Once I had finished the polychrome bands, I sat back and looked at them. Using the darker shades of the colours in the darker part of the print helps to tie it all together and wrap the bands around the headdress.
I had a moment or two of concern, then decided that I would not, after all, ruin everything if I continued to add the other elements of the design that I had planned. There is always a moment or two of fear, especially when an early section has gone well!
The original bust shows something that looks like a browband of gold, fairly plain and flat. I fished out a piece of gold kid, but although the photograph doesn’t show it very well, the kid is the wrong colour (too pale, and not yellow enough) for the gold thread, so I have to think of something else.
Meanwhile, I thought I would experiment with the necklace, or collar. My thought was that, rather than do the whole thing, I would do a small section of it, to make sure that I maintain the feeling of an embroidery, and not a portrait of a portrait.
What I have done here is to make radiating stitches of the gold thread, and then use the same whipped filling stitch I used on the polychrome bands, but alternating them so there is a hint of a gold net underlying the collar.
I like this, but maybe I do need to do an entire collar’s worth.
You will recall that I was rather underwhelmed by the effect of my first attempt at weaving the silk into the gold. Leaving the threads loosely packed to allow the gold to show through allows them to look untidy, and the colour is somehow a little flattened, not the rich, strong colour I wanted.
So I decided to work the whipped style of filling stitch instead. It creates a strong colour, something like a grosgrain ribbon, in fact.
I’m using primarily colours from the Mulberry Silks “Nefertiti” colour range (appropriate, don’t you think!), and I’m happy with the rusty red. The navy is actually a heavy perle type and I’m not sure where it came from. That works too.
The lightest colour, however, on the far right, is too fine. It produces too retiring an effect, and weakens the whole effect. So I tried one of the stranded silks from Thistle Threads (lower example, left), and wasn’t convinced by that, either.
This looks better. In fact the two light blue-greens are different, although that isn’t as clear in this photo as I might have liked. They aren’t as green as I would have liked, but I’m reasonably happy. If I decide to redo them, I may have to redo the whole thing, as the unpicking earlier on has left the Ladder Stitch a bit floppy.
You may recall that the final “Dreams of Amarna” pair of panels is intended to include the heads of Akhenaten and Nefertiti, screenprinted onto gauze, and floating over the top as free-hanging veils.
I decided to have a small screen done of Nefertiti, in order to practice the technique and experiment with the different types of gauze.
The screen duly arrived, and I did about six prints, all of which were dreadful. I put the screen away in disgust and decided to try another time.
This print shows some of the problems. I pressed too hard, obscuring some of the detail and caking the fabric – in this case a linen, because I have a plan to add silk and gold embroidered highlights. It would be impossible to get a needle through, and if I did, a metallic thread would be stripped in short order.
There’s clearly a trick to it – a combination of pressure (not too much), amount of ink (enough!) and angle of the squeegee (just right).
These two prints on gauze give me some hope. The orangey-terracotta is the small, blocky screen I bought to test out the idea first of all. I’ll embroider something over the top of this, just to see how it works.
And the head of Nefertiti is rather better, too. Next time I get out my Dreams of Amarna pieces to stare at them and play with layouts, I will be able to hang the gauze in front and play with distance and placement.
I’m beginning to think that it isn’t outside the bounds of possibility that I might finish the Dreams of Amarna one of these days, and even be pleased with it!
Remember, the two inner circles are always in the same stitches – Open Chain Stitch, and Stem Stitch.
The two outer circles in this case are in Herringbone Stitch, and Half-Chevron Stitch. I’m a little disappointed that neither the counterchanges of colour nor the counterchanges of thread seem to show in this photo. I assure you, they were there when I worked it!
The first of these is Breton Stitch, which is a little like Herringbone stitch with added twist. I’m sure I could have done it with the twist towards the outside, but I think like this, it will balance some of the other circles which have a strong edge.
The second is Wheatear Stitch, which I have found myself turning to every now and again, although maybe not often enough. It produces a spiky but continuous line, so while it has definite uses, it is also one which doesn’t work in all contexts. That said, I enjoyed working it, so maybe I will be able to tweak either the context or the stitch, so as to use it more…!
This pashmina is going to be quite the stitch sampler, isn’t it!
The circles weren’t perfectly drawn, so the slightly wonky appearance of perspective is partly owing to that. The lighter coverage is Cretan Stitch. I often have trouble using cretan stitch in my more figurative projects, so I’m hoping that being reminded of it will help me to find uses for it in future. Up and Down Buttonhole stitch is an old favourite, as long term readers will know. I’ve done it more neatly, but I always enjoy stitching it.
This pair was actually among the last to be finished. Italian Border Stitch can be described as a fly stitch with a French Knot instead of a straight stitch. First I did a single row, and it looked a bit thin, so I added a second layer. Much better!
The second circle is in Chained Feather Stitch. This one curves well around the circle, and has something of the feel of a victor’s laurel wreath about it. Maybe an omen for me finally finishing the Dreams of Amarna in the next year?
Once the colour scheme was sorted out, I decided that I was going to try my usual trick again. There are elements of the panel which will be the same, and other elements which will change. The combination ensures that there is interest everywhere, but rhythm and similarity to help the eye rest.
So, the two inner circles are open chain stitch for the innermost one – at about the largest scale at which open chain stitch works without decoration, which is tiny! – and simple stem stitch. Furthermore, the open chain stitch always uses the thread used for the outermost circle, and the stem stitch counterchanges to a different weight and tone of thread.
The first circle here is done in Chained Blanket stitch using a silk perle in a warm russett-y red. Chained blanket stitch is one I’ve rarely used, but I’ve decided I like it. It produces a strong edge, and a pleasing texture. The second circle is in a rather finer silk thread, with a blueish tone – counterchange again, you see. This time I used Closed Feather stitch, which is one of the old faithfuls…
The next two continue the theme…
The outer circles are in Basque Stitch (top), which is another stitch with a family resemblance to chain stitch and blanket stitch, this time using two strands of stranded silk, and Chevron Stitch, in another silk perle. Chevron Stitch is an old friend, but as you see, it doesn’t run happily around curves – or at least, not curves as tight as this.
Still, the counterchanges of russet against burgundy, thick against thin thread, same stitches against new stitches, all seem to be working so far…
The internal borders of the Nefertiti Shawl, outlining the various coloured blocks, turned out to be fairly easy, as they were part of the inspiration that struck me when I was laying out the pashmina to transfer a design to it. The threads are all silk, with a soft perle used for the chain stitch. The vertical internal borders ended up as two rows of chain stitch, which should define the coloured blocks nicely.
The horizontal border consisted of two rows of chain stitch, in the same variegated silk thread, bordering a single row of cable chain stitch in a much shinier silk thread, which turned out to have a mind of its own. It kept trying to tie itself in knots, it twisted into snarls, and it unwrapped itself when I tried to finish off ends. But it looks lovely!
My design ideas put two lines of gold on either side of the coloured blocks that I’ve taken from Nefertiti’s crown. I didn’t want to do them the same, so I decided to make the rows nearest to the coloured blocks slightly wider. Then I had a wonderful rummage in my books of stitches and chose to take the opportunity, since the rows are straight, to use the Wavy Chain Stitch I found when I was doing the Circle Skirt and couldn’t get to curve. It works beautifully on the straight!
The outer lines, I decided should be narrower. Shell Chain Stitch seemed to fit the bill perfectly. It belongs to the same family – chain stitch – but produces a light, almost textured effect.
Having made all my decisions, it became a matter of sitting quietly, doing miles of chain stitch variations. The coloured panels will follow later…
It occurred to me recently that when I finally finish the Dreams of Amarna panels I will probably want to exhibit them somewhere – displaying them at home would require a complete redesign, including moving walls! – and that, however large or intricate they may be, two panels do not an exhibition make.
At the same time, however, I’d had an idea for a design for which I could apply the combined silk and gold stitches of the Tudor Rose, and furthermore, that might allow me scope, later, to play with some of the mixed media techniques that are available…
So I went rummaging among the assorted copyright-free and Creative Commons images on the web (my goodness, there are thousands!) and found a photo of the famous painted head of Nefertiti which is in the Berlin Museum. Then with some cropping and processing, from a photo of the bust in its case it became a plain headshot with no background, rendered in the style of an old-fashioned newsprint picture. An email conversation and a payment later, that image had been turned into a custom-made Thermofax screen…
At which point, all the simplicity fell over. I’ve actually done four screen prints on the faience-coloured linen, and about three on sandy coloured linen, and none of them was good enough for my purposes. I’m not sure whether the screen is too detailed for the fabric or whether it is simply my technique that is faulty.
I bought the turquoise pashmina with the intention of working one of the Stitch-Off designs on it, but as I was playing around with colours, I had a sudden thought…
It’s an absolutely gorgeous faience colour, so why don’t I choose colours inspired by my Dreams of Amarna project. And while I’m about it, create a design inspired by those patterns I’ve been playing with…
In the end I’ve decided to take my inspiration from that famous bust of Nefertiti, discovered by Ludwig Borchardt in 1912. It would therefore have been known to Mary Chubb. This picture is a Creative Commons-licensed image I found online, but in this particular case, all I wanted it for was to check on the distribution of small and large segments and colours.
So that’s garnet or carnelian coloured sections, lapis-coloured sections and jade-coloured sections, all outlined in gold. In this case, I don’t want to use metallic thread, so the gold will be rendered in golden-yellow.
I’ve been working on making a design printing and transferring board, so I pinned out the end of the pashmina I want to embellish on the board, and simply drew straight lines as a guide.
Then I had a wonderful time fishing out jewel-coloured silk threads.
All I need now is some idea of the stitches I intend to use!