Recent Projects
January 27, 2018

I'm slowly getting back into creative projects. This time it's just little needlepoints.

First, I created a needlepoint star pattern that anyone can use, using the 18 stitches per inch canvas, it results in a star 2.5 inches big (a little over 6cm). It is the seba "star" or "teacher" glyph. Also the Akhu are often honored with a star. The glyph also means "gateway".

The first page in the pdf is actual size, the second page is for easier counting! I've delineated a background 68 by 68 stitches wide, but any size background could be used. A long strip of canvas with a row of stars, or a huge canvas with lots of stars, or???

Meanwhile, I had in mind a place for the 68x68 stitch version. I debated making a second seba to go at the right hand side. I figured one seba for Wepwawet above, and one seba for Aset (Isis), whose space is below:

After I did the white star, I made a blue outline around it before doing the dark blue background.

While I was in process with the needlepointing, during one day's morning prayers, I got a distinct feeling from Aset that I should do a Sa hieroglyph of protection for her side, the background also the 68x68 stitches wide.

I didn't have an original drawing to go by, as I did for the seba glyph. So I gathered up several examples from the past. Horemheb's tomb features green sa amulets with very small loops:

Extreme crop from a photo by William Petty

Meanwhile, an amulet found in the Middle Kingdom tomb in Deir el-Bahri features a very long loop:

Met museum photo

What to do? I looked at Wilkinson's examples:

"In two- and three-dimensional representational works, the sa sign is commonly found as an attribute of a number of zoomorphic, apotropaic deities - especially the god Bes, the lion in its protective role, and the hippopotamus deity Taweret..." (Wilkinson, _Reading Egyptian Art_, page 197)

Boston museum's Taweret #64.2252 features a somewhat longish loop and very prominent flanges:

Crop from a photo I took.

Ultimately, I used one amulet from the necklace of Senebtisi which is now at the Met museum. I rotated that one amulet, enlarged it, made it symmetrical and enlarged it greatly. This amulet resembles those in one of Wilkinson's examples as well:

Crop from Met museum photo

I screen captured the needlepoint grid and enlarged it. Then I selected out 68 stitches high and got the sample large enough to nicely fit. (The off-center placement is because I was using the darker lines which divide into 10s as a guide. When I darkened my image, the distinction got a bit lost later.) Using Photoshop's layer abilities, I copied the sample again, but made it 50% transparent. I created another layer above that. On that layer, as I could see both the example's form and the grid, I determined the stitch placement. Julia recommended that I create a suggestion of flanges on the sides, and after doing that, I was happy.

Afterwards, I realized I positioned the sample a little low. Its proper placement is seven down from the top, seven above from the bottom.

I'm envisioning a white sa glyph, with a dark pink outline and a maroon background.

Some Adjustments!

I hadn't realized this, the vertical is longer than the horizontal on the canvas! This has caused adjustments to the design.
Some More Adjustments!

I went one "pixel" wider on each side of the horizontal to balance the longer vertical.
I've adjusted the pattern to reflect these changes.

Go back to Celebrating the Kemetic Way
Go to INDEX of Markings Of My Path
Go forward to New Things!
© Joan Ann Lansberry: