Akhenaten’s Loincloth

Belt Fall Finished
Belt Fall Finished

In fact I had finished the belt before I started on “Leaving the Tyne, 1915“, so it was just as well that I had the belt fall to work on. It gave me something definite to do while I started to get myself mentally back in the groove, as it were. I thought about fading out to the blue green down the length of the belt fall, but in the end I decided to work it with only one colour of additional purl – just the purple.

I’m quite pleased. I can’t see a difference between the chipwork of the belt and the chipwork of the belt fall, which is especially good, considering there were five months, more or less, between them!

Started The Purls
Started The Purls

So at this point I could start on the element that I first “saw” in my mind’s eye, the element that inspired me to start on this piece. Unnerved, much?

The pleated linen of the loincloth is being represented by row upon row of silver purl, using four different types: smooth purl, bright check purl, rough purl and wire check purl. The varying reflectances of the different types create different shades, representing the light falling on the various surfaces of the pleats.

And now you can see – in case you were worried – why I was not at all worried by the big slub in the middle of the fabric. I always knew it would be covered with silver purl!

Loincloth Finished
Loincloth Finished

For those who don’t know, purl is made by wrapping very, very fine wire around a former. So it is basically a tiny spring. A fraction of a second’s inattention, and it spangs around the room, snags on curtains (and even the silk background fabric), and generally becomes a severe trial. On top of that, it has to be gently handled lest it bruise or break, creating a flattened section or a dark line in the finished piece.

And yet, surprisingly, I rather enjoyed doing it!

Classically, I believe purls like this would be edged with something, but even though the edges of my purls aren’t completely even, I think this helps with the impression of a garment wrapped around the body. And I love the effect of the different shades of silver!

Getting started on Akhenaten’s Belt

Trial Run - but Not Happy
Trial Run – but Not Happy

I knew I wanted to fill in the belt with coloured chipwork, but how?

I had started off with the idea of making lotus flower shapes, but very soon became frustrated. I didn’t like the way it was looking, and, adding insult to injury, it was exceptionally fiddly to do.

So, no, think again. It might be possible to do something like this another time, but at the moment I can’t quite think how I would do so!

Scatter Of Coloured Purl
Scatter Of Coloured Purl

The next attempt was to use standard chipwork without attempting to make pictures. I know that the chips are very spread out here, but I began with the coloured purls, scattered across the belt to create a graduated colour effect, which shades from purple in the middle through blue to dark blue-green and light blue-green. The gold background had to wait until I had the colourwork right.

Belt Complete
Belt Complete

Once that was done, I went back and added the gold chipwork. I have four different types of gold purl, some smooth and some rough, so the sparkles would have some variety and colour. I think I’m much more pleased with this, and I will be able to tweak the blue twist to bring it more to the foreground.

Beginning Akhenaten’s Loincloth

Beginning Loincloth
Beginning Loincloth

While I mull over the gold section of Akhenaten’s headdress, I’ve decided to work on his loincloth and belt.

The original inspiration here was for the silver purls to represent the pleats of the loincloth, but when I talked with Sarah at Golden Hinde, when I was buying all the wonderful metal threads, she suggested that I should probably do the belt and fall first, not least, to have somewhere to tuck any untidy ends of the purls while I’m still getting the hang of it!

Adding Blue Twist
Adding Blue Twist

So I started with a very large gold purl with a sort of twist on it, and settled it neatly into the stitching lines from the quilting. That was followed by a slightly iridescent blue twist. It’s going to be tricky to keep that as visible as I want it to be, and I may very well end up playing around with the placement, or even removing and reinstating it later.

Still, onwards and forwards….!

More on Akhenaten’s headdress

Sinking Ends
Sinking Ends

When you last saw Akhenaten I was starting to sink the ends for the headdress. There were so many ends to sink, and so much tugging to do so, that I was beginning to worry that I would lose the texture of the basketweave. So I threaded some old, blunt needles through the floats to keep them raised, and reduce the rearrangements and tweakings I needed to do as I went along.

Progress On The Headdress
Progress On The Headdress

And once all the ends were duly sunk – which took several sittings! – the crimson section of the headdress did turn out rather well.

The next section will be golden, and will bear the cobra and the vulture heads, but I’m not quite sure how to tackle it, so I’m going to leave the ideas to marinate a bit before doing it. I think it may be separate from the rest, and run up over the crimson, which is why the basketweave couching runs further down the head than it ordinarily would.

 

Finished The Amarna Backpack!

Amarna Backpack Finished
Amarna Backpack Finished

I rejoice to report that the Amarna Backpack is finished!

Well, nearly. It is in want of a lining, and it needs a weight in the end of the strap that weighs down the top.. But I have finished and assembled the bag itself, and in the process I have learnt that I am not keen on constricted tubes of crochet – so not keen that I ended up doing broader tubes. They might have taken more yarn, but they involved less muttering!

Pattern Complete
Pattern Complete

The pattern worked out rather well, I think. It is deeper than the pattern in the magazine, and more complex, because the main section involves three colours in each row. The three yarns tangled constantly while I was working this section, and the pattern hasn’t quite turned out as neatly or as evenly as I might have hoped, but I am still rather pleased that it is genuinely reminiscent of the inspiration!

Straps Attached
Straps Attached

I may have to change the placement of the straps, but until I have used it a few times – I want to carry sketching things in it – I won’t be sure what will be comfortable, or even useable…

I went to the knitting shop where I bought the materials just before Christmas, to buy materials for another project, and was highly entertained to find that I am there known as “The Egyptian Bag Lady”, because the project intrigued them so much. So next time I go, I must remember to take the backpack with me so they can see it.

More Progress on Akhenaten

I’ve decided that Akhenaten’s headdress should continue with basketweave couching in crimson twist.  I was in a quandary about the padding for this – it would be dreadful to have white padding leering at me where the twist changes from up to down –  when it occurred to me to colour my own. So this is the ordinary cotton “string” used for padding, which I have coloured with one of my inktense blocks and a little aloe vera gel, and then waxed once it had dried.

Couched Coloured String
Couched Coloured String

Of course, the colour didn’t seep all the way through, as you can see from the whitish-grey ends of the couched pairs here, but at least the colour will ease back rather than drawing attention to itself.

You would think, by the way, that the waxed string would be fairly easy to couch in place, but it wasn’t. It had a will of its own, and far too many ideas about wandering off!

Bastketweave Couching
Bastketweave Couching

But it worked beautifully.

As I understand it, basketweave couching can be worked turning the thread at the end of each row, or sinking it. I would have liked to have turned it, as that is the more economical technique, but I felt that this would create the impression of a compact and complete shape, whereas – however stylised it is – this shape represents a three-dimensional object, the headdress wrapping around Akhenaten’s head.

That means more than 70 ends to sink, through silk, thin padding, and calico.

Oh well, onwards, ever onwards!

Trialling a finishing technique

Attaching The Geese
Attaching The Geese

I’ve not been finishing any of the Amarna pieces for presentation, because once mounted and framed, they take up much more space, and also because I’m not sure which pieces are going where. However, the needlefelted pieces are not going to form part of the main panels, and I rather think it may take more than one attempt to get them just right. I’ve decided I want to present them rather as pieces of fresco are presented in museums, on a background which is similar in colour to the main colour, but not close enough to mislead.

So the first thing to do was to find a suitably-sized artist’s canvas, and cover it with some padding and then a nice woollen fabric which is a warm yellow, slightly darker than the felt background. Then I cut around the Amarna Geese to make a rough, uneven shape. I should probably have cut off a head or something so that the fresco would look suitably fragmentary, but I simply couldn’t bring myself to do that!

Mounted And Signed Too
Mounted And Signed Too

I used a fine woollen thread to attach the felt to the background fabric, as far as possible remaining within the thickness of the felt. That was quite tricky, and I wonder whether there might be an easier way. I’m glad I didn’t start with the two princesses!

My Morse Code signature is in double straight stitches, following an edge. And there’s a bit of a corner left open there. I might do an extra goose head and add it in as a separate fragment!

Progress on Akhenaten

Finished The Wig
Finished The Wig

Working with goldwork in a European winter is optimistic at best, and much as I enjoyed working the Detached Up and Down Buttonhole Stitch with Return, it took rather longer than I might have hoped. When I managed to sit down with a quiet mind, a good light, and plenty of time, I found that the work would speed up. It was tricky to keep it even – I didn’t entirely succeed, either – and I wondered, halfway through when it was rather too late, whether I should have worked it “upside down” as in Jacquie Carey’s book “Elizabethan Stitches”.

Silver Plate
Silver Plate

I have decided to keep working on the head and the crown, at least until I don’t know what to do next, so the next section was to be the top of the headdress. Now, although the colossi don’t show Akhenaten wearing the combined crown of upper and lower Egypt, I’ve decided to reference it in the colours for the headdress.

Finished Upper Crown
Finished Upper Crown

So the top section of the headdress is a zigzag of sliver plate. It’s not as even as I would like, perhaps, and I am wondering (I’m doing a lot of wondering with this one, aren’t I!) whether I should have started at the bottom and worked up. I’m not sure I have enough left over to do it again, so unless and until I decide I can’t bring myself to leave it this way, I’m going to remain content with my very first effort using silver plate.

Akhenaten – the next stage

BackStitch Details
BackStitch Details

Once I had stuffed the figure from the back, I began to add to the backstitch outline with, for want of a better term, internal outlines.

I realise that the detail of the crossed arms has given him a hollow chest, but as the embroidered details are added I will be able to adjust the padding, if necessary removing some of it. Adding the stitching is going to be interesting. Some of it will need to balance over the curve of the padding, and some of it I will need to tighten a little through the padding – for example, his carefully-carved belly button.

At this point, I had to pause for thought. When the idea first came to me, it was the pleated loincloth that I could visualise, but the rest of the piece had yet to come into focus. I went rummaging on the web for polychrome representations of Akhenaten, and rummaging in my stash of threads for inspiration. And then suddenly, that inspiration duly arrived….

Detached Up And Down Buttonhole Stitch With Return
Detached Up And Down Buttonhole Stitch With Return

I remembered the ornamental stitches of the Tudor Rose Project, and fished out the Gold Special Tambour and Gilt Sylke Twist. Akhenaten’s wig is sometimes represented as black, and sometimes as blue. Black can be a somewhat problematic colour, often too dominating or simply “killing” other colours, so I decided I would go for blue, and the Indico Blewe Gilt Sylke Twist looked like it would produce just the right effect. Using the Gold Special Tambour as the thread for the return of the Detached Up And Down Buttonhole Stitch With Return helps to give a little more emphasis to the glint of the gold in the Gilt Sylke Twist.

But it’s not a quick stitch. This is going to take a while….

Lost Momentum…

Where I had Got To..
Where I had Got To..

I’ve run into a bit of a problem here. I still love the idea, and I still want to finish the Nefertiti Shawl, but I’ve lost all momentum, and all sense of structure.

Red and Blue Sections
Red and Blue Sections

I’m happy with all the red circles. I like the colour variation and the unevenness – in real life, in a half-decent light, which winter in Britain rarely provides, there’s a vibrant, lively feel, and the use of the line stitches reflects the original pattern I used for the filling. Good.

Blue Section
Blue Section

The blue section is where the trouble started. I’ve done two of them already in spite of my doubts because I’ve come across all too many instances where a piece only worked when I’d kept on through the doubts.

I’m not sure whether it is the yarns, the colours, or the stitches that are the problem, or even whether there is a problem at all.

The pashmina is in a lovely twill weave which flows beautifully, but it’s quite fine, and a lot of the threads are thicker.

Green Section
Green Section

But the problems of the blue section fade into nothing when I get to the green. I love the overlapping scale pattern, and I was really looking forward to stitching it. But I can’t find a pattern of stitching that works, and again, I’m not sure whether this is the colour, the thread, or the stitch.

I have no idea how to sort this one out. Unless inspiration strikes, it will be some time before you see it again.