A Tale of Three Backgrounds: Blending Multicolor Prints

We looked at how the size of a print changes it's value last time.  But those prints were all the same colors, one shade of red and white, changed by the size of the print. Now we're going to look at prints of more than 2 colors.


How much does that change things? In some ways, a lot. In some ways not so much. But you want to be the one in control of your quilt. Knowledge is power.

Here is a range of green, yellow, white and brown prints in differing sizes. Several of them have 
bits of red in them.

                      

A cream color background gives us a very neutral base, where only the pattern within the blocks  show. Incidentally, it would also leave you with four corners you could quilt to a fair-thee-well. It's clean and simple

This cream and medium green background is more textural. The green leaves pull out the olive in the blocks. It's a busier background, but it functions as a slightly olive green cream color.

This third print, with is larger daisies, is harder to classify. It's definitely got yellow splotches that brighten and randomize the background.






What does this tell us about prints as apposed to solids?
A solid color is:

• Simple
• Plain
• Shows up the prints within the block
• May show dirt or soil
• Will show extensive quilting

A small print will:

• Add texture
• Add or extend the colors in the block
• Hide quilting

A larger print will:

• Add a random textural element
• Add patches of color to the cream background
• Will show some quilting, but not anything extreme
• Probably won't hide soil or wear.

All of this can help you make the best fabric decisions for your quilts. Try everything, and see what you like best.

Waltzing with Prints: Picking out Printed Background

 We've looked a lot at how different background colors affect a quilt. It's a dramatic element in every quilt. The background sets the tone and shows off the rest of the colors. It's a really important decision.
But what if you're using a print? 


Prints are a "wysiwyg" experience. What you see is what you get. And, as always, they are in relationship with each other.
I have a selection of fabrics that are printed as a collection, and the red is the same in all of them.

 A red on red print

 Red on White paisley

 White on red paisley

 Dit and dot  print

 Chain print

The values of these fabrics, dark to light, even with the same red and the same white are very different. Why?

The size and the density of the print. More red than white?

Probably looks darker. More white than red, it will read as lighter. If you're working on a range like this, you may want to choose the pieces with the strongest value differences, because that is going to make your contrast.

How can you tell? As we said before, what you see is what it is. You just have to look the right way. When you're looking at a print up close, say in your hand, you really can't tell. Walk away and look at it at distance. You may want to take it into  real sunlight. Some kinds of lighting make colors appear to be very different.  And you can squint at it. Squinting makes you more able to see the value of the fabric rather than the print or the color.

Cottage Mills Color Evaulator II Red and Green Filter

Finally you can use a color evaulator. There are many kinds. This one offers a green view as well, just in case you're working in red.

So when you see a group of quilters squinting across the room from their fabric, you now know that they're checking the value. Or they have something in their eye.  Either way,it's a whole other way to look at our fabrics and our fabric choices.