Now I see how so much of the surrounding work used your style. ;)
I've had like 3 instances on this quilt where I've had diagonals that I knew existed. What I did was pretend I didn't know, and only went off the stuff given to me on the edges. That way, the people adjacent to both my tiles would have some differing things to blend into.
This tile is from Mainquilters Unite!
Tile Info
Comment:
A pipe. Is it cheating if i know what's on the tile to the northwest?
By: levik
Checked out at: May 07, 2001
Checked in at: May 07, 2001
Checkout tile:
In Context
Posts
Ahhh.
Re: Ahhh.
Hmmm... I'm not sure I think it's such a bad thing... I saw this happen in Mass Visualisations with the earth picture spanning four tiles. I think if by the luck of the draw this come out like that, it's OK to take advantage of it.
Re: Re: Ahhh.
Well what hurts is the fact that if you have say... a pair of tiles like this one. I'll number them like this:
1 2
3 4
You do #1, someone completes #3, and you draw #4 to match the major elements you put in #1, you limit the artist who gets #2 because the elements are so obviously similar.
I feel the idea of doing a tile is to take the work from one artist, alter it to be YOUR art, and then give the next person something to work into their own art.
While the large 4 tile planet does look impressive... I think it loses a bit of appeal when you see that one person did two caty-cornered peices of it.
1 2
3 4
You do #1, someone completes #3, and you draw #4 to match the major elements you put in #1, you limit the artist who gets #2 because the elements are so obviously similar.
I feel the idea of doing a tile is to take the work from one artist, alter it to be YOUR art, and then give the next person something to work into their own art.
While the large 4 tile planet does look impressive... I think it loses a bit of appeal when you see that one person did two caty-cornered peices of it.
Re: Re: Re: Ahhh.
I don't think that drawing the tiles in such a way limits the artist in any significant way. The artist is still free to interpret the two bordering tiles as he pleases. In fact, I think that in contrast with the setup of having the artist be forced to reconcile to completely different styles on two sides of his, this scenario gives that artist a nice "base" to work from, while leaving him free to interpret it as he would.
Again, I'm not saying all tiles should work this way, but if by chance you draw a tile that is close to the one you already did, I think it's not horrible to use your knoweledge to get a little homogenity into that general region of the quilt. This makes the areas flow together better without really breaking the rules of the quilt.
Again, I'm not saying all tiles should work this way, but if by chance you draw a tile that is close to the one you already did, I think it's not horrible to use your knoweledge to get a little homogenity into that general region of the quilt. This makes the areas flow together better without really breaking the rules of the quilt.
Variations of Scale
I agree. Some of the most impressive parts of the quilts are when there's a large region that seems to be more or less homogeneous. It creates a different "rhythm of scale". To elaborate: much of the objects/imagery that is distinct and self-contained is of a certain scale in these quilts, because of the standard tile size. It's nice to break this up from time to time with contiguous areas of a larger scale that seem to contain discernable, distinct elements.