Tag: Silk thread
I love flat silk. The colours fairly glow, and it gives you endless options for creating threads of different thicknesses and twist levels. I’m hoping to use at least some of those possibilities in this project, to represent the gloss effect of the brightly coloured faience broad collars that inspired it.
I’m sure I’m missing some of the possibilities, but the mere fact that I’m excited and intrigued by what I’ve already thought of tells me that my holiday with the Three Wise Hounds was the right thing to have been doing.
The first thing I have to do is to pad all the elements. I’ve padded them using stranded cotton, which has a bit more body than the silk. I don’t have quite the right colours, but trust me, that’s not going to matter, as the padding won’t be seen.
There are at least two layers of padding almost everywhere (only one for the lilac tips of the backmost petals of the open lotus flower), and most of them have four. The padding stitches of each layer are at an angle relative to the previous layer, which stops them sinking into one another.
The basis of each element is going to be satin stitch in flat silk. The flat silk spreads beautifully over the cotton padding, so that at least will be pleasing to see.
I’ve set my frame up properly this time, with the fabric you will see supported by calico, and the combination is strong and taut enough to bear the weight of my little magnetic needle keeper. It’s the first time I’ve been able to use one, and it’s turning out very useful indeed. I’ve had it for a couple of years, and now I am wondering what took me so long.
When, after my holiday with the Hounds, I came back to the Faience Necklace designs I’d created with my painted cutouts, I found that the version I’d liked then no longer appealed. Instead, it was the various spirals that sprang out at me, so I began to play with them a little more, tweaking and varying the design.
I must remember paper cutouts as a future designing method. It makes it much easier to play with a lot of variants in a relatively short space of time!
Then I had to decide on a fabric. No, I hadn’t ironed the silk on the right. This was very much an improvisation! From left to right – a quilting cotton I used in “Loading The Felucca“, a leftover of the silk I used for the “Head of Ankhsenpaaten“, and a silk in a shade very similar to that used for the “Colossus of Akhenaten“. In the end I decided that the sandy print on the cotton would help to evoke that sand in which they were digging, and framed up. I’ve put a calico backing in in the frame, and attached the cotton over the top.
Since it’s winter, I’ve been working under my craft light, and it does rather wash out colours. I’m using Japanese flat silk (not sure why, it just seemed to be what I wanted to do), and I’ve started by hand-twisting some fine thread and outlining each element in reverse chain stitch.
This does two things – it covers the design transfer lines and it allows me to think about how I’m going to tackle it. Originally I was going to work each element in satin stitch, to echo the high gloss of the faience, but now I’m beginning to think more and more of using stitch to echo the natural elements the faience depicts. Remember what I said, when I finished the Hounds, about returning to my first love, the effects of stitch and thread?
Having completed one green panel, I decided that I wanted the other green panel to be not quite the same, and I couldn’t work out how to approach keeping the family resemblance and maintaining some sense of balance.
So I asked The Australian, who you may remember is also a mathematician. He looked at me in some perplexity for a while. In fact, as I explained the layers of patterns I’d created, he eyed me more than a little askance, and then went very quiet for a while (you’d think he’d be used to it by now…).
Finally, he suggested I think about duality. Now, this isn’t a philosphical thing – it’s quite tightly defined, in the geometrical sense, at least – see this Wikipedia page – so after some discussion over lunch, we decided that if I were to regard the elements of the two green panels as duals of one another, it would give me a systematic way to approach the second one, rather than flailing around randomly.
Now I had to decide what was what’s dual….
For example, in the first panel, I chose between floss silk or stranded silk, and in the case of stranded, between solid colour and variegated; then in terms of stitch orientation (going clockwise), between vertical, diagonal, horizontal and the other diagonal. In this context, I’m not sticking to the idea of a binary choice, so for example with stitch orientation I will go to the next 45degree angle around the clock face, while with the thread, I’m going to pick some ordering of variegated stranded, plain stranded and variegated floss and then move along to the next in that sequence.
In terms of the stitch choice, essentially there are four: Jacobean trellis, darning stitch (rows of irregular running stitch, in effect), Bokhara couching, and Woven Stitch.
I can choose to make Bokhara Couching and darning stitch each other’s duals – that will move the heaviest stitching to different places in the panel.
The other two will be each other’s duals, with the added complication that they have each involved two different threads.
Have I simplified my life or complicated it?
There are two green panels in the design of the Shawl, which is based on the polychrome panel around Nefertiti’s famous (and unique-to-her) headdress, and they’ve been giving me no end of trouble.
If I’m completely honest, in fact, this whole piece has been giving me no end of trouble. The fabric is particularly mobile (although not quite as bad as that other pashmina I did!), and it’s been hard to find stitches that work comfortably. Originally I was working it in the hand, and that made it even harder.
In the end I outlined the design sections with chain stitch, and then picked a few stitches and threads. I tried to get some sense of variation in stitch density as well as colour. So there are complete coverage sections (using Bokhara Couching) and almost-no-coverage sections (using darning stitches) and almost everything in between (everything else)!
I’ve also changed and counterchanged between variegated and solid colours, and between floss silk and stranded silk. This is one of the reasons I ended up needing The Australian’s mathematical eye to help me keep track of the pattern I was building up in my haphazard way!
There are partial red panels at the edges of the Shawl, and as I want the colours to run the whole way across, clearly I have to stitch them. While I was mulling over the blue panels and the green ones, I carried on with those partial panels.
The central circles in all cases are in chain stitch and stem stitch, but I wanted a variety of effects in the main circles. That wasn’t as easy to achieve as you might think, for all my extensive repertoire of stitches! I found “German Knotted Blanket Stitch” in Barbara Snook’s “Embroidery Stitches”, and Palestrina and Loop Stitch are old friends, but by this point I’d managed to rack my brain into remembering most of those..
I was beginning to be at my wits end for stitches, and spent some time rummaging in Edith John’s “Creative Stitches” and “New Stitches for Embroidery”. Many of them would be easier in a slightly stiffer thread at a slightly larger scale, so I find myself wondering what Miss John devised her stitches for.
The full circles here are in stitches which are old friends, but the partial circles are some of hers. Floral Feather is a feather stitch with an upside down blanket stitch beside it, and I quite fell in love with it. I’ll be looking for another opportunity to use that one!.
Centre Chain stitch alternates single chain with fly stitch, starting each chain stitch within the previous one. That might be a way to vary textures with Wheatear Stitch, while still keeping the overall pattern. And Double Chain Stitch places a chain stitch and an open chain stitch side by side, alternating the ordering to create a checked effect.
After her discovery of the piece of tile that started it all, the first find that Mary Chubb describes is a faience necklace, discovered by the team then in Egypt, and written up in the Director’s Report which she has to disentangle and re-type legibly (remember, in the 1920s, typing wasn’t a skill that everyone had had to develop). It sounds completely enchanting, and yet I’m struggling to bring it to life.
In fact I last wrote about it in 2015, and I’m still wrestling with ways to represent it! I’ve already abandoned any idea of working a portrait of it (as it were). As you can see from the black and white photo, it’s crammed with faience beads, and it’s hard to imagine making a good stitchable design of it. So I’ve cut out some watercoloured beads, and pushed them around, taking photos as I go. Back to primary school!
Then another suggestion came in (thank you @IndiaGraceDsgns ), to think about mandalas…
And now I’m thinking about “samplers” of beads which still recall the way these broad collars and necklaces are sometimes displayed in museums.
I’m planning on using flat silks, when I finally pick one (comments, anyone?), and of course, the next question will be: what colour fabric I will be stitching it on?
The Nefertiti Shawl started with great enthusiasm, but I ran into a few hitches. I’m not at all confident of the blue panels, and my first couple of efforts on the green ones took me nowhere at all.
Finally, I came up with a possible way forward. The scale pattern is taken from one of the Tutankhamen coffin panels, among other places, and each scale is outlined in gold, but the coloured fill is in progressively darker colours, not edged.
I’ve edged the scales with a very pale shade, and outlined the colour progressions in darker shades. The fabric is very mobile, so a little more definition may help..
I’ve picked several filling stitches, and I’m working them in various orientations, and several different combinations of solid and overdyed colours in stranded silk and silk floss.
That paragraph glosses over some considerable confusion and head scratching. Being so closely involved, I lost track of the sequence of patterns, and had to call for the assistance of The Australian’s mathematical and analytical eye!
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.
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.
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.
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.
Unless I decide otherwise, the head of Nefertiti is now finished.
I’ve worked my Morse Code cartouche slightly differently this time, using cross stitch for the dots, long armed cross stitch for the dashes, and counted running stitch for the frame. This works rather well, so it’s a possibility for any eventual canvaswork projects in the future.
However, in this instance it is almost completely invisible, so I may yet unpick it and rework it twice the size, with four threads in each direction instead of two.
In the end, if you recall, I decided to work Nefertiti’s cartouche, both the hieroglyphs and the frame, in reverse chain stitch using untwisted silk.
The rays of the Aten are worked in reverse chain stitch, but using hand twisted silk.
I am a little concerned about balance and the strength of the design, but when I was playing with my photos of of the finished panel, I noticed that when I cropped the picture closely, rather than including all of the length I have stitched of the rays of the Aten, it was much improved.
And I really should remember to play with that sort of detail when I am mounting and finishing my embroideries!