Saturday, February 26, 2011


Today I put together my footstool using the piece I stitched with Trellis stitches.
1. For the foundation I picked up DMC Medica Wool Vanilla color, 1 strand, executed in the satin technique.
2. For the diagonal trellis I used 1 strand of red silk that were executed in the satin stitch as well.
3. For secondary trellis I used single strand of Crinkle (2 vertical rows separated by 4 vertical rows of Medica wool)
4. Intersections of both trellis were tied with 4 strands of Green Guterman Silk.
I used 40 count silk gauze for easy counting. I am very positive you can use fine silk. As for me, I don't like to draw on fabric.

Saturday, February 19, 2011


Today was a busy day. I tried to adapt a new stitch in mini needlework - trellis stitch. I finish a settee cover but since I haven't put the settee together yet, I can show one stitched part. It was stitched on 40 count silk gauze using DMC Medica wool, Guterman silk, Japanese Gold Metallic Thread. Here are the steps of completion:

Friday, February 18, 2011


Did you know that tomorrow,February 19th, is a Chocolate Mint Day?

Chocolate Mint Day celebrates anything and everything that is chocolate mint flavored. The most common chocolate mint treats are ice cream, candies, and desserts. Not everyone likes chocolate mint, this day is for those who do love it.
For Chocolate Mint lovers, this is truely a great day. Whether its candies, ice cream or desserts, make sure to get your fill of Chocolate Mint.

Here is some ideas how to celebrate Chocolate Mint Day:

... and the recipe for Creamy Chocolate Mint Cheesecake. Let me know if it is tasty!



My plan for February was to work on the project started a while ago. Yesterday I finished my Kilim. The tabby weave was completed, I fringed the rug, blocked it, and put together. Sorry for poor pictures. Actually this rug is an example of how different stitches can effect, or ruin, the whole project. The background in the middle of of a rug was stitched using basketweave and overdied thread, and as you can see the lines were lining up diagonally and not horizontally as the up and bottom of the rug show. The rug was stitched on 40 count silk gauze with overdied thread.

Saturday, February 12, 2011


I put together slippers that I stitched in January. Here they are for your judgement:

Wednesday, February 9, 2011


I couldn't not to try my new scroll saw for making furniture in 1:12 scale. Here is a little fretwork shelf. I used 1/16 Mahogany for it. It is not stained and finished yet. More mini fretwork furniture is coming...

Monday, February 7, 2011


You remember this commercial? HE WENT TO JARED...OOO! HE BOUGHT A DIAMOND RING!
Today in the morning I got my early St. Valentine's present! OOO! HE WENT TO WOODCRAFT STORE! HERE IS MY BEAUTY, MY DIAMOND:
DeWalt Scroll Saw

I am soooo happy! I finally can start my projects using my new sawing machine (get it: "sewing"-"sawing" machine?): one of them is My Unique Dream Dollhouse.
Please, join me at
I want to build a Dollhouse in Gothic style and it requires a lot of fret work that I can do now.
I started another new blog today ME, MYSELF AND SCROLL SAW where I will post the stories about real size projects and mini projects. You are welcome to join it here:

I know, I know: so many projects, so many blogs. I will try to be on the top of each of them! Thank you for your following and your interest in my work.

As for a Woodcraft store, we are lucky to have it in Spokane, WA. It is a fabulous store that is owned by a retired couple. I attended a couple of classes there and very happy with what I've learnt.
Another one is located in Seattle and I can't drive there too often.

Sunday, February 6, 2011


Susan asked: "Do you think it is ok to stitch a pattern meant for #22 on a #49 carpet?"
There is a formula that allows you to count the size of a complete project if you wish to chose different count of fabric to stitch. For example, another pattern from "Making Miniature Chinese Rugs and Carpets" by Carol Phillipson.
Dragon Pillar Rug
Stitch count 103 x 165 stitches and it calls for 22 count canvas
In order to figure out if you can stitch this rug on 40 or 49 count (or any other counts) you need divide 103/40(count) and 165/40 (count). It gives us:
103/40 x 165/40 = 2.6" x 4.1" - the size of a completed rug if you stitch it on 40 count.
So, my answer will be: yes, you can stitch on 40 count (I am not sure about 49) if you need that size of a rug.
I found this book available on

and from $6.00 to $10.00

Good Luck, Susan!

Saturday, February 5, 2011


Last 5 days I have been working on my CHINESE NINGHSIA RUG. I want to remind that the design is based on a Real Size Antique Chinese Ningshia (there are different ways to spell this word) rug dated late 19th century, that I found on e-bay. I didn't buy the rug, the price was toooo high for me - $$8,000.00 but I charted and adopted it for 1:12 scale while the rug was listed for an auction. I started stitching it last September and today I finally put a last stitch on background. If you think I am done with it you are wrong. Now it is time to start a swastika (Chinese fret) border-killer around the rug. I have made so far 48,750 stitches. The actual size of this rug will be 5" x 7.5" ". Stitched on 49 count silk gauze with Gutterman silk, only 3 colors.

If you are looking for a design of a Chinese rug to stitch, I will advise you to find "Making Miniature Chinese Rugs and Carpets" by Carol Phillipson.

There are 24 designs of Chinese rugs in the book. All of them were designed to stitch on 22 count canvas. For example, this Silk Dragon Carpet. The design illustrates dragons chasing a pearl among the clouds. The border depicts waves, calm water and mountains.

Thursday, February 3, 2011


The embroidery of the northern and central provinces of Russia in the 18th and 19th centuries shows development in the treatment of traditional motifs. Many different materials and techniques were employed.
Women's headdresses and garments were lavishly worked with seed pearls, couched gold thread, colored foil sequins and the like. The patterns of gold embroidery were outlined with raised stitches for clearer definition.
Picture 1. Top of kokoshnik headdress, Moscow Province, second half of 18th c.:

Picture 2. Kokoshnik headdress, Moscow Province, early 19th c.:

Picture 3. Back of kokoshnik headdress, Central Russia, late 18th c.:

Picture 4. Merchant's wife in a kokoshnik headdress, 1796:

Picture 5.Well-to-do peasant woman in a kokoshnik headdress, first half of 19th c

Picture 6. Merchant's wife in a kokoshnik headdress, first half of 19th c

Picture 7. Merchant's wife in a kokoshnik headdress, 19th c.:

The headdress and ornaments worn by peasant women in the northern provinces of Russia were worked with pearls, mother-of-pearl, colored glass beads, semi-precious stones and other materials.
Picture 8. Pearl-embroidered headdress of unmarried peasant girl, Vologda Province, early 19th c.:

Picture 9. Pearl-embroidered women's headdresses, Tver Province, late 18th or early 19th cc.:

The popularity of pearl embroidery in Russia is explained by the ready supply of cheap Russian seed pearls. The most highly valued Oriental pearls were available only for well-to-do peasants and townswomen.

Wednesday, February 2, 2011


A large group of decorative shirinka towels (ceremonial towels or kerchiefs) is luxuriously worked with gold and silver thread, colored silks and pearls, and is trimmed with lace.Their ornamentation consists of a repeat motif in the bordering panels, with trailing stems and blossoms, fabulous birds and beasts, and netted fillings, the main motif being a wavy stem carrying symmetrical foliate and floral scrolls. Double-sided stitches are used, so that both surfaces of the embroidery appear alike. The shirinka towels are square, and are usually trimmed with deep fringes of silk and gold threads.

Picture 1. Ceremonial shirinka towel, 17th century

A man's shirt of finest linen is a good example of embroidered garments of the late 17th century. The lyre-shapes and scroll patterns along the slits are an ancient device for protection against evil, survivals from pre-Christian times.

Picture. 2 Man's shirt, 17th century

Tuesday, February 1, 2011


Many of the finest large embroideries in Russia were produced in the late 15th and early 16th centuries. In the 16th century, backgrounds became more complex, and more use was made of gold and silver thread. As the metal was apt to tear the stuff, it became customary to couch the thread along the fabric, stitching it into place with coloured silks.

Much work of this type was done in palace sewing-rooms and in those which had been established in the households of prominent boyars. Sometimes jems were added, when the embroidery simulated metal-filigree work. Pearl embroidery also became extremely admired by Tsar Boris Godunov (c. 1552-1605). He commissioned several panels as gifts to the Trinity Sergius Monastery near Zagorsk, where they remain to the present day. Since woven patterned fabrics were still extremely expensive and in short supply, plain stuffs were often embroidered to imitate those which were imported.

Picture 1: Sleeve-band detail embroidered with gold and silver thread, late 16th or early 17th century

Picture 2: Detail of yoke of phelonion embroidered with gold and silver thread, late 16th or early 17th century

By the 17th century much excellent embroidery was being produced in the major regional capitals, but it was in workshops which the Stroganovs ( established at Solvychegodsk that much if the best work was done.

Picture 3: Icon with figures of Saints Zosima and Savvaty. From the sewing-rooms of the Stroganovs, Solvychegodsk, second half of 17th century

The magnificent panels of ecclesiastical vestments were worked with both Oriental and seed pearls, jewels and gold spangles. Pearl embroidery was combined not only with gold plaques

Picture 4: Pearl-embroidered yoke of phelonion, 15th century

but also with jewels, coloured glass beads, gold studs, spangles and heavy bullion.

Picture 5: Pearl-embroidered yoke of ecclesiastical vestment, late 17th or early 18th century

Picture 6: Pearl-embroidered yoke of ecclesiastical vestment, late 17th or early 18th century

Picture 7: Pearl-embroidered edging of liturgical cuffs, late 17th or early 18th century

The costumes of Russian nobility, too, were worked with gold thread and fine coloures silks, and had seed pearl sewn on the edgings. The designs include combinations of motifs derived from the Near East, and a large repertory of traditional Russian patterns which represent a totally independent ornamental style, developed in Russia during the 16th and 17th centuries.
Floral motifs and beasts, such as the panther or lion, appear together with such fabulous creatures as the Sirin, a bird with the head of a woman, and a griffin:

Much of the decoration has symbolic meaning. Some motifs were originally amulets, protecting against evil - ram's horns, certain birds, the sun, the 8-pointed star. The Tree of Life in various forms symbolized the axis mundi, or creative center of the universe; the peacock was a Byzantine symbol of the Resurrection; the unicorn is a symbol of purity; the dragon represented fertilizing power; the griffin was a mythological creature with a lion's body and an eagle's head and wings; the Sirin-bird also represented the favorable aspected heavenly bodies.
Favorite floral motifs are roses, carnations and tulips. Stylized flowers and fabulous beasts are often combined with Cross or the Tree of Life.

( be continued...)


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