The Word of the Year...Reset on Off the Wall Friday

2023 Block of the Month Club
Where I left it

 Here I am!  WoW, its hard to get back to the normal routine after all the hoopla of the holidays.  I hope everyone found peace and happiness as 2025 ended.  Our family was blessed for sure.  Just getting a break in the winter weather to celebrate Christmas was amazing.  Spending some quiet time with my inner circle was a gift too.  It seems that lately, I'm getting less and less time to do that.  

Maybe with getting some well-deserved rest, has me wondering....what comes next?  I won't lie.  The last 10 years has been hard.  So much change...change of jobs, change of family dynamics, change of life! I never found my groove living in a state of flux.  Just in the last year, I am beginning to see the light at the end of a long tunnel....finally.

2026 has me looking at my studio again...if I could find it under all that stuff in there.  It has me feeling like sewing again....there are at least three projects I want to work on this year...my 2023 Block of the
month, my mosiac sunflower girl and finish quilting my Rain, Rain quilt.  It has me looking forward to a week at John C Campbell's to learn how to make a textile doll. And of course...continuing on my rug hooking journey.  

All these feelings help me choose my word of the year....Reset.  Honestly I think that's what I need...a total reset of my creative life.  2026 is about leaving the personal condemnation of the last decade behind, giving myself some grace and a big reset. 

I'm not quite sure where 2026 is going to lead...but with writing this all out...at least I have an idea.

Thank you for listening.  

What Have You've Been Up to Creatively?

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Let's Talk Gatekeeping on Off the Wall Friday

Ain't THAT the truth!

It's an odd place to be.. .a 35 year veteran of one craft .... quilting and a rank amateur of another... rug hooking.  After doing something for 30 years, you get to know most of the answers.  Diving in deep on rug hooking, the more I know, the more I realize I don't know.  Luckily, I've found a circle of ladies that are happy to share their opinions on things (and let me tell you, rug hookers are strong in their opinions).  One of my favorite 90 minutes of the week is the Saturday rug hook-in sessions, Cindi Gay hosts.  There anybody can bring their project and just hook and listen and

Psalm 12, Nina-Marie Sayre, 2001

chat...and it's free.    It's amazing what you can learn when you listen in on one of these hook-in's.  They are so free with their knowledge.

Recently, I heard the story about how when a new hooker asked another hooker if she could try her hook to see if she liked that kind....the lady promptly said no.  As you can imagine, the asker was taken aback and embarrassed.  The story brought back memories of older more experienced quilters being "mean girl" cruel to me.  It also brought memories of the class 25 years ago where fellow classmates Phillipa Naylor and Christine Fries generously filled in the gaps of my limited knowledge, so I was able to make my first art quilt.  Not for the first time, do I wonder, where would I be if they hadn't helped me that year.  That quilt gave me hope that I too, could maybe become an artist.  

That's why gatekeeping really boils my blood.  For those of you not up on the latest slag:

I don't think we find it so much in quilting, but I have heard of it more in rug hooking.  There are teachers who are afraid to teach too much worrying that a student won't return if they've learned too much.  There are people who will call copyright on the simplest designs.  For that matter, in the world of rug hooking, if you buy a pattern, you are only allowed to make one rug from that pattern.  I could go on, but I don't want to malign all rug hookers under this rant because there many, many generous ladies...  But still, I've seen it enough where it makes me do a double take...like What did they just say?

I find the whole idea of gatekeeping foolish and counterproductive.  In the words of Mother Teresa, "As we serve others we are working on ourselves; every act, every word, every gesture of genuine compassion naturally nourishes our own hearts".  You never know what you'll learn by helping someone else, but you do know you will learn.  Gatekeeping your knowledge will just end up with you creating in a little box of your own making.  

Not to mention, why do Gatekeepers think they know so much and only they are entitled to that knowledge.  Like everyone knows there is nothing truly original in this world.  I mean how did they learn it?  Someone - somewhere had to open a gate to teach them right?

From How to Steal like an Artist, by  Austin Kleon

Like I said, annoying!  I could rant some more, but I'm choosing to be the kind of rug hooker that lays it all out there for the world and to that end....

On this week's

Rug Watch....I finished the Melon and now it's on to more grapes.  This time I got smart and am doing all the same value grapes at once which makes gradating them easier.  Looking at my progress, I'm noticing that I should start designing my next.  I have a good idea what it's going to be but I'll save that for another post.

So, What Have You've Been Up to Creatively?

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Value is My Thing on Off the Wall Friday

Peppermint Reindeer by Laura Heini

 This week in my spare time, I started thinking about decorating for Christmas.  To tell you the truth, I'm not all that much into decorating, mostly because it takes so much time.  What I do like is designing the composition of the decoration scheme.  Yes, you read that right.  Your decorating has a composition just like your quilts.  One thing I've learned, is that all the elements of design I've been studying over the years can be used in a myriad of ways....like planning your Christmas decorations. 

But this post is not about Christmas decorating - you can thank me later - No, I say all this because it brought to mind my favorite way to evaluate a composition....studying the value of the piece.  If you're a long-time reader, you might have noticed that value truly is my thing.  Mainly because 

Color gets all the Credit, but Value does all the Work

Gosh, I must have been told that by the late great Joan Colvin about 20 years ago and it still holds true.  I pulled some truly random quilts from my Pinterest board to show you what I mean.  (I really did randomly choose them - mostly because they could be easily attributed).

Let's look at detailed look at embroidery textile by Mary Ruth Smith

Great right?  When you first look at it your just taken by the great use of shape and line.

Take the color out and you can see how it's all about the value in the composition.  The contrast between light and dark is giving this heavily graphic piece a lot of much needed depth.  Also, it emphasizes the use of line to form more movement and rhythm which would otherwise have come off very flat.  The darkest parts are acting like a solid ground for all that movement of line going on.  Without color to distract you, it's much easier to see what is truly going on.

This is An Evening Out by Colette Behrends 

Talk about a lot to unpack with this piece...WoW!  When you first look it's all about taking in how she so masterfully captured the moment.  It's all so relatable.  I love how it's figurative but still abstract.  The colors just add to the vibrancy of the piece eluding joy and energy.

Step back with this version of it...

Now you can better comprehend the composition.  See how easily you can see how she laid it out in a diagonal line.  Also, the focal points pop with the accents used to move your eye around the piece.  Again, the artist uses value to create depth as well as movement.   (hmmm I'm sensing a pattern).  Without getting too carried away, I also want to mention how well soft and hard lines are used in this piece.  That is a difficult thing to do and you don't see it that often done this well. 

Let's go totally abstract with a favorite of mine ...Emily Richardson's Original Copy (I want to confess a true bias where Emily's work is concerned.  I loved it from the moment I saw it, Then I took a 5 day class with her and it added this whole sentimental twist to my crush on her work)

Amazing right?  Now you can see why I have quilt crush.  The palette is so effective in this piece with it looking ethereal.  I love how the abstraction lets the viewer choose their own take on what it represents.  Honestly, in this form I just get lost in studying how the orange/yellow interacts with the blues. 

But in gray scale we get another look at it..

And for the third piece in a row  - what is value creating? Movement and Depth.  Honestly, this whole composition is about movement and depth.  With the color removed it's truly evident.  

So why do this exercise?  Just to play with pretty art quilts...well yeah...but mostly, it's to show that you can do it with your own work.   Traditional quilts or art quilts, it doesn't matter.  When you're laying out your compositions, take some time to take picture and desaturate it (way easier now that everyone had a camera in their back pocket for sure!)  Even take out the quilts that you think of your "dogs".  Take a value study picture of it and I bet you'll see why the quilt isn't quite working.  

Thanks for indulging me on yet another post on value.  

Oh, one last thing, so my new job has me writing a lot of emails a day. When I say a lot I mean 50-80 a day.  Twice this week - not once - but twice...people I email with mentioned the unique fashion of expressing myself through word and how they look forward to my emails.   Cracked me up - literally.  I thought, oh I know why.  It comes from chatting on blog posts for the last 15 years.  

So, thanks for that as well.  That's me this week...

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Let's Talk Improvisational Piecing on Off the Wall Friday

 

Curves II,  Nina-Marie Sayre
Improved pieced to a planned pattern

Improv Surface Design with a little bit 
of Improv Piecing, 

Taking a class in improvisational piecing, got me thinking of how many uses there are for the technique.  For that matter, how much a non-technique, improvisational piecing actually is.  The reason I say that is improvisational piecing's only rule is that there are NO RULES.  So, it can basically do whatever you want, whenever you want, letting your fabric, your vision or even your intuition be in
the driver seat. 

That can be very freeing or a little scary for a quilter whose modus operandi is to plan out a quilt before making it.  It's even scarier if they are used to following patterns and the fabric choices.  I never thought of it that way until I watched my class of traditional quilters take the plunge.  By the end of the week though, they all definitely got the hang of it for sure.  

So, want to dip your toe into the pool of improvisational quilting?  Here are some suggestions...

Improv pieced background....Give the background of your applique a little extra interest with making an improv background.  It's also a great way to play with the value of the background to give emphasis on your subject.

Notice in Praise Ladies II, I used an improv background gradate diagonally across the piece to give emphasis and movement to the subjects.

Abstract Improv piecing...In this quilt by Janet Windsor, she uses improv piecing for the whole composition.  She plays with both value and hue to get her point across.  I love how she improvs the strips but then pieces them into columns to give it added structure. 

Unnamed, Janet Windsor

Improv Traditional Blocks....whose says traditional blocks need to be made with a pattern?  The one I tend to see the most is the log cabin block.  BUT I ran across this challenge by Sarah Goer and found it super interesting.  She asked her group to improv the Sawtooth Star and they came up with these.  Traditional + Improv = VERY Interesting!

Sawtooth Star Challenge on Sarah Goer Quilts

Improv to Abstract the Representational...and that was where I'm going with this piece.  Now don't ask me EXACTLY where I'm going but it's at least the beginning of an idea.  To take something everyone recognizes and then to use improv piecing to give it a little twist!

WIP, Houses

See what I mean?  You can take this simple idea of just piecing stuff willy-nilly (or not so willy-nilly) and come up with endless ideas.  Remember the only rule is that there is NO RULES. Remember you are the queen of your quilt.

Speaking of queens...

My classmate, Marsha G. sent me a project she did upon arriving home.  She took all her orphan blocks (left over blocks from other projects), improved them together and added a panel in the middle to get a totally new piece.  Didn't it turn out great?  I was so blessed to meet Marsha and her husband the first night we were there.  Plus, then we got to sit together all week in class.  Let me just tell ya, she literally sewed me under the table.  Nothing better than having a partner in class that will work as hard as you! 

Bring the Orphans Home, Marsha Gordon

So, I hope I gave you some ideas to start experimenting with piecing.  I mean we all have stashes to use right? 

And on that note...

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Designing a Calendar Cow on Off the Wall Friday

 I was looking back at previous posts (and when I say "back" I mean wayyyyyy back) and I realized that

I hadn't shown how I designed the Calendar Cow blocks.  So I thought it was a good idea to, since so many times I hear from people who see my work, "I wish I could draw."  I always smile and answer, "Me, too!"

So here is how to design a representational block when you can't draw but you know how to use a laptop, pencil and tracing paper.

1.  Come up with an Idea.  Since these blocks are in series, it makes it pretty easy.  The next month up is June and with that June Brides.  I mean what cow doesn't want to have a June wedding?  So then I started brainstorming the things I wanted in it - I came up with a Cow (duh!) - a veil - an old-fashioned church.

2.  Steal the Elements.  It's amazing how many places have royalty-free photos now online.  Today I used Unsplashed.  I chose this amazing cow photo done by Luke Stackpoole who graciously put his work up to be downloaded freely.

After looking at many, many church photos I chose one by Michelle Tresemer because it was simple and it looked like someplace a cow could have an old-fashioned wedding.

As for the viel, I thought I would work out the composition and figure that out at the end.

3.  Composition of the Block.  So now I'm being brave here and showing you my pathetic line drawing.  But truly that's all you need to get your basic composition down...a pathetic line drawing!  I normally use this step to work out what scale I want the elements.  Also, this is where I get a better idea of the main lines in the composition.  Since this is part of a series, I'm using the previous blocks as a guide.  Notice....big cow in the foreground and the church in the background with the horizon shown.  This block though will have a stone fence rather than a wooden one.  I love stone fences.  

4.  Edit the photos.  I edit the photos using a black and white high contrast filter.  I print them out in a nice workable size.  They don't need to be the exact size just something big enough to trace.   I  trace the photo with tracing paper because at this stage I can add lines and take lines away that I don't find pleasing using the original photo to help guide me.  I am never super careful with the lines.  Once the pattern is to my liking, I trace it onto overhead projector film sheets.  (I use expo  vis a vis markers ... I know my 10 years of teaching is showing but they are washable and won't rub off)

5.  Create the pattern.  Now I drag out the WW II overhead projector I bought on eBay 25 years ago for 20 bucks.  I mean do they even still make these?  I draw out the 16" block and then using the overhead projector, I then move my cow and church to a scale and location I like.  The line sketch from Step 3 gives me an idea of where, but I also trust my eye,  As you can see here, once I got the pictures up on the block, I really liked the idea of the church scaled larger, bringing forward.  Plus you gotta keep in mind this is part of a series, and this layout will look great next to July Cow and his 4th of July Barn.

With the final pattern trace, I can go back and put in a few details.  They will be the veil, the horizon line and hopefully the stone fence.  But it's getting late and I've learned never to make design decisions when you're tired.  

I know it might seem like a lot, but it really isn't.  It took me about 3 hrs.  It does help that I have all the supplies I like to use right at my fingertips.  The nice thing about this method is that its super versatile and cheap and low tech.  I know I'm still using the same box of 100 overhead projector sheets I bought back in the late 90's.

Now all I have to do is finish up the details on that pattern, choose the fabric, and sew it up!

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Off The Wall Friday

 

Since it's Fair Week around here, I'm taking off but I saw this week and thought it was something I wanted to remember!!

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Build Your Own World on Off the Wall Friday

(The following post comes with a "My Opinion Only" Warning and you are more than welcome to disagree)

Look, I know artwork like everything else goes in and out of fashion.  But lately, I've noticed a LOT of art quilt work that is more derived from rather than inspired by another artist.  Now, I'm not talking about direct copying and using for profit as this article shows.   More like I see art quilts that look more like they were done by the same artist when they haven't been.

You can see where this can easily and innocently happen.  For instance, many famous art quilters are now giving classes online.  People take their classes because they admire their teacher's work. Now the student's work starts down the same creative path as the teacher.  It feels very derived.

The problem I have with that is that's where it ends.  The student doesn't grow.  I remember Timna Tarr saying (and I'm paraphrasing so forgive me Timna!), "The most enjoyment I get from teaching this class is seeing what my students do with it.  I hope you all come back with new ways to use what you learn this week."  I thought she pretty much said what all teachers hope. 

For the record, this rant isn't just directed toward art quilters but also traditional quilters!  Just because you're a traditional quilter doesn't mean you have to always follow the pattern of another designer.  (Of course, there is nothing wrong with that if that is what you want to do - revel in the craft of quilting.)  Still, as a traditional quilter, you too can develop a unique voice.

That said.....

 There is a lot of value in copying.

Wait!  What?!?

Yep, it's a great way to learn a technique or learn how to create different effects in your art.  Not to mention to gain confidence to move forward. So copy one.   But then what do you do?

Take what you made and play "What If"

• cut it apart and rearrange it
• change the values
• crop out small sections and change the scale of them
• keep the composition but use a new technique
• keep the technique but use a new composition  

You get the idea.  These are just a few....but the piece may still seem derived.  Now what?  Take the element you really like the most from your second piece and use THAT as the jumping-off place for your new piece.  Not only will your quilt feel more like you but it will be more fun to work on because it was your "favorite" part of the last two pieces.  

This is not the first time I've had this rant on this blog, it's just that after seeing the work that is being made out there, I thought was a good time to revisit the concept of developing your own style from what you have learned.  I know its harder.  I know you have to be braver.  But it will be well worth it!!

You find more posts on this subject under the tag "Steal Like an Artist"

This is what I've been thinking about as I spend hours hand appliquing...

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Creating Limits on Off the Wall Friday

Woman with Folded Arms, Picasso

 I wanted to say a big thank you for all the lovely comments last week.  I'm still working my way through the hop.  It's so fun to see what everyone is doing! Also, I'm still smarting about the fact that I didn't catch on to the theme "Get on Board with Sewing".  It really isn't a bad idea to set "limits" or
"rules" when you pick a project. I remember when Elizabeth Barton first brought up the idea to me of setting limits within a piece.  LIMITS?!?!  Why would you want to limit yourself when there are so many great choices.  She explained that not only does it narrow down the choices you need to make, but it inevitably would make the piece stronger.  With a little luck, you might even find that elusive voice that artists are always trying to nail down.

The Old Guitarist, Picasso

For proof of this, you just have to look at the work of great artists in history.  

Picasso's Blue Period (1901-1904) where he limited his work to blues, blue-greens, and small accents of warm colors.  The limited palette not only made for a strong series but also lent itself perfectly to the melancholy mood he intended.  

But you don't have to make your limits about color.  You can choose to make them about shape like Paul Klee.  

New Harmony, Klee

Flora On the Sand, Klee

City Night, Okeeffe

Of course, you can always limit your work by subject like Georgia O'Keeffe. (And no I'm not going for the obvious choice of her "not female genitalia" flowers but her cityscapes that I love as well)

Radiator Building, OKeeffe 

• So those are just a few quick examples that I thought of from the top of my head.  I highly suggest you play around with this idea yourself.  

• #1  Research an artist you love
• #2 Notice the Limits they chose in their work
• #3 Use those to guide you to your own rules
• #4 Design your piece
• #5 Do it again

It's been a while since blogger has given me so much trouble getting this post laid out - so I apologize about the mess...but you get the point.  Make up some rules .... stick to them....see what you get!

So What Have You Been Up to Creatively?

 

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Exploring the Abstract on Off the Wall Friday

Walking Through Time, Sue Benner

Flora 6, Anna Brown

Okay, am I the only one that just looked up today and realized it was July 1st?  How did that happen?  I mean it's half the year!  I was cleaning my studio and noticed the little pile of Christmas gifts I got that I never really dug into.  One of them is this amazing book, Exploring the Abstract: an Instructional journey by Joan Blackburn. Although it's explorations using paint, it could easily translate to surface
design on fabric.  It landed on my wish list because this book is loaded with ideas on how to start an abstract piece.  I've had more than one person ask me how I do abstract pieces.  Honestly, I didn't really have a good idea.  I mean I have a vague idea of how to start, but what I wanted was a PURPOSEFUL way of starting!!  As I skimmed this book, I love how Joan didn't totally plan out her piece but it was purposely done with an innate flair! I want to learn how to do that.  

#1 Learn the Rules

#2 Keep to the Rules while Experimenting

#3 Learn when to Break the Rules

Red Head, Cynthia Corbin

I thought it would be a good idea to work my way through the book, sometimes using paint, sometimes fabric, and show my explorations here. I want to adapt her painterly exercises into fabric and see if I can learn something new.  I think I will do them in manageable smaller sizes and keep the best to do later in full scale...hmmmmm...we'll see.  

 I was hoping to have done more than skimmed it by now, but ya know, my customers need their clothes.  Luckily that seems to be coming to an end so I'm happy!  Must be all the fuss around the 4th and people realizing "Wow" it's summer!

So stay tuned!

Now under Things I like...

Last Friday I was contemplating how to transfer some of the quilting lines to my mosaic quilt. After wracking my brain for half a minute I got the idea to "Phone a Friend"!  I sent a  quick message to Jenny Lyon and asked if she had 10 min for me.  She message back yes and I opened facebook messenger, pressed video, and there Jenny was all the way out in California!  She was sitting in her studio and I in my family room and for the first time we got to talk face to face.  I'm not sure what tickled me more...to finally be able to talk to someone for "real" that we've corresponded over the last 10 years or that it was so darn easy and cheap!  So it did take about 10 min for us to brainstorm some ideas on what would work with the project.....then it took another hour of us chatting once we started about all things quilting.  It does a body's soul to connect with your people, doesn't it?

So I want to give a big shout of THANKS to Jenny for the help and the creative boost.  I highly encourage you to reach out to an online friend and connect.  This separation from the last year is not doing anybody any good! 

ohhhh and apparently this is #500 OFF THE WALL FRIDAY!  Wow on the day I thought - we need a blog link-up that starts with art quilters....wonder if anybody would come every week if I hosted one....I never thought it would last to 500!!  Thanks everyone for being faithful!

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4 Quick Questions on Off the Wall Friday

Recently I was reading some old blog posts and I saw one on four questions someone might ask you about your creative process....

1.  What are you working on?

2.  How is it different from other people's work

3.  Why do you create?

4.  What is your creative process?

So here are my answers:

1. Right now I'm in the beginning process of the Cherrywood Fabric Graffiti Challenge.  Since I was sick it stalled a bit but this week, I've been back at it.  I do have the pattern worked out taking inspiration from a graffiti eye and adding my own lettering to it.  I have a goal to finally get this pattern done so I put my fingers on that luscious fabric.

I'm also in the middle of a deep clean of my loft dressing room which houses my fabric collection and clothes.  My husband is putting in new flooring and shelving.  We both decided to make a system where my stash is housed in bins. This project I suspect will take most of the summer but I have a good beginning!

2.  Honestly, I think the biggest difference between my work and most of my fellow artists is that I tend to take a very methodical approach to how I create.  I'm most comfortable taking a long time designing

a pattern and critiquing the composition.  Once that is complete I like to audition values and finally color.  Really after all that the construction goes quickly.  Also, I am a true Gemini.  I love, love traditional quilting complete with hand piecing and hand quilting.  I also love, love more contemporary art quilting, and am happy to try all sorts of new methods.  One thing I don't like - which most people do  - is fusing.  HATE IT and will only do it when it's truly called for.

3.  For most of my life, I've created because I had to.  There was nothing more fun.  Originally when I was a child I stitched, played flute, and wrote poetry. All of them started with the basics but I was coming up with original compositions for each endeavor.  I grew up in the country so there was plenty of time to explore all of them.  That continued through college until the day I got a quilt book by mistake in the mail.  It was a hard stop to everything else and I just pursued that.  It was never a chore and always a passion...until now.  This season of menopause, empty nesting, and covid has hit this girl hard and I'm just treading water to get through.  BUT it's only a season.  I'm old enough to know that no season lasts forever.

4.  As for my creative process...if I'm going, to be honest with myself ...I need a catalyst to get anything done.  Very few projects around here have gotten done start to finish "just because".  I need a show to enter, a class to take, a challenge to fulfill.  I'm not sure if it's because there are so many other things
that pull at the time of a full-time mother who works 40 hrs a week or just that I seem to have a short attention span.  Projects work much better though if I conceive the idea, work out the composition and pattern, do the sewing and finally quilt it.  I have never worked well on several projects at once.  They all start to get muddled and nothing gets done (which is where I'm at).  Also, even though I have tried and tried I'm pathetic trying to work in a series.  Too many ideas with whatever is shiniest capturing my attention.

These are 4 great questions.  Self-examination and self-reflection are never bad ideas.  

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Rules for a Busy Quilter on Off the Wall Friday

With March comes not just the end of our grey days but ... National Quilting Month!!  I always thought spring was a perfect time to renew ourselves into our favorite passion.  I mean, really, it takes a special kind of person to cut up perfectly good material and then take hours and hours to sew it all back together right?!

Rules For a Busy Quilter

• When you're "In the Zone" the sewing room is off-limits to everyone else.  How many times has a family member or a phone call gotten you off track and it's impossible to get right back to that sweet spot of production?  Don't be afraid to SHUT THE DOOR!
• 
  
  There is no such thing as perfection.  Practice does NOT make perfect but it will make for better art/quilts.  Also since there is no such thing as perfection, those pretty quilts you see online aren't perfect either.
• Allow yourself to experiment and step out of your comfort zone even if at first it's not as good as your "usual stuff".  Your usual stuff wasn't that good, to begin with, either.
• 
  
  Spend time taking pieces to completion.  Yes, that means quilting, binding, labeling, and photographing.  Having the piece truly, completely done with gives you a sense of achievement and closure on the piece.
• 
  An organized clean studio is not a sign of being less productive.  It's a time saver knowing where all your tools are!
• YES is not always the answer to every project, show, challenge, gift that crosses your path. 
    More is not always more.
• Always have a cheering section and when you run across a critic remember that have NO hope of doing what you can do.
• Finally, this is supposed to be fun.  Bleeding for your art is really not a thing.

(I swear I'm going to start labeling these my pep talk posts!!  No matter how many times I write them  - I think if I need to be reminded someone out there needs to be reminded!)

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A Little More on Tangents on Off the Wall Friday

 So last week, I introduced tangents in composition.  They are basically where two lines touch in an annoying visual way.  The reason, I think this is so important is so many times we create a composition that feels almost right butttttttttt not quite.  We then start deconstructing the whole composition to find the problem.  A lot of times, it's simply that the composition contains tangent lines and it's throwing off your eye.   

In a search online I found some befores and afters.

Before

After

Notice the before feels all squished together.   The line of the pan becomes very important taking the viewer's eye from the real focal point - the apples.  In the After, there is now room to breathe between the elements in the composition.  The line of the pan fades a bit and the apples take their rightful spot as the focal point.  All that with just a slight adjustment.  Cool right?!

The other thing to notice here is that it's not just the elements of the composition - the pan, the cup, the apples.  It's also the negative space around them.  Want to see the negative space?  Squint your eyes a bit and look at the photos.  Now objects simply become shapes in the foreground and the negative space is the field they exist in.  Without the tangents, the negative space stays connected and flows from one area of the composition to another.  

Who knew there was so much interest in a frying pan, a mug, and some apples?!  

One more - just to show you how much better it is without the tangents...

What I like about this example is that you KNOW the after is better but you just can't put your finger on why...it's the tangents!  

I was just thinking, after learning about tangents, it just gives me another thing to worry about when making a composition!  #somylife!!

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