
This is the main tumblog of Silvie Kilgallon. I'm a conceptual artist and my work is largely influenced by my academic interests in classics, ancient history, translation, and philosophy of language. This blog details conceptual, casual and personal projects on which I am currently working. To see the Stitched Iliad project, please check out the Stitched Iliad blog below.
154 posts
This One Will Scan (in Person) Using QRdroid For Android Phones, But None Of The Free IPhone Apps I Had


This one will scan (in person) using QRdroid for android phones, but none of the free iPhone apps I had (Qrafter, Scan and QRreader) can read it. This one (R) is done in a composite stitch - French knots pinned in place by split cross stitch (the two strands of each arm of the cross stitch fall either side of the French knot). I couldn't find this stitch in any of my stitch dictionaries, but I'm sure someone must have thought of it before. For now I'm calling it French Cross Stitch, but if anyone knows another name for it, I'd love to know.
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More Posts from Theclassicistblog


A--R. Half way now. An detail of M and N. M might look pretty much like G above it, but I promise you they're different stitches. G is just a plain vertical cross, M is knot stitch/ four-legged knot stitch, where you wrap the thread around the cross before completing the final leg. The big stitch is captive rice stitch, to complement the triple rice stitch of the G above. N is Turkman stitch, and a spiral of my own design in the middle. Let's call it four-legged spiral stitch!

O: inverted feather stitch. The big stitches are vertical weaves. The code above (I) uses diagonal weaves.
Okay, I'm very curious: what makes you determine how you are doing a translation into stitching?
Essentially: just reading the poem. I read to see if there's an obvious colour palette suggested by the poem. Reds and oranges, for instance, seem a fairly obvious choice for Blake's poem 'The Tiger' - the tiger 'burning bright' and the imagery of the forge, etc.
Then I do a pretty basic frequency analysis of the text and sort the letters according to frequency, which helps me refine the colour palette - if I want more reds than oranges, then I need to assign reds to the more frequently occurring letters, etc.
I also might assign colours based on a specific detail I want to pick out - to carry on with the Blake example, I might want to draw attention to how many questions there are in the poem, so I'd assign a really stand-out colour to the question marks.
I'm currently working on a translation of Wordsworth's 'I wandered Lonely as a Cloud' I picked a blue colour palette because so much of the imagery refers to the cloudy sky, the night sky, the reflection of the daffodils in the lake, etc. but I'm picking all the punctuation out in yellows to represent the daffodils and to try and catch on some level the images evoked in the poem.

Two roads diverged in a yellow wood... I was having doubts about the colour palette last night, but I feel a lot better about it this morning. I'd say this is just over a quarter done.