Kaffe Fassett - Part 2

Yesterday was the Kaffe Fassett workshop at the Creative Festival and this is what I have to show for my 6 hours.

By no means do I have a finished top ready to sew and I still have to add a couple more rows to this quilt before I will have the size that I need. I was going through my stash of fabrics today and I think I may have found a couple of things that will work. I didn't have time to cut the half triangles so that very outer border fabric I just pinned so that you could see what it would look like. The column of diamonds that are next to it will all the way around the whole quilt as the diamond border followed by the striped fabric.

So the scoop on this workshop is if I had the magic crystal ball and could see what would transpire in the 6 hours I would not pay the $150 plus purchase the book and over 20 different fabrics.

I'm not sure where Kaffe is coming from, but he isn't a teacher. There was no discussion about how he develops his quilts, his use of colour, what works, what doesn't and there were no handouts. We were just let loose with our fabrics and told to put something together. He would come by every now and then and just say that something was either too light, too dark, the wrong size of print, or just didn't work and would go on to someone else. His assistant Brandon Malby was much more helpful in that he would at least show you some options of what might work in place of the things that Kaffe said didn't work. Eventually people got the idea of what didn't work because the same things would keep coming up and up. But there never really was a sense of what works and why it works.

Over the course of the 6 hours there were certain things that I picked up after hearing/seeing about either my quilt and/or other people’s quilts and they are:

- Stick either with lights, mid-tones or darks within the colour palette that you have selected, but don’t mix all of them together. Many of us ended up discarding our lightest fabrics.
- Even though we were using bold prints, you have to make sure that there is still enough variation between the types of bold prints. They shouldn't all look the same both from the type of print and the various colours/shades in each the fabric.
- When you pick your colour palette, you still need some other colour(s) at various points to give the design some punch. There were a couple of brown toned quilts that he made the people put some red fabrics into the mix, and one gal’s red quilt got a print that had red with lime green in it for punch. What ever your punch colour is, it also has to be a mid-tone if you are using mid-tones, dark if dark, or light if light.
- Be careful of the border fabrics so that they compliment the quilt and don’t look like a frame around the quilt
- Also when you have picked your colour palette make sure that all the fabrics are not “matchy matchy” to each other. So if you picked green, you have emerald green, and jade green and moss green and grass green etc. and that the prints do have other colours to add some interest.

For the last hour he did go around and critique all the quilt designs and it seemed that he liked what come out of every one's process. But again there didn't seem to be a lot of knowledge passed on as to why things worked, more like this goes well with that. But was it the colour of one fabric with the design of another, the intensity of the colours, the addition of other colours, a lot was just not very effectively communicated.

This will be packed away for the time being since I have several projects that are currently on the go and need to be finished up before the end of the year. I will resurrect this one sometime in the new year.