Having chosen my bits of drapery, I’ve stitched them together at the edges.
This means that they won’t move when I’m felting them to the background, and that I could actually cut off some of the second drapery, rather than overlapping it on the first. This will reduce the number of layers I will be felting through, which turns out to be a good idea. I don’t want any more broken needles, thank you very much!
The assembled drapery now makes a rather peculiar shape, but it gives me part of the background for my princesses, and a basis for any further embellishment I may feel is necessary.
However, as I was contemplating that eventual embellishment, I found another source picture and now I have to do a little more thinking.
For my next drapery experiment, I began by using the embellisher to add some of that divided felt onto another piece – do you see that the red is in patches, a dark pink (the background) and a rather brighter scarlet? That worked well, I think, as it has warmed up the colour, and made it more interesting.
I had decided that I would stitch a pattern and then use the embellisher to make it blend in a little more, but once I’d worked this pattern of herringbone stitch stripes, I sat back, stared at it, and said “No”.
So the second pattern I tried was a little more complex. It’s still worked largely in herringbone stitch, and the colours are the same, but this time I’ve reversed the second row to create a series of lozenge shapes, which could then be filled in, after a fashion, with little upright cross stitches.
I liked this much more, so I decided to go with this pattern.
Although, of course, I was referring to the picture that was my original spacing, that red is very reminiscent of Persian carpets, and the combination with blue and yellow is one which we still find in widespread use.
The next stage was to use the embellisher again. To begin with, I covered the stitching with a layer of net, and worked an initial pass of small circling movements, up and down each stripe. Then I removed the net and kept going.
As you can see, the stitching is almost melting into the background. Certainly it’s a more convincing representation of a piece of fabric than my first piece of drapery, although I will be using both.
The idea of using the netting is that it does not become caught up in the embellished fabric, and that it prevents bits of embellishment from becoming caught up on the needlehead and generally misbehaving.
As you can see, that sometimes doesn’t work quite as well as one might wish! Fragments can, and do, work themselves through the holes torn in the netting by the embellisher’s needles, and then jump with alacrity onto the needles, where they whizz up and down before the bemused eyes of the person operating the machine, causing no little apprehension as they do it!
There’s something else that doesn’t quite go to plan, as well. The netting does indeed become somewhat enmeshed with the felt.
As you can see, my little additions are by no means felted into the backing piece, but I’m already having to be very careful to peel off the netting, and if I had done much more with the embellisher, I might never have got the netting off at all!
I think it would be fair to say that I don’t really have anything like a real understanding of the effect of the embellisher on particular materials or combinations of materials. I’ve several more projects in mind so I’m sure my understanding will grow, but even by my standards, this is a venture into the unknown.
You can see that some of the pieces moved, and some never attached themselves at all. The pattern is distinctly higgledy-piggledy, and the elements aren’t equally firmly attached.
That said, I’ve managed to create something that has the warm red and the flashes of blue and gold, and although it isn’t the same pattern as the one in the fresco, it is certainly reminiscent of it.
I’m going to try another method entirely for a second section of drapery, and see whether that creates the effect I want.
I’m going to build up the panel in layers, so I began by playing with bits of felt. I’ve cut small squares and triangles from other pieces of felt I have to hand, and begun to make some attempts to build up patterns with them.
The darker red shown here is actually one of the pre-felts painstaking split horizontally and then cut into bits. The idea was to produce something that gave the impression of folds in the drapery. I’ve come to the conclusion that that doesn’t work, and what’s more, I don’t think it ever will, partly because needlefelt applique turns out not to be a terribly exact science..
This seemed better. You’ll notice that it’s a bit haphazard, and that it runs over the whole piece, even though we know I will be covering quite a bit of it with the princesses themselves. I learnt a long time ago (with the Camberwell Panel, in fact) that when layering like this it is a false economy of time and effort to attempt to minimise the details on intermediate layers. This way I have more freedom for the exact placement, and can move the pieces around until I am happy with them.
Once I had layouts I was happy with, for both the drapery at the back and the patterned bench or divan covering the girls are sitting on, I created sandwiches of netting with my layouts- lightly hand-needlefelted – in the middle, and two layers of net back and front.
There’s a fresco of two of the daughters of Akhenaten and Nefertiti, which is quite well known, and indeed, was mentioned to me by the speaker, when I went to a lecture at the Egypt Exploration Society about the textiles in Tutankhamun’s tomb. I decided to have a go at representing this fragment using my embelllisher, to provide a companion piece for the three Amarna Geese I worked a while back.
Children in ancient Egypt – of whatever rank – appear to have run around naked much of the time, and with shaven heads. I’ll just have to get the outlines right….
I bought some more of the pre-felts I used for the Amarna Geese at “Sewing For Pleasure” in Birmingham, on the day I met up with Sue of Tortoiseloft blog.
Then I printed out the image I found online as large as I could and started planning my variation. It won’t, of course, be an exact reproduction of the fresco. It will be a sort of inlaid felt version of what I think might have been the real life inspiration for the scene.
Long-time readers may recall that I discovered with the Amarna Geese that embroidered details help to bring a scene to life, and at least if the embroidery is worked in wool, responds well to being needlefelted.
So after cutting out my two little princesses, in a single piece, I started to add details – lines to make sense of the bodies, the delicate eyes and eyebrows, the lips, and the necklaces. I’m very pleased with how they’ve turned out, because the felt doesn’t take pencil, so I was on my own – drawing with my needle.
Now I have to work out how to create the impression of the fabric backdrop and bench my two little princesses are sitting on….