I feel as though I’ve spent as much time on Akhenaten’s accessories as I did on the silver purl loincloth, and tied myself in as many knots as I did when I was doing his wig!
I do hope he starts to approve of my efforts again soon…
When last seen, I was content with the crook, done in alternating blue and gold wire rope, strung on a former made of fuse wire, but I was expressing doubt about the flail.
The gold purl and silk wrapped purl was too frail, and this version, using gold wire rope, was visually too heavy, and much too springy. So I knew that something else would have to be devised, and racked my brains repeatedly for ideas.
The ideas finally came late one night, and – too drowsy to wake up properly and write notes – I fell asleep hoping I wouldn’t have forgotten in the morning.
Fortunately, I hadn’t!
I’m assured that the word for the parts of a flail that flail is “swipple”, which sounds too outrageously appropriate not to make use of.
The various turquoise beads came from a friend on Instagram, who saw my wrestlings with the armlets and offered some treasures from her stash to assist. After several trials, I settled on a combination of gold and coloured beads, and a particular length of loop.
The finished flail has a handle of gold wire rope, a head of gold pearl purl, and four strung bead swipples. In fact, the inner two swipples have different coloured beads to the outer two. This is part of the layering of detail I’m trying to develop with Akhenaten, to help with the impression of rich gorgeousness I want to convey. It might be barely noticeable (although more so in real life), but it will break up what might otherwise look a bit monolithic.
I’ve taken the same approach with the wristlet, which uses silver rough purl (leftover from the loincloth) in combination with a pale pinkish rough purl. Anything single-coloured was too obvious and argumentative, especially as it’s placed right in the centre of his chest, but when I left it out entirely, that looked worse!
You may recall that I had some trouble with the armlets the first time I was working on them. Now, as I’ve come back to Akhenaten again, I’ve decided that the gold kid I’d settled on isn’t at all right. Off it came, and after some puzzling, I attached the brass mesh instead.
Only to decide that no, that looks dull, doesn’t capture the effect I’m after, and even edged with a flattened gold spiral, doesn’t stand out enough against the silk.
My next thought was to do some patterned chipwork. I chose a rather gorgeous, very ancient-Egyptian-looking blue, and a sort of diagonal basketweave pattern which is not a million miles removed from some of the patterns I have seen on ancient pieces.
The blue did at least help the silk to show something like true colour, but when I looked at the whole piece, I found the blue too bright, and the pattern altogether too much of a good thing.
I thought that was strange. The alternating directions should have echoed the beard and helped the two sit nicely together, and there is so much personality in the silver purl loincloth that you would have thought nothing could have been too much!
Then I had a thought – the kit for the Stuart Silk Purl Flower contained some bonus silk-wrapped wires and purls, and fortuitously, when slightly overstretched, there was just enough of one of the turquoise ones to do top and bottom on each armlet.
At this point I decided, somewhat tentatively, that maybe I’d got this bit right, or at least right enough to move on.
The small leaf was rather “meta”, in a way, because long “stitches” of silk purl were couched down with shorter ones. I’ve likened it to Burden Stitch, or even the couching form used in some opus anglicanum, and it includes colour changes as well.
All of these techniques have been simple enough in concept, but the execution isn’t simple at all. Spacing, angles, and cutting the lengths are all, as The Australian would say, non-trivial (mathematician-speak for “quite tricky”) and practice may make perfect in the end, but it hasn’t done so yet!
The final leaf was worked by alternating the hummocks and simple couched techniques of earlier months. In a way this shows that it is possible to create new textures by “layering” or “overlaying” techniques, so the only limits are in the stitcher’s imagination.
It creates an interesting ribbed effect, although with all my care, the raised hummocks aren’t all raised to the same degree. That said, I defy anyone looking casually at the real thing to notice the fact – at only about three inches by five, that would be a lot of detail to be able to distinguish!
And there are other dazzlements in store…
The final detail is to add spangles, which are reliably confusing and dazzling to the eye.
Just imagine all that flickering in the candlelight and shadows of the silk purl textures casting mysteries over each other!
I’ve thoroughly enjoyed this Online University course. Now I only need the time to sit down and read the extra information and watch the videos!
Having decided that all those delicious manipulations of brass mesh weren’t going to help in this case, I cut out the shape of the cobra’s hood from the brass mesh, (not getting too close, in case I cut the thread attaching it!).
At this point I realised it wasn’t quite strong enough, and attached the bent piece of pearl purl from the first attempt to the back in order to provide more support.
Bending back the brass mesh helped to conceal the supporting pearl purl – although whether anyone will be able to notice it is a moot point!
The final stage of the cobra was to attach the same piece of silver spiral with gold band to take the place of the snake himself, in front of the hood and to a new piece of gold kid. This time I looked again at some pictures of cobras, and made sure the hood was set back a little from where the mouth would be.
I used the same “vulture’s head” as last time, but helped it to stand out slightly by winding some blue wire from a tiny bit of blue purl around the large gold rope I used for the vulture’s neck. You can see how small it is, but it’s surprising how much difference it makes to the final effect!
Once I’d attached the gold kid, I could cover the bottom edge with gold spiral, and then trim the upper edge to create the shape I wanted. This is the stage you see here. However, I then decided that the upper edge needed a trim, so at some point I must tie myself in knots to attach some sort of trimming to a curved shape stretched over a padded base.
Wish me luck!
Of course, I had to take off the gold headdress when I decided to make another attempt (and another, and another!) at the face. Then, when I looked at it again, with my new version of the face in place, and still more new ideas swirling around in my head, I decided that it wasn’t quite right, either in shape or in conception, and needed a little more help…
First of all, I think the first piece of gold kid I cut was the wrong shape, but secondly, and more interestingly, the cobra doesn’t really stand out against the gold kid, so I decided to try again.
So I began by folding a piece of brass mesh and attaching to it a loop of the same blue twist I used to emphasize the edging of the belt. I had thought that this might be rather tricky, but the brass mesh is fine enough to take stitching without too much trouble.
At this point I should probably say that from the base to the top of the loop here is no more than a centimetre. This is all very small and very fiddly indeed!
I also experimented with some pleating and crinkling of the brass mesh. I like the various effects, and I’d love to fit them in somewhere, but unfortunately I couldn’t quite work out how to make them work in this context.
The whole piece is so striking that I am finding it particularly difficult with the last little details, because they need to have enough personality not to be overwhelmed, but I don’t want the final piece to feel “spotty”. The eye needs somewhere to rest occasionally, rather than zooming frantically in all directions!
There was quite a lot to do in the second month, learning new ways to wrangle silk-wrapped purl.
The first element was composed of the loops of purple, short lengths bent in two and controlled by an extra small couching stitch to hold them in place.
This is a technique I’m sure I’ve seen before, and I must say I rather like the effect, although I found it rather worrying to do. The purl is small and fragile, and I think that at the moment I still don’t quite have the headspace to do as well as I would like.
I do think, however, that the time for just not doing it is passed. If I want my skill to come back to me, I will have to use it! Who was it who said, “the more I practise, the luckier I get”? I would like my embroidery to be good because I have worked at it, not because I “just got lucky”!
The next was chipwork, which is just like chipwork in ordinary purl except for the added terror in case the silk wrapping comes off..
And then I got more practice with those nested loops, with the added adventure of adding shading as I went along.
Finally, there was more chipwork, and some little raised humps. These are made of purls stitched on like beads, but with a stitch slightly shorter than the length of purl chosen.
Again, these are not quite as consistent as I would like them to be, although I carefully used the ruler provided in the instructions to cut the lengths.
More practice needed!
I’ve felt the face was rather weak, so I decided to try again.
This time I needlefelted the padding underneath, to try to get the nose, the heavy brows, and the mouth in place.
Then I covered the padding that seemed the better with silk, and stitched the features again. In some ways, this is better than the first attempt, but it still looks a bit twisted. The eyes are certainly staring, but the nose isn’t straight.
In my defense, it became harder and harder to stitch, even though I began to feel that the shaped padding wasn’t shaped enough. Or even padded enough!
I think that before I attempt another version, I need to work out a way of keeping the silk under control while I add the features, without actually attaching it all the way around
In spite of that, I decided to attach this face in place of the last, and see whether I felt that a face “stuck on afterwards” would be a problem.
Well, no, I don’t think it is, although it’s hard to be sure. Not least, it involved removing still more of his headdress. That will need more padding to sit well with a more padded face.
I am sure that I need a new version, though. At present he looks like an apoplectic trumpeter, and that is not a good look for the Heretic Pharoah!
I’ve not written about the Colossus of Akhenaten for a while, but that isn’t to say I’ve stopped thinking about it. Unfortunately Akhenaten is proving obstreperous (as in life, so in embroidery…!)
I decided to try to sneak up on him by playing with details such as the crook and flail regalia.
I don’t want these to be couched to the fabric in bits, I want them to seem like miniaturised regalia, so I’m planning to thread various coloured purls onto wire and then poke the end of the wire through the fabric to the back.
This heavy purl – called “Rope” on the Golden Hinde website – seems to work perfectly for the crook, but single wire wasn’t strong enough to support it, so much of the experimentation was to get the right number of strands. I’m so glad I have proper goldwork scissors – the rope is tough and springy stuff.
You may recognise the materials in some of these experiments for the flail!
The two on the left use silk-covered purls in blue, with heavy gold pearl purl. The two on the right are coloured and gold purls, some of those used in the chipwork on the belt.
The potential handle is a gloriously stiff, over-the-top purled pearl purl in blue and silver, named something like “winter spiral”. I have my doubts about it in this context, because it’s silver rather than gold, but we’ll see…
I couldn’t resist trying the crook and flail trials in place.
I’m happy with the crook, but the flailing bits of the flail are giving trouble. None of the options really looks the right scale – the purls are too small, the pearl purl may be a bit too heavy, and the “winter spiral” handle doesn’t look quite right, either.
So I have some more thinking to do. Again…
There’s a new course from Thistle Threads, concentrating on the use of silk-wrapped purl threads. It looked like fun, and it includes the bonus of some extra samples of different sizes and colours.
I’m always trying to learn more about the more obscure and interesting corners of embroidery, and the reconstructions of no-longer-current threads and materials play directly into my fascination with early technologies.
The first stage in this case is to work outlines in gold, and on this occasion I deviated slightly from the instructions.
Normal practice these days is to plunge the ends of the gold thread and sew them down at the back, but it used to be more common simply to cut the thread and oversew it firmly on the front. So I’ve done that. It saves a bit of the expensive gold thread, and as this is a small decorative panel and not for a garment or other item which will move a lot, I think it will be successful.
It’s still important to run the thread in the right way over the design to minimise the number of cuts, of course!
The final part of the first month’s instructions is the first element of the silk purl, couched in a spiral to fill a pair of leaf shapes.
You can see that I have rather crushed the silk purl into place, which is a pity as it has introduced breaks or cracks into the purl, but then, this is an extreme close up. Without a magnifier, it is simply an impression of colour and texture.
The spiral is worked inwards from the gold outline, which is probably the only way it could be done – imagine the difficulties of finding the right central point to start from!