More on the Packing Case

A New Approach

Having unpicked my experiments, I decided on a new approach..

Actually, a digression here. A lot of people talk of test-stitching, by which they mean trying something out, but not on the real thing. I did that with all those goldwork stitches in the Tudor and Stuart Goldwork Masterclass, but as a general rule, my experiments do happen on the project itself. As much as anything else, this is because it is the interaction between the fabric, the design, and the thread that I am experimenting with, and if I take one of those out, I’m not testing what I need to test. I have a picture in my mind of the effect I want to achieve, but it is rarely detailed enough for me to know what to do at every point before I even begin. Instead, I rely on the project to tell me what it wants next, and while some projects are sullen (they know who they are!) others are talkative beyond belief. This one, so far, occupies the middle ground!

Top Surface

End of digression.

Since I had decided on how I was going to work the reinforcing boards, I decided that it might – possibly! – make sense to work some of the dark shadows to help me with their edges. I’m using the warm brown as the dark edge on the top surface, to keep the sense of bright sunshine, and the greyish colour for the front surface which is in a more even shadow. I will be combining the grey and the yellow in the reinforcing boards to help confirm that effect.

Top Edges

I also need to make sure that all the edges are clear and won’t fray. A packing case holding delicate antiquities should be a solid looking object, not one suggesting that even a gentle tug will take it apart! Just to give that sense of solidity, I have worked an overcast trail along each of the top edges that will be cut, whereas the edges that are within the piece of fabric are worked in reverse chain stitch. So far..

More progress on Loading The Felucca

Testing Placement

While I was working on the packing case, which is the first embellished section I will be applying, it occurred to me that for those occasions when the light was a little marginal (grey-ish yellow is a difficult colour to stitch in poor light!) I could perhaps prepare a layer that would be applied to provide the shadow on the ground.

I traced the approximate shape and used the tracing as a pattern piece. The fabric is – as are most of them – a cotton from one of the plethora of quilting and patchwork stands I visited during last year’s Harrogate Knitting and Stitching Show. The print gives a sort of scrunch-dyed effect that I thought might help to create the appearance of broken, shadowed ground.

Then I realised that placing it sensibly demanded that I bear in mind the other main pieces. I’ve cut out the tracing I used for the packing case, and the forms I intend to use for the people, and spent a bit of time juggling the positions of each element.

The people, by the way, are not supposed to proper people shaped from an artist’s model. Some of the shapes have extra legs, and one of them is two people blended into one. They will be differentiated by their clothing, or at least so I hope!

Shadow Attached

As it happens, attaching the shadow didn’t take as long as I expected. I decided that edging the fabric with blanket stitch would create a hard edge which would counteract the idea of the shadow going over broken ground. I may even choose to add stitching to break up the edges even more when the figures are in. I have learnt over the past few years not to overdo detail on one section of a piece like this until I have some sense of how the whole thing is going to turn out!

I am expecting to crop this piece very close, to concentrate attention on the figures and their burden, but I learnt with the Camberwell that it is easier to have some leeway around the edges of my project!

Loading the Felucca – starting on the packing case

Decisions Decisions

Since appliqué is a layered technique, I had  to work forwards from the most distant object. For this subject – once the background was in place, that was the packing case.

The first thing I had to do was to work out how I was going to represent the lengths of wood running as bracing all around the box. My first thought was to use reverse herringbone stitch, as I did for the contour lines on the Map of Amarna, but as I was stitching it I became less sure.

I worked the other band in ordinary herringbone stitch, then sat back and frowned at the frame for a while.

Still More Decisions

The result of my frowning cogitations was that I decided that I definitely didn’t like the reverse herringbone stitch, and wasn’t totally happy with the standard herringbone stitch either.

I tried variations on couching stitches  – Bokhara Couching and Roumanian Couching, in the lower half of the nearer band – and was no happier.

Just as well I enjoy these puzzles, isn’t it!

Finally it occurred to me that the grain of the wood would be running lengthwise in these pieces of wood, while in the planks that make up the box, the grain would appear to run across the box. The stitching I had tried had given the impression of the grain running across the bracing struts. So I tried Bokhara Couching again, but running lengthwise.

That’s better, I think, but the next task is all that unpicking.

Loading the Felucca

Loading The Felucca

Here is another one of the photographs from the Egypt Exploration Society that I would like to represent in some way.

The expedition felucca was loaded with all the excavated finds and taken to Cairo so that the Cairo Museum Director could choose what would be retained for their collection. The carpenter spent weeks making special boxes to carry the more delicate finds, like Hatiay’s carved door lintel, and a large section of decorated wall plaster (more things for me to embroider!). Then everything had to be loaded on to the felucca…

First Layer

I’ve decided to concentrate on the group carrying the packing case. Partly this is because the whole photograph is a little confusing and difficult to decipher in places, and partly because they rather drew my eye, and I want to experiment with appliqué. What I hope to do is “dress” each figure, so the folds of the fabric I use creates the folds in the garment. I have no idea whether this will work, but if I don’t try I will never know!

Last time I was at the Harrogate Show I found myself in unfamiliar territory, frequenting the patchwork stands, in search of suitable fabrics for the ground and the clothes. I’ve used a piece of silk dupion from The Silk Route for the river. It’s a pale grey-green, and I think I will have to find somewhere else to use it to pull it into the overall design properly, but it has a lovely subtle sheen that looks quite watery.  I’ve attached it around the edges using strands pulled from the weft, because I have nothing else suitable. The ground is a sandy cotton, doubled because I could see the silk through the first layer, and attached using a single strand of stranded cotton from my stash.

Threads For Packing Case

You last saw the fabric I chose for the packing case being used as the background for the Crock of Gold Hoard. It’s a flimsy overdyed turban cotton which won’t take much stitching without reinforcement, so I’ve backed it with a layer of white cotton to give it a bit more body.

Then I had a wonderful rummage in my stash, and pulled out a selection of silk and cotton threads to play with. The tubes are Mulberry Silks threads (also last seen in the Crock of Gold Hoard), and I’ve also laid out a linen thread, two Stef Francis stranded silks, and a couple of miscellaneous threads from I-Know-Not-Where.

This should be fun!