This month the Color Challenge assignment is “a mini research project,” in which we are to select a work of art that uses coral/peach tones, create a palette based on the work, and select fabrics from our own stash to recreate that palette.
While perusing artworks to use for this challenge, it seems as though even fine artists use these tones less than other colors. I got far fewer search results than with blue, green, or yellow. Nonetheless, making a choice was tough. Here are a few that I considered before making my selection: an Edgar Degas that some sites translate as “Ballerinas in Red” and others as “Dancers in Pink,” Kelly Tunstall’s “Plaid,” and a detail of a seraphim from a fresco at the Monastery at Saint-Antoine-le-Grand photographed by Pascal Deloche.
The palettes generated by these were pretty great, but I settled on my favorite artist, Gustav Klimt. This painting is called “Tannenwald,” and I chose it because the palette pushes the standard complimentary scheme from the blues over into the lavenders/purples. (In spite of the fact that I have a lot more blue fabrics in my stash, so that would have been a lot easier.)
The Bella solids recommended as matches are Thistle, Wisteria, Coral, Grape, Peach, and Graphite. Ochre was another color that popped up a lot as I moved the selector dots around the image. I chose to leave the green out of my palette.
I’ve only recently begun to use solids in my quilts, so I don’t have many of them in my stash. I was surprised to find, however, that I had a solid coral for this fabric pull.
Perhaps strangely, though I don’t own a lot of solids, I DO own a Bella Solids Color Chart, and these are the seven fabrics from my stash that most closely match the colors listed above.
Grape=an ancient fat quarter labeled “DAIWABO Selection for E.E. Schenck Company” in the selvage. Thistle=a Michael Miller fabric from a “Moonlit Shadows” collection likely at least a decade old. I have two fat quarters of the Wisteria selection, neither of which have any information on the selvage. Coral=a solid that came as part of a kit I never made–it feels like a Cotton Couture but I can’t be certain. The Peach polka dot is another fat quarter with no info in the selvage, but I know it’s newer than the others. I threw in the Ochre because I liked it. By Renee Nanneman of Need’l Love for Andover Fabrics, I discovered it at a very traditional LQS. Finally, Graphite=a Dear Stella print, but the name is missing from the selvage.
I liked this pull, but after playing with it a bit for photographs, I decided that the polka dots didn’t work. Not because of the color, but because of the print compared with the others in the group. I removed it and found the result more pleasing to my eye.
Do you agree?
One of the things I learned from this challenge has to do with color in context. Some of the artwork I chose ended up being yellow or red according to the palette generator. But because of the influence of other colors in the artist’s palette, the colors appeared differently to me. I’ve read plenty about this in articles on color theory, but this is the first time I’ve done an exercise where it turns out that my first impression of a color was flat out wrong.
Are you following along and/or participating in Michelle’s Colour Blog Series? Maybe you will be surprised by something you learn, too.