the image.
Other artists, such as photographers and painters do it all the time. In fact, some might say that simplifying and focusing our attention on a particular subject or idea is exactly the artist’s job.
For example when I made this quilt of my son and niece for my parents I cropped out the hands. They weren’t important to the image. In fact they distracted from the main part of the image, and it made my job SO much easier not to include them.
Why do extra work if it’s not important? Put your work into what really counts. Cropping is your friend.
Once you have your image simplified, now go big. A bigger image is easier to work on. It makes the shapes within the image larger, which promotes the use of more pieces of fabric, which will make the fabric collage more interesting. More is better, as I say.
How big should you go? Subject matter will define how big you need to go. For example a crane or heron needs to be quite large (maybe five feet tall) in order for the skinny head to be big enough to work on. Start with the smallest detail you want to capture and imagine recreating it in fabric. How big would it need to be? Consider an eye of a person’s face—life sized is not that big—bigger would definitely be easier. When you’ve figured out how big that element needs to be, then you can do the math (or use an proportion wheel) to figure out how much the overall image should be enlarged for its final size.
As I talk about Alice Magorian’s great blue heron, notice how big it is compared to all five-foot-four of me. It’s a good example of needing to go big in order for the details such as the head to be large enough to work on.
Start Simple, End Happy
So there you go, some guidelines for choosing the subject of your fabric collage quilt based on your experience level. Basically I can sum it up by encouraging you to start simple before moving on to more complex subject matter. I started out making simple fish, bugs, and butterflies. I made hundreds of them before I tackled the harder stuff.
In my Fabric Collage Online Master Class Manual the exercise I start people off with is a spiral. This simple exercise teaches cutting and gluing in an easy and relatively quick way. Students who do the Master Class and later take a class in person with me often note that the spiral really helped them progress. I am of course gratified to hear that, as I plan to spend more time and effort updating the Master Class Manual. This update will be free to any who have bought or will buy the Master Class.
In your fabric collage journey, try to resist the urge to begin with something overly complex. Simpler images will make the creative process more fun, therefore more enticing to do more, and the more you do, the more you’ll learn and the better you’ll get.
Fabric Collage Master Class
For instructions on the entire fabric collage process, you can purchase the Susan Carlson Fabric Collage Online Master Class Manual. Using video, photos, and text I take you from soup to nuts, beginning to end in creating your own fabric collage masterpiece.
Thanks for this issue. One of the questions I’ve had lately is how to get the ‘personality’ in the project. I’ve done projects & seen projects where the subject is captured very well but I don’t see the personality. Is it the shading that’s off? Or the quilting? Susan’s quilts show the personality with very little visible quilting. This is a big step. How to do this?
Hi Mary! I think that capturing personality is a combination of luck and skill. It’s the ability to “see” and understand the expression in the subject. Translating it to fabric is another step in both skill and luck. Regardless of art training, some people have the knack and others will struggle with that. I always suggest to students that if they’re interested in pursuing their skill in fabric collage, take drawing classes to train the eye, brain, hand connection to really understand what they’re seeing in a subject. And for myself, I add all details with fabric pieces. You’re correct in that I don’t choose to add details in the quilting——I have too much fun with the color and designs I find in my fabric!
FANTASTIC ! WHILE MY EYESIGHT AND LIFE CIRCUMSTANCE STILL HAVE NOT LEVELLED OUT, I KNOW INSTICTUVELY THAT I NEED TO BE CRETIVE AGAIN .. PERHAPS TO FINISH MY PELICAN HEAD, OR TO PERHAPS TO CHOOSE A NEW START … A FUN SUBJST THAT MAKES ME SMILE.. THE SUMMER SERIES YOU AND TOM ARE OFFERING FEELS LIKE IT’S EXACTLY WHAT I NEED! THANK YOU!