Walk like an Egyptian

Powertex UK Secret Art Box – December 2019

Designed by Gill Goldsmith

This month’s Egyptian Secret Art Box is a stunner! The theme, inspired by Tracey’s visit to the Tutankhamen exhibition is all things Egyptian and amongst the fabulous goodies, a brand new colour of Powertex, a gorgeous mint green.

Powertex Art by Gill Goldsmith Secret Art Box December 2019
Powertex art by Gill Goldsmith

Materials List

  • Secret Art Box December 2019
  • Nefertiti mould from Powertex UK
  • Plaster or air drying clay such as Stone Art clay
  • Easy Structure and Paperdecoration for texture
  • Powertex Universal Medium in White and Yellow Ochre
  • Pigments in Bronze gold, Blue Curcao and Ultramarine
Powertex UK Secret Art Box December 2019 Egyptian
Powertex UK Secret Art Box December 2019

How to make my Egyptian art

Step 1

Mdf frame and Easy Structure through stencil

The new shape of MDF panel, lent itself so much to the theme and screams pyramid, so I used the fabulous hieroglyphics stencil and added texture to the top of the panel with EasyStructure paste.
I also added a coating of Easy Structure across the pyramid and marked it with a palette knife like blocks.
Once dry, I laid out my composition of the MDF pieces, I’d cast a plaster piece of the new scarab mould and also used the Nefertiti bust as a focal point.

Step 2

Fresh mint Powertex from the Secret Art Box Egyptian

Then using the brand new mint colour Powertex I coated the complete piece, using it to glue all the elements in place.
I added some Paperdecoration to the sides and created more texture using the sand included in the box. I mixed it into the Powertex with a palette knife and spread it across the bottom of the canvas.
Allow this to dry thoroughly.

Step 3

Spray with Palm green acrylic ink

Once dry, I used the palm leaf acrylic ink spray, included in the box, and liberally sprayed across the whole piece.
Don’t panic at this point, it looks a lot of colour, but there’s a long way to go.
Again, allowing this to dry thoroughly before starting my favourite process on any Powertex piece, the dry brushing.

Step 4

Dry brush with Powertex

I initially dry brushed the MDF elements and the plaster pieces with white Powertex and the pyramid in yellow ochre.
I then added depth with darker pigments to make the pyramid stand out and used the bronze gold pigment included as well as blue Curacao and ultramarine blue to bring out the highlights on all the plaster pieces and MDF embellishments.
Mix pigments with the Varnish.

Powertex Secret Art Box by Gill Goldsmith

Finishing touches

My final touch was to dry brush the pyramid with more white Powertex, making sure your brush is really dry so it just highlights the texture and make it stand out…..

Powertex Art by Gill Goldsmith from the Egyptian Secret Art Box
Egyptian art by Gill Goldsmith

I hope this inspires you to have a go at creating something magical with this month’s Egyptian Secret Art Box, and that you will share your finished makes on The Powertex Studio and Secret Art Box Subscribers Facebook pages. You can also read other Secret Art Box tutorials.

Thanks for reading and do please follow my Powertex adventures on my Facebook page The Powertex Port,
Happy Powertexing XXX Gill

Egyptian Canvas Duo (by Anne)

I so enjoyed helping out with samples for the Egyptian themed shows recently on Hochanda – and WOW the set looked amazing with so many wonderful creations from the team. I think that we all had a huge amount of fun. It really did look like an archaeological set.

I created this duo of canvases featuring Nefertiti and Tutankhamun to tell a little of their story. Although their likeness was well known to me I really had little idea of their history, so I did a little research. I really enjoyed finding out more about these characters and I had so much fun immersing myself into their mystical world when creating these canvases.

I hope that my creative journey gives you some inspiration for your own ideas. There is a full materials list at the end if you need links to any of the specific products used xxx.

The creative journey:
The canvases were first coated with a layer of Ivory Powertex, and the plaster busts with Bronze Powertex.

The textured embellishments were made with air dry clay and small clay cutters from my stash. The Hiero Heaven and Scarabella stamps were pressed into the rolled out clay to add texture. Additional texture added to some pieces using a texture mat, and I made the little snakes using a mould (both from my stash). Strips from corrugated card were used to create pillars. I laid out all my elements to get a rough idea of placement and to assess space left for adding text.

Note: I used an air dry modelling clay that I had in my stash. It is fairly strong when making chunky items but I did find it very brittle when rolled thin. I left it to fully dry overnight and coated it with Ivory Powertex. The Powertex did sink in well (as it remained porous) and considerably strengthened my embellishments. So I was happy to use them on my canvases. However, I would fully recommend using Stone Art Clay if you want hard wearing items, and certainly if you need them to be weather proof (it is designed for this).

Following my bit of historical research I decided on some text to add to my canvases. Nefertiti was the chief wife of the Egyptian Pharaoh Akhenaten who was the father of Tutankhaten (later named Tutankhamun). Originally Akhenaten was named Amenhotep IV but he changed his name when he banned the worship of the old Egyptian gods and instated Aten (Sun Disc – an aspect of the sun god Ra) as the one true god. I therefore depicted the Aten symbol (Sun Disk with rays in gold) on Nefertiti’s canvas.

I used gilding wax around the edges of my canvas and on the Sun Disc (Atan) and gold relief paste to create the Atan rays.

Nefertiti was also known as ‘the beautiful one has come’ (translation of her name) and ‘the lady of the two lands’ – I included this in the gilded text.

Nerfertiti may have ruled for a time as Neferneferuaten, and for a short while alongside Tutankhaten (later named Tutankhamun) but there is some debate on this. She disappeared not long after her husband’s death and it is unsure where her body lays. Although interestingly there is some evidence that she may be in a secret chamber behind the tomb of Tutankhamun. Still a mystery.

Tutankhamun became king when only a boy (‘boy king Tut’) and as mentioned above he was originally named Tutankhaten (‘the living image of Aten’). After the death of his father there was an uprising and the old gods were eventually reinstated. He reinstated Amun-Ra (fusion of the gods Amun ‘the hidden/invisible one’ and Ra the ‘sun god’) and changed his name to Tutankhamun (‘the living image of Amun’). There is a lot of debate around the identity of his mother but it is fairly certain that she would have been a close relation to Akhenaten (sister or cousin, maybe even Nefertiti?).

I hope that I am not boring everyone with history but I found it all fascinating (but also very confusing with all the name changes and the various gods worshipped at the time).

The sentiments were printed on a laser printer (copy paper) and foiled with gold sublimation foil using my laminator. I stamped over the background using Memories Ink and the Hiero Heaven stamp. I then scrunched up the paper and further aged with distress inks.

The background textured paper and sentiments were glued to the canvas using Easy Coat.

The card pillars were coated (back and front) with Black Powertex. Bister was used to add depth to my textured embellishments. I also mixed various Powercolor pigments into Ivory Powertex and rubbed over the top of the embellishments to give the effect of faded chalk paints.

Elements were glued in place using Powertex and a little Easy Structure for some of the more uneven textured pieces. A little Easy Structure paste was also applied with a palette knife for filling and more texture.

A little Ultramarine Powercolor was mixed with Ivory Powertex and painted into the crevices of the pillars. Gold Colortricx pigment mixed with Easy Varnish was dry brushed onto the surface ridges.

The busts were also coloured with gold varnish, applied fairly liberally for an opulent effect. Where I wanted areas of strong colour (blue, red, green) I applied a base of Ivory Powertex first and then painted over with coloured varnish. Black Powertex was painted into the eye area.


Materials: