The complication of the overlays against the panels is introduced by the facts that the overlays are slightly bigger than the panels, they are transparent, and the overlays themselves are heavy. In any final display, the overlays will be screwed to the wall, but we couldn’t do that in Bernard’s studio!
When we took the original photos, the panels were put on the very edge of a table, tied using fishing line through that convenient gap between the lower panels and the higher ones to an extremely heavy tool box, and with the background hanging behind. Since I wanted to include the frame of the overlays, that wouldn’t do.
So here is what we ended up with! A section of background is laid on the floor, with the panel laid on it. Then we set up a set of tripods on either side, poles between them, and ran a length of fishing line from pole to through eyelets in the back of the frame. We get the shadow that reveals the overlay to be a separate thing, and several ways to adjust the whole thing until it works.
It did rather turn the studio into a low-budget version of that scene from the film Entrapment where the cat burgler is practicing avoiding a mesh of lasers with a mesh of strings with bells on, but that just meant a certain hilarity entered the proceedings!
It also meant the deployment of a ladder for the viewpoint to be high enough. It’s a proper ladder for the purpose, and it was sturdy enough – Bernard was happily standing on the platform at the top to take the final shots, which I wasn’t quite up for, as you see.
I do think the set up will produce the right photos for the purpose, but my goodness, photography really isn’t “Just Point And Shoot”. Bernard also tweaks the raw files to make sure that they bring out what he saw when he took the photos, which means that we have something really good to start from. Technology has improved immeasurably since Mary Chubb’s time, but even so, there are losses in quality as you add processes, and to have something decent at the end of a sequence of design, layout, and printing processes, you have to start with something really excellent.
I’ve been working hard on the manuscript of the book I’ve written around the Dreams of Amarna, and one of the things I want to do is stitch the story together with pictures of the ordinary Egyptians working on the dig. They are honoured in the stitchery (View of the Excavation and Loading The Felucca), but that didn’t seem quite enough.
So I’ve been doing lots of little watercolours of labourers, basket carriers, and fragments of the dig and the scenery, and now I’ve sorted out the overlays (there will be more about my experiments with ink and inktense later), I bundled up the whole kit and caboodle and took it across to Bernard Rose Photography to see what he could do.
We rattled through the watercolours in fine style, as apart from occasionally flattening a piece of paper (I tend to paint a bit sloshy…!) there was little adjustment needed.
Then, however, matters became more complicated… The overlays are big, and the fabric is slightly shiny, and I hadn’t worked out how to hang them. So we started with the easy bit – overlays on their own, in front of a background. You get a hint here of the reflectors spaced all around, and just the general sense of engineering involved. There are two pairs of tripods with poles between them, one with the background, the other supporting the overlay, suspended on fishing line through eyelets. Then there are the tripods with the diffusers on, and out of shot, there’s the tripod with Bernard’s camera in place.
So, we left the overlays mounted, but determining placement wasn’t entirely straightforward.
I didn’t want the images of Akhenaten and Nefertiti over the whole panel, just over the sandy part of it..
So once I was happy with the mounted gauzes, the glue was dry, and the glue pot firmly shut, I got the panels out, laid them on the floor and found some little pots to hold them up at the corners.
You can see from this photo that the gauze is fine enough that it is not going to interfere with the view of the panels – except for those who want to examine very closely, and I think we are going to be able to come up with something for them!
The mounted gauzes are bigger than the panels, deliberately, so I had to take that into account as well. You can see that I’ve not got Nefertiti quite right here – I was using the old overlay to work out placement – she’s too close to the centre.
Once I’d worked out where they were to be placed, I took copious notes. I had to work on the images from the back, because of the size of my padded mat, so I not only had to make sure I had the right placement – I had a story in my head for who would be in front of each panel, and they weren’t interchangeable!
Very long term readers may recall that over a decade ago, I was working on some additional designs from the Tudor and Stuart Goldwork course, became thoroughly fed up with them, and shoved them in a dark corner until my good temper returned.
It’s taken a while…
Anyway, I’ve found them again, and while the Parterre Knotwork is being difficult, the Amarna finish-work is being difficult, and Aethelflaed is being difficult, I thought I would see whether my good temper had returned, and I could get them finished.
The Acorn was completed – some time in 2012, apparently, and I’d started on the tent stitch for the Honeysuckle, and found myself with some miscounting and unpicking, which I think may have contributed to the loss of temper.
So the first thing to do was to finish all that tiny dark green tent stitch. In fact what you see here was some considerable way into the process – almost all the right side outside the strapwork gaps is new – but with my new-since-I-started working light with magnifier, and my working spectacles, it actually went rather better than a decade ago.
The first addition was silk Spiral Trellis for the centre of the flower – I enjoyed that, even though it’s so tiny. So now I can start on the gold and silver strapwork!
First up is reverse chain stitch, which was a relatively easy way in. I like the stitch, and find it useful, so it’s familiar. The round-eyed Japanese needles are less so, and I struggle to thread them, but they were such a feature of the Online University courses that I feel I should persevere with them.
It occurred to me that I rather skipped over quite a few elements of the rather haphazard development of the overlays, and a slightly closer view of the way the overlays have been managed might be rather interesting, at least for some of you, so here we are.
In fact I got the framer to make two frames, one the frame that will be seen, which is what I painted gold, and the other a fillet, very fine “infill”, in effect, that will not be visible, but will be part of what keeps the gauze tensioned and in place.
Here is a close view of the corner. This is the point where I had quite a bit of wrangling to do. The gauze stretches over the front of the frame, and around the back, and is then caught into the ledge that would normally hold the glass. There is double sided table on the frame, and double sided tape on the fillet, and in effect I used it to tack the gauze in place.
So I worked from front to back, and around the frames, to make sure that the gauze was taut, and on the straight grain. Then we (at this point, The Australian was acting as Studio Assistant!) hammered nails through the fillets and the gauze and into the frame. And then turned it over, all panicky in case something had sagged.
Which, fortunately, it hadn’t. So then I spent a bit more time wrangling the gauze, gluing and trimming it in place. In fact as long as the glue holds long enough to keep the gauze held back until it doesn’t want to straighten into odd directions, that will do me, but the other advantage of copiously gluing the gauze (me and glue – aren’t I being brave!!) is that it now won’t fray.
The next complication is that I need to work out how to get the design element in the right place, given I don’t want it bang in the middle…
I took out the finished Amarna panels to measure them recently, and found the overlays looking faded and muddy, so I need to do something different…
Cue much experimentation and puzzlement. It came in two parts. The first was, can I use different media to create the image in a way that will be more stable? The second, can I make the overlays less susceptible to damage?
That second part was easily answered – I have always expected that the overlays should be properly framed, so I just (a word to beware of!) have to work out how to do so. I had concerns about tension and keeping everything square, but when I talked to my fabulous framer, she seemed much less worried than I, so I commissioned her to make some large frames in plain wood that I could paint with gold.
Yes, I know one can buy mouldings which are already gold – they’re all much too bright. I don’t want the frames drawing the eye, I want you to look through and past them, into the main panels.
Then I did some experiments to see whether I could find new ways to put the faces on the gauze, less prone to disintegration. I had a lot of fun playing with acrylic inks on small offcuts stretched over embroidery frames, picture frames, anything to hand. I sprayed water on the gauze before, or after, painting on the images. I tried thickening the ink with pva glue or aloe vera gel. I tried ordinary acrylic fabric paint. I stencilled. I dabbed with a sponge. I tried all sorts of experiments!
And once the ink was dry, even black ink seemed to vanish. The fabric paint filled up the weave too much, and created a rather clumpy effect.
So in the end I went back to the inktense blocks (in purple, not that you can tell!), put my newsprint style guides under the gauze, and put them in, quickly and vigorously. Then I sprayed the gauze lightly with the sort of fixative pastellists use for soft pastels. I have no idea at all whether this will work in the long run, but it seems to me it has a reasonably good chance…
While I’m thinking about the large octagonal borders (they’re proving very tricky to plan!), I’m also thinking about the “path” section. I really like both of these stitches, but they are both much too close in scale to the stitches in the border, and I think they’d be much too busy as well. The path is much the largest area, and I need to keep it from fighting with the borders. There needs to be some calm somewhere!
This is more promising, but the lower experiment with lots of different colour combinations and thicknesses is also too busy. I think if I can stretch out the variations to create larger sections and make the colour changes less strident, this might work. The stitch grows quite quickly, as well. I just hope my stash is equal to the task…
I wasn’t intending to start on the path yet, but given the already-referred-to difficulties I’m having with the octagonal borders , I wanted to be making progress somewhere!
If the long borders were looking monolithic, the large octagonal ones looked like a huge outcrop in the middle of nowhere!
So, as before, I’m playing with tacking stitch divisions to see whether I can plan some shapes that will give me a start.
These borders are too narrow, I think. They are the size that works in the long borders, but the different outline shape makes a difference, I think.
And I don’t think this works, either. The broader border somehow seems to make the shape unbalanced, which is very peculiar when it seems closer to dividing the shape into thirds on the diagonal.
At this point, I started to think in different directions. Maybe, instead of geometric divisions, I should think of a large “hero” stitch or stitched motif, which has rivers of stitching around it, or even one single other pattern running around it. Hmmm….
So this next picture, believe it or not, is playing with that idea.
The red stranded cotton is placing the main skeleton stitches for a stitch motif called Milanese Pinwheel (another one which looks a lot like a patchwork motif to me!). The visual effect is a bit square in comparison with the real thing, not as helpful as I hoped – I may just have to Be Brave and be ready for a lot of unpicking!
At the moment, my thought is to have her riding (side-saddle) towards the refortification works at Chester (which is where I grew up). I looked up “side-saddle”, owing to having some doubts about how recent or not it might be, and the history and techniques of riding sidesaddle seem more complex than would at first appear.
Of course they are.
There’s the technique you probably think of first, with a leg hooked up and the rider facing forwards (think Queen Elizabeth II riding Burmese to Trooping The Colour, way back when). The development of that design is credited to Anne of Bohemia, Richard II’s Queen, so it would be anachronistic, to say the least, for Aethelflaed. However… The older style is more like a chair set on the horse’s back, with a footboard, and the rider faces sidesways. Generally the horse is then lead, either by a someone on foot, or by another rider, but I simply cannot imagine Aethelflaed not being under her own steam, as it were. I suspect that she would just have a really voluminous skirt or a slit skirt or even just wear men’s clothing and ride astride. But that would not create the image I want, so I’m going to have to balance storytelling with other concerns. Well, that’s part of what is interesting to me, so that’s ok!
I had a lovely day out a little while ago to see the Staffordshire Hoard exhibition at the Museum in Stoke on Trent. It’s the closest source I can find for patterns that I might be able to use, and although none of these sketches or photos will be useable directly, I can, for example, imagine taking the style of that processional cross in the grid at the top, sketched in the grid to the side here, and using that at the cardinal points of the border.
I’m also wondering about taking one of the patterns from the pieces in the Hoard, and turning it into a border design, somehow. That might make everything a bit busy, so, more thought needed…
When I found a stitch called “F-106 stitch” and notionally inspired by delta wing aircraft, I thought it would be a good one to include. The section looked a bit monolithic, so I faded the colours of the “background” stitches outwards from the centre. Although I have to say – I’m no flier, but that formation looks dangerously close to me!
I’m trying to balance the patterns and keep them from proliferating too much so when I’d done these sections (on both long borders), I thought it would be a good idea to continue the Victorian Step Stitch pattern through the second outer sections, only altering the colours slightly. I’ve even tried to keep in step with the first sections across the divider.
The triangles by the border required another pause, but in the end I kept with the aero theme, and picked a stitch called “Wild Goose Chase”, which I rather suspect may be inspired by a patchwork pattern. Trying to maintain a certain amount of echo and balance, I’ve used similar colours to the first blocks of Victorian Step Stitch, and also reflected the pattern on either side of the centre line.
