so i open the suggestions forum and the first thing i see.
Tell Bolingbroke—for yond methinks he stands—
That every stride he makes upon my land
Is dangerous treason: he is come to open
The purple testament of bleeding war;
Disclaimer: This is not my own idea; I got the tip from the lovely Elentari-liv, who was kind enough to share her technique with me. This is only showing the basics I’ve used to knit the scales, not how to make any certain piece.
Also, keep in mind that I’m still a beginner at knitting. I’ve been doing it for approximately two weeks.
What you’ll need:
- circular knitting needles
- small scales
You’ll probably want to choose a yarn close to your scale colour, or one that complements it (I used a contrasting one here to make things easier to show). You may have to experiment a bit with the yarn gauge and size of the needles. I ended up using gauge three yarn and size six needles after some testing. Larger needles widened the gap between scales, so that the yarn was visible in between, which I didn’t want, and thicker yarn made the scales stick out too much as opposed to hanging. It looked like I was knitting a very ruffled dragon.
Scales can be purchased from The Ring Lord, with multiple choices of colour and material. I’ve experimented with both aluminum and steel; the steel seems to hang better because of its weight, but it all depends on what you need for your project!
(I’m putting the actual process under a read more because I do have a lot of photos.)
The scenery in the Assassin’s Creed: Revelations cinematic trailer
Lorenzo Nanni born in Italy, is a 34 years old textile artist living and working in Paris. He specialized in embroidery.
I use natural minerals and materials: felt, silks, cotton fabrics & threads, wools & fibers, glass and precious stones (Quartz, jade…). I use bones too, along with woods, metals and rhodoïds. It was spontaneous for me to choose these types of materials because my pieces are inspired by flora, fauna and anatomy. I have a lot of respect for nature and animals.On my production method, I always begin with a sketch. Then I move to pattern-construction, dying then assembling fibers and finally embroidery. The time of the process can vary from 10 days up to 9 months of work, depending on the objects. Some pieces require 100 hours of embroidering. They are all unique pieces.The use of fiber has never been lost; the textile has always accompanied the painting as a form of decorative art, and has undergone the changes of time and civilization; suffered the influence of shapes, volumes and materials.