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Planning Titles for the Excavation
You may remember that I was a bit concerned about ensuring that the View of the Excavation properly balances the Map. When I got the Map out again it was much more emphatic than I had remembered.
Eeek!
Then came a suggestion that if I gave it a title – at the bottom, rather than the top – it would add visual weight, and the presence of lettering on both would enhance the sense of a conversation between the pieces. I liked that idea, so I started making plans.
I started with a single large title, but the Map has title and subtitle, so I thought, maybe what I need is title and surtitle. Furthermore, I thought, the surtitle should be in Mary’s words. I’m sure she would approve of my foregrounding of the artifacts and the Egyptians, both ancient and modern, but had she not written so enchanting a book, I would have missed out on years of delightful adventures in embroidery. So, that gave me a perfect excuse to curl up with the book, notebook by my side, which enabled me to feel I was making progress while I was fading in and out of focus with Covid.
Since I’m not at ease with lettering, once I had chosen – or at least half-chosen – my text, it required a whole lot of squared paper and letter counting, and a depressingly uncolourful desk for a while, as I tried to bring it all together. This is the Very Unglamorous side of planning and creating. I’m getting better at it as I learn and invent more techniques to help myself pull my ideas together, but it is still very much the part of inspiration that isn’t inspiring!
Finally, I chose my extract: “Down over the North Suburb I could see a yellow cloud of dust”, in the smaller capitals of the subtitle, and “Excavations at Akhetaten” in the larger capitals, and transferred it by prick-and-pounce. Progress!
Border Design Finally Nailed!
Once I had the border trim in place, I felt I really had to get the details sorted out – but having that trim in place seemed to help. The dark green, red, and yellow on the inside, mirrored by the yellow, red, and dark green on the outside seem to bracket the blue just exactly as I planned, and I began to feel that all that painting and puzzling might have been worthwhile.
So I tried photocopying the full piece to see whether playing with my cut out sprigs on a flat surface I wasn’t worried about snagging might be useful.
In actual fact, the photocopying wasn’t a great success, but it was close enough that when I overlaid an old acetate and experimented with the border sprig I’d finally, tentatively, settled on, I suddenly became a lot happier. The paint is gouache, and it really doesn’t get along well with the acetate, but I felt that it gave me just enough of the sense of the design that I could be confident it would evoke an illuminated manuscript – which is what I was hoping it would do.
It’s always so pleasing when a plan comes together!
The next stage was to produce a line drawing of the planned design, and use that to transfer the final design to the piece itself.
And this was the point at which all that painting and drawing and redrawing began to show real benefits, because even though the photocopied sprig design I was using as a guide was distinctly muddy, I found myself drawing the lines I needed with a freedom from care I rarely experience with pencil in hand.
Well now, who’d ha’ thunk – more practice does produce better effects!
Beginning the additions to the Excavation
There will be a lot to do, I think, to bring the Excavation up to balance the Map properly. In my usual fashion, I will sneak up on this, doing what seems obvious and then waiting to see what seems necessary.
The first thing that was obvious was that something should be done to point up the idea of the trenches being dug. Row upon row of vertical running stitches seemed to me to suggest the walls of a trench – maybe not accurately, since the book suggests more of an open area excavation. The photographs I used as my source for this, however, suggested that there were at least a few individual trenches.
The next obvious element was a dust cloud to suggest activity stretching into the distance. Tiny random seed stitches in two or three shades of stranded silk were, again, the obvious choice, although I do wonder, now, whether those will be sufficiently emphatic when I set the panels side by side again.
As I believe I’ve already mentioned – random stitching is really quite difficult to achieve!
At this point I decided it needed much more “weight” at the bottom of the image, and chose to use tête de boeuf stitch (upside down to resemble a plant) as I did originally on the Map to suggest the cultivation on the far side of the river. These tête de boeuf stitches are much bigger than the ones on the map, using two strands of the variegated silk thread, and I’m going to spread them right across the breadth of the panel towards the bottom.
Still working on that border!
I continue to wrestle with the arrangement of broom and dog roses – my goodness, am I ever glad I’ve been working on planning with paint over the last two years or so! I do some exploration with digital images, but as it often results in a sore arm from mouse and trackpad manipulation, painting is a much better option. This selection of straight sprigs could be assembled into corner decorations, and potentially tweaked in size to fill a side or leave space for the Templar crosses.
Indeed, I have painted so many straight sprigs and corner designs – so large, to make it easier to paint – that I’ve become quite blind and jaded with them, and can’t decide which I like. I did realise that I needed to put them against William and the chateau de Tancaville, so I photographed them and printed them out. And then told the printer to try something smaller and go again.
And that showed that those sprigs would have to be, if anything, even smaller than I had anticipated.
This tells me that I will have to be very much more careful about the colours I use, and the number of strands. I can’t afford to produce a border that looks muddy or confused, but equally, it mustn’t fight with William or his underside couched golden sky.
Tricky. Very tricky.
More thoughts on display
Two elements that sprang into mind very early in my work on the Amarna panels were the Clump of Violets and the bead necklace. The violets are to call to mind Mary’s exasperating experience, familiar to any language learner, of having useful vocabulary and structure retained only with the greatest of efforts, while the entirely useless just sticks – in her case, the Arabic for “violets” stuck in her head with no difficulty, whereas the words for “bread”, “bath”, or “dig” proved recalcitrant. The bead necklace is my reinterpretation of one of hers, owned in childhood and subsequently lost, like the necklaces she helped to excavate.
These two pieces link directly to Mary, and not to Egypt itself, and because of that, and because of their colour, they don’t sit well with the main panels, and I was left somewhat perplexed about them. Until something brought parlour domes to my mind, and the lights went on!
I thought that maybe if I used the clump of violets to top a golden trinket box, and allowed the necklace to spill out, the two pieces might live together happily as my representation of Mary herself. I found a small round cardboard trinket box and sprayed it gold (a very pale, insipid gold, it turned out, too, not at all what I wanted!), and began to experiment.
I think the whole thing needs to sit on a cushion within the dome, and the trinket box should be between the tall experiment and the short one in height, and a little narrower to allow the leaves to droop over the edge.
So while I work on achieving that, I have put away both violets and beads, and replaced them in the dome with the Glittering Nightcap.
Which is so happy that it is refusing to give it back, and I will have to buy another parlour dome for Mary’s trinket box!
William’s Border – the background..
As you can imagine, it took me some time to decide on the way I was going to tackle the border. Since the “sky” is going to be underside couched in gold, it needed something to contain it, and I felt that it had to be a colour which wasn’t already dominant in the design – so not grey, and not brown.
Blue somehow became the obvious choice, and then I had to decide how to do it. I wanted the colour to have a bit of variation to make it less stark, but at the same time, calm enough to settle into the background. So I have three different shades of blue in the needle at once, and the base layer is surface satin stitch.
That isn’t at all stable, so it is going to have trellis couching over the top.
The first layer has a slightly watery look to it, not at all unsuitable for someone who travelled as much as William, but I wanted to calm it down some more, because, remember, it’s merely the background for broom and dog roses! So the hatching (the trellis part) uses the two darker shades of the three.
The final stage is tieing stitches, in the lightest blue. I’m really pleased with this, as it has produced the right control of the threads, and the light blue glints like a gem at the crossing points.
The outer edge will have the same as the inner edge, but in the reverse order. Soon I will have to finalise the ideas for the broom and dog roses, and when I’ve done that there will be no excuse to avoid the underside couching, the prospect of which is slightly unnerving me..
More work needed…
If you compare these two layouts, you may notice a bit of a difference.
When I pulled out the panels to give the measurements to my friendly carpenter, I reduced all the dimensions slightly to concentrate the whole assembly. I’ve noticed recently that whereas watercolours are the better for being mounted with plenty of “air” around them, embroidery is often the better for being framed quite closely. This will help me to achieve that.
When I have the coloured fabric mounted, I will be able to continue planning the placement of the spot designs. And in the meantime . . . I’ve had to pull out the colour and contrast above here, to try to show what is worrying me here. These two panels are supposed to balance each other, and I don’t think they do, or at least, not yet. I think I need to do a bit more stitching on The Excavation so it can stand up to the Map of Amarna.
I’ve started in the far distance with some seed stitching. It’s going to take some time to get the right level of texture in the right places, but it’s always good to have made a start!
More thinking about that border design
Once I’d got the panel done and got started on the background for the border, I knew that I was going to have a lot to do before the next stage of decorating the border. So I got out my paints, and started to play with the design elements I want to pull together – broom and dog roses.
My first effort, based on the drawings in the Observers Book of Wild Flowers, ended up as one of each, rather than a combination, so I knew I needed to think about that a little more; but I also realised that unless I worked out how the combination was going to be applied, I was going to end up doing a lot of work in the wrong direction.
So. Layout. I had begun by thinking about a wreath, but somewhere along the way, it turned into sprigs, and then I started to think about adding another motif – the cross the Knights Templar used, for Temple Church, where William is buried.
Combining the idea of the sprigs with the Templar cross, I’ve got four possible layouts, one with a cross at each corner, one with the cross in the middle of each side, and one with crosses on the the diagonals. At the moment, I am leaning towards the one with the cross in the centre of each side. The corner crosses seem to make a less purposeful pattern, somehow, and the diagonals – well, depending on the final form of the sprigs, they may work in the end, but at the moment, I’m not at all convinced!
When in doubt, delegate!
You may recall that I was beginning to think about assembling the Amarna panels, and suffering from Alarms, because I wasn’t sure how to make suitable mounts.
I was beginning to think about finding a timber merchant (our local one has closed) when a carpenter and his apprentice came to do some (very necessary) work on our windows. It didn’t take long to realise that they are both fine craftsmen, and it occurred to me that the intelligent choice was to ask whether, during the couple of days when they worked on things in the workshop, they could also make me some mounting frames for my embroidery.
Not only could they do so, but they made a beautiful job of them, as you can see from this test layout of one set of the panels. The wood has been sanded smooth so as not to snag either the cloth or the embroiderer, and there is some bracing to keep everything square and true. It seems a crime to cover them…
In fact, I was so thrilled with them, that I promptly asked for mounting frames for Akhenaten and Nefertiti as well!
Once I had them all, I decided the first thing to do was to cover each with a layer of calico to support the padding.
My word, that was a task. I’m very pleased with the results, but before I start covering them with the padding, and the real fabric, I need to have a break from the staple gun. It has a kick like a Victorian army mule, and very nearly as bad a temper!
Moving on with William
Here is William’s lion rampant gules (red), duly completed. As I’ve mentioned, technically the background should be gold and green (or and vert, in heraldic terminology), but I don’t want the gold on the shield to argue with the gold of the underside couching, so I’ve gone for a pale yellow instead. All things considered, I don’t think the lion is too bad, because he’s really rather small, so I didn’t have very much room for manoevre!
That said, I may choose to tweak him some more before the whole thing is finished..
Now then, I need to move on to the frame for this picture, which is going to be the backdrop for the twined roses and gorse. The main border will be blue, but as I was thinking about it, I felt that the junction between the picture and the border needed to be managed.
This is what I’ve come up with: single lines of William’s three heraldic colours framing the picture in laid and couched work. I’m intending to finish the other side of the blue border with the same, but with the colours in reverse order.
But before I get to that I have to do the blue border, and as I’m intending to use trellis couching, it will be a while yet – three layers of stitching, background, trellis and tie stitches all to do. I’m using thread from three reels of slightly different blues, so there will be some variation in the colour, although as I’m intending to use a single colour for the trellis, it should settle back into a subtle backdrop for the gorse and the roses.