Shade Values in Quilt Making
Positioning the “light source” from the upper left corner is a standard convention among map makers. (Odd, because the sun almost never shines from this geographical position.)
Even following this standard, sometimes the eye gets confused, as shown in this map of The Abyss, Grand Canyon National Park. Is it a canyon or is it a ridge?
The Abyss, Grand Canyon National Park
For most people, centuries of art work using the orientation of upper left light, have ingrained the convention of placing shadows in the lower right. Upper left lighting has become a cultural preference probably due to the fact that most of us are right handed and we place the lamp on the upper left so we can see our work. We move down the page to the lower right so as not to smear our work.
 Wreckers Coast, Turner |
 the Theater Box, Renoir |
Quilt makers have long enjoyed playing with illumination and illusion by developing creative patterns and creatively placing fabric patches.
 Optical Illusion, circa 1860 |
 Diamond Crazy Quilt, Marlene Walters, c. 1930 |
Many modern contemporary quilt artists continue enjoying the tradition.
 Lattice Interweave, Mirriam Nathan-Roberts |
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Sometimes the illusion works well, and sometimes it is somewhat weak. Why does this happen?
illusion of light is inconsistent in this traditional rendition
The aerial perspective effect is a graphical technique used for making two-dimensional shaded relief appear more three-dimensional. The concept was developed by Eduard Imhof, the late Swiss authority on traditional relief presentation, and is based on his real world observations of landscapes.
aerial perspective effect
the horizon in aerial perspective
The idea is very simple. When we look toward the horizon from the top of a high mountain, landscape features further away appear fainter (lighter in value) than those in the foreground because of atmospheric haze. This creates a sense of depth.
Applied to shading in quilt making, the aerial perspective can convey to the viewer the sense they are viewing three dimensions. And because of the perspective effect and our cultural history, most viewers will agree on “which way is up”.
Effective shading with fabric requires a harmonious balance of light, mid-tone, and shadow values. When one value dominates or is diminished, the effectiveness of the entire shading suffers.
graded values
Mid-tones are essential because they graphically bridge areas between light and shadow.
If extreme deeply shaded fabrics are going to be used, then the mid-tone and light fabrics should also be somewhat darker to avoid an overly heavy result.
White should be used sparingly only for the highest “peaks”. Overuse of highlights blows out the entire effect.
Of course, these are guidelines only. Artists and quilt makers may create any effect they desire.
