Once I had a single layer of stitches I removed the running stitch outline. Not as easy as you might hope, because my “real” stitching had caught some of them, but doesn’t it look better without!
The angle of the photo shows but doesn’t over-emphasize the slightly elongated skull the family had, and you can almost see this little girl as a daughter of Nefertiti – the same fine-drawn features, softened by youth and lack of care.
The next thing to do was to add in some of the mid tone darks. The photograph I’m working from does have some quite strong shading, and I felt that in spite of my early Dark darks, there wasn’t quite enough form.
However, this point I had a bit of a wobble, because I was wondering whether I’d done too much dark. Looking at the photo, I now think not, but I do need a mid-mid-tone to blend in the curves of the face a little bit more.
However, I put in more lights to help myself back on track.
You can see, if you click to enlarge the photo, very light cream stitches around the highlight on the temple, on the eyelid and around the curve of the nostril and the light areas around the lips.
I need to extend some of these, and add those pesky mid-mid-tones. But I do think it’s going to work.
And I’m completely astonished at myself. I’ve approached this almost as I approach a watercolour, and you wouldn’t have thought embroidery – certainly not my embroidery – would be amenable to such treatment.
There is relatively little to say about Ankhsenpaaten, because the form will be created with loads of seed stitches in slightly different shades of silk thread, so there will simply be more of the same.
However, you may find it interesting to watch it come into focus, so I will post a series of pictures, along with what comments I feel I can make.
Do click on the pictures for a closer view, and a better sense of what is happening.
You can see from the earlier post that I only transferred the most basic of outlines, so I am using the photograph as my reference and working the various shades over one another to develop the layers of colour and shade.
I have started by trying to understand the most basic planes of the face and the shades needed to bring them alive.
I tend to find it much easier to get my bearings if I can get some of the darker areas in, because that gives me the beginnings of a sense of depth and form. It is, however, a slightly terrifying approach, because there’s something so very definite about a truly Dark dark!
One of the shades of silk is very close to the fabric, but there is just enough difference that the light bouncing off it creates a sense of difference between inside the lines and outside the lines.
One of the crowning finds of the season was a small carved stone head, interpreted as depicting one of Akhenaten and Nefertiti’s daughters, Ankhsenpaaten. I know the princesses (two of them!) have already appeared, but that is a separate piece, whereas this version may be able to form part of the main panels.
I gathered several source photographs and some fabric, and Thought Hard.
And decided to challenge myself. Whenever will I learn?
So I’ve stretched a piece of calico over some small stretchers, and attached a rather nice piece of silk over the top.
Then I’ve traced the main elements of the head onto tissue, and transferred it using running stitch. I’m going to need to be careful, because I want to be able to remove these running stitches when I’ve finished, but there is a lot of stitching to do yet.
I just hope I’ve transferred enough to give me the right level of guidelines!
I’m going to use seed stitches in several different shades of spun silk, hoping to end up with something of the granular effect that some stone has. I’m starting with one layer of seeding, staring hard at the source photo and stitching clouds of seed stitches to give the first level of dimensionality. It is going to take quite a while to do this, especially when you consider that it is a very simple technique.
Simple in principle, that is. In execution, not so much!