EGA National Seminar 2021 Magnificent Stitch

It is a little bit late but I can’t not to tell you about EGA National Seminar 2021 Magnificent Stitch that was held at the beginning of last month.

First of all, it was my first EGA National Seminar I have ever attended. I have been EGA’s member on and off for last 8 years, and only this year I had an opportunity to finally be able to be a part of this huge stitching community and enjoy the inspiring work of many very talented stitchers.

For those who doesn’t know, EGA is Embroiderer’s Guild of America, the organization that deeply dedicated to needlework and where needle art lives (

It is not only that it was my first time attending this kind of seminar, it was first time exhibiting my own work there. I entered one of a kind Micro Petit Point Carpet Tree of Life into The Golden Needle Awards. The rug measures 7 5/8″ x 9″ with fringe. It is stitched on 56 count silk gauze with fine over dyed Tudor Gloriana silk floss, 89 colors, 93 skeins. Total of 180,600 tiny stitches, 468 ends form the fringes on 2 sides of the rug. It took 11 weeks and one day to stitch the miniature Tree of Life carpet, 7 days went for blocking, finishing he sides and fringing. This miniature carpet has a long story and may be one day I’ll tell you more about it.

Miniature Tree of Life carpet in 1/12th scale earned three ribbons: The Viewers’ Choice, The Judge’s Choice and 3rd place in Canvas Category.

Unfortunately, following the policy of the EGA Seminar, the pictures and videos to take was not allowed. That is why I won’t be able to spoil you with all eye candy images of tremendously gorgeous work that was presented at the Seminar, and you know what, even if I would have posted the images, they do not do justice of how detailed and amazing the displayed work was in the exhibition room. So, I was just playing with my camera taking the pictures of Chicago at night.

Don’t be upset! There is a way for you to enjoy the glimpse of what was exhibited at the seminar if you watch the videos that were recorded by Gary Parr and Beth Ellicott from Fiber Talks Here is the link following which you can find all videos about EGA National Seminar 2021 Magnificent Stitch (

I am thinking about my first experience at the EGA National Seminar with a big gratitude to everyone who liked my work and voted for it; to the teachers; and of course to the organizers of this wonderful event in the time that is not easy. I already can’t wait to join the fun at the next EGA National Seminar in New York next Fall.

Hope to see you there,

Natalia Frank

The Next Year of The jubilee is 2037

The main reason why I love reproducing antique samplers is that each sampler, doesn’t matter of its size, year, condition, or theme carries a story, a little piece of history. My work on reproducing a sampler starts with a careful research. I study the name, year, stitches, the verses and its source. Some times one is lucky, some times – no luck at all. This is what happened when I picked up this 1887 sampler by W Beckwith. Searching by name didn’t bring any results.

The late 19th century original sampler worked in wool on even weave gauze and is absolutely charming. The following verse is stitched in the upper section of the sampler:

There is a little narrow way

Which is so very strait

That few the Bible say are they

Who enter at the gate

and finished with the words at the bottom

The Year of Jubilee 1887

I am not a religious person, but I do have Faith. I have never heard about the year of the Jubilee. I was curious to read and learn more about what the year of the Jubilee is. The first thing I have learnt that the word “jubilee” is derived from the Hebrew word j o b e l and means “ram’s horn”, the horn which was used as a trumpet, whose sound indicated to everybody the beginning of the jubilee year. The book of Leviticus is the source that tells us of the significance of the year of the jubilee, which is at the end of seven weeks of years, the fiftieth year.

So why did this happen at the end of the fiftieth year? The Bible places special emphasis on the number 7.

After all, there are seven days in a week, and the seventh day is supposed to be the Sabbath, a day dedicated to rest and worship: 7 x 7 = 49 years.

So, after seven years of Sabbaths, we reach the 50th year. A year dedicated to rest, to restoration of property, and to freeing people from debts, servitude, and slavery. Everyone got to rest during this year and was able to start off the next year with a clean slate.

The next year of the Jubilee is 2037. Do you think it is possible to have the year of the Jubilee in the modern world? I am not sure I’ll be there, but definitely would love to see.

A reproduction of an antique sampler by W Beckwith, 1887 is stitched on 40 count Zweigart Newcastle Silvery Moon linen with Treenway Silks and Classic Colorworks Belle Soie silk.

141 x 131 stitches

The stitched area measures approx. 6 1/2″ x 6 1/2″

The middle section of the sampler is stitched with a central crown which has a heart above, a floral motif flanked by two birds to its left and right and W. Beckwith’s name beneath which has a heart on either side. The lower section of the sampler is stitched with a central floral motif which has a dog standing on each side followed by a fruit basket and tree, each fruit basket with a heart and crown above. The whole piece is then surrounded by a strawberry border.

 I wanted to have a miniature version of this absolutely little charming sampler in my collection and stitched it on 72 count silk gauze with my favorite Au Ver A Soie Surfine silk making some changes though in the design. The stitching area measures 1 1/2″ x 1 1/2″

Here are some pictures of the stitching process

Both patterns/kits could be purchased at

Happy stitching,

Natalia Frank


Meet An Artist Janet Patacca

Today I would like you to meet Janet Patacca, a talented miniaturist and a bear maker.

What are you specializing in?    

I specialize in needlework and embroidery which has expanded over my years in business.

What made you decide to focus on needlepoint in miniature? Did you know instantaneously that this was what you wanted to do (and do extraordinarily well), or did it develop over time? 

I have been doing needlepoint since I was a child.  I have always loved it.  In 1999 I quit my job to start my own business.  I do needlepoint on a printed canvas rather than working with a chart and counting.  I have never been able to see the holes in silk gauze.  So I designed my own line of needlepoint rugs that are worked on a 24-count printed canvas.  I needed to create my own designs to use in my own dollhouse.  I am one of the only people in the industry who works on a printed canvas.

Creating miniatures is a very niche form of art. How did you get started designing and creating your own patterns/miniatures? 

I think this answer is included in the question above.

What is the process of creating a new pattern or product? How much research goes into a pattern, and what inspires you to create a new one?  

Before starting my miniature needlepoint business I was an interior designer for 25 years.  During this time I saved patterns of rugs we worked with in real scale houses.  I like to interpret rugs that are in what I call “the real world”.  I use the same size as the original to keep the integrity and scale of the design.  Most of the time I also use the original colors, but also do a lot of custom color for clients.

What other forms (i.e., different fabrics, materials, needles, etc.) do you work with? 

After starting my business, I decided to expand my product line.  I now include machine embroidered rugs.  

Most of the embroidered designs are similar to my needlepoint designs but I machine embroider them which brings down the pricing of the end product. 

Although I am not able to stitch on silk gauze I am very intrigued with the scale of the stitches.  I then started buying old petit point and upholstering it on furniture.  Another way to expand the product line.

Do you feature your work at specific festivals or shows, competitions? What are those experiences like? 

I have enjoyed participating in many Dollhouse Miniature Shows around the country.  This gives me great exposure to lots of miniatures and new clients.

How are you preparing for the shows? 

I am trying to make as much new product as possible to make the table look fresh.

Can we see your studio? 

Probably not a good idea as the place always looks like someone has blown up in it.

If someone is just starting out with needlework in miniature and thinking about creating miniatures, how and what would you advise them? 

I have been approached several times by people that want to work on one of my needlepoint rug kits that has never done needlepoint before.  My first question is, “have you ever done cross stitch?”  If they have, I relax a little.  That is an easy transition, half the stitches and lean one way.  If they have never stitched before I always ask if they have a friend who could help them, or a needlepoint shop in their town.  Although needlepoint is easy to learn I like to guide people or have them go to someone with questions, the first time out.

Who/What are your biggest influences?  

Back in the early 80’s I entered into the interior design world.  I got to manage a wholesale fabric & furniture showroom.  The owner of the showroom was one of the most famous interior designer of that time, Angelo Donghia.  He did design work for Ralph Lauren.  His style and creativity took me on the path that I am on today.

What keeps you up at night? 

Nothing.  I am a good sleeper.

How would you describe your current project to someone at a dinner party that is never heard of you and your work?    

I have had to do this many times.  I first explain that I am a needlework designer.  Most people understand what needlework is.  Then I explain further that there is a large miniature dollhouse world and I design needlepoint rugs for dollhouse.  They get a little lost but other people explain to me what they do and sometimes I don’t get it, so it’s OK.

Where do you get an inspiration for your ideas from?   

Other’s projects, magazines and pages I have saved along the way.

What does your Artwork represent? Does your Artwork represent something about you?    

 My designs show that I have a preference for more things traditional than contemporary.

What/How did you have to develop, try, or learn to create your Artwork?  

I use a cross stitch design program.  It gives me pixels to work with and I able to see every detail needed to make the design.  Everything I design is done stitch by stitch.

What gives you the most joy?    

Working on a stitching project whether miniature or real size.  Really traveling but the needlepoint is something I can do every day.

Is there anything you dislike about your Artwork?       

Sometimes I design things that I don’t love but I also have to be open to know that it will work for other’s interior projects.

Professionally, what is your goal? 

I think my major goals in life have been achieved and now I do my work for the pleasure.

What is one thing you are not getting credit for that you absolutely should? Is there such thing?  

 I am not getting credit for the scale I use to make my designs.  I have been told too many times that good miniature design are always done on silk gauze.  Sorry, I disagree.  Some people, like myself cannot work that small.  When you look in the real design world, every flower or design used in interior design is not tiny, tiny, tiny.  There are different sized elements used for different projects and I have done very well with all my designs in the scale I work.

What is the best thing about being an artist? 

Your time is your own.

What is your strongest memory of your childhood? 

That is a real hard one.  I have lots of good memories, coloring in a coloring book with my dad.  Going on a 2 week vacation every summer.  Having 5 siblings.

What is your favorite dish/recipe/food? 

I like anything with sugar.

Who/What does challenge you? What is challenge for you? 

Sometimes I work on a design and I think I will never get it to my satisfaction.  Time and patience will get you there.  You need to walk away and come back fresh to see that elements are not quite working yet.  Also asking a friend to take a look will open your eyes to things you had not seen.

– Favorite or most inspirational place? 

Traveling in Europe and going to art museums.

Do you listen to music when you are working on a project? If yes, what are you listening to?  

 No, I am a TV gal.  It keeps me company and I do not have to really watch it, mostly I listen.  I also like book on tape.

Where does your support come from when you “hit a wall”? 

If I hit a wall, I talk to my partner to break my own thought process.  I also look on line and though magazines for inspiration.

What are you most proud of to date? 

Although I work in miniature most of the time, I also design real size needlepoint for museum stores.  I interpret artwork in their collection into needlepoint point kits for glass cases, coasters, eyeglass cases and pillow fronts.  My biggest accomplishments was the collection I did for the White House Historical Association, the gift shops for the White House.  I made thousands of kits over a 10 year period.  I also did a large collection for the gift shop of the Capital Building.

If you were completely start over again, what would you do differently?

If I had to start over, I think I would do the same thing.  I have had a great career and a good life.  My interior design background brought me to miniatures.  Life is good. 

About the bears.


I started making bears about 3 years ago.  I have always loved bears and collect bears, most are not miniature.  It all started with a needlepoint friend who had a bear pattern for needlepoint.  She helped me figure out what kind of stitch should go in each section of the body as I wanted him to be very textured.

I entered him into the Maryland State Fair and won First price. 

I have some friends who had their mother’s old mink coats and asked me to make memory bears.  So now I was off and running.  I have made lots of bears along the way.


Some people even send old shirts or skirts and I then dress the bear.


I make the head and paws out of fur and the rest of the bear is made from the article of clothing they give me.  It’s hard work but it’s great fun.

Natalia Frank

Petit Point. What Is It?

You are always a student, never a master

My knowledge of Petit Point is not built on googling the terms from different sources on-line, especially those that do not relate to needlework at all. My knowledge is based on researching, reading old needlework, embroidery books, visiting the museums, observing the items, studying the stitches, collecting antique and vintage textile.

Holding a degree in Linguistics, proper terminology is essential for me. I think it is important to learn to talk clearly when it comes to any terminology, needlework is not an exception. Let us say simpler:  different terminology means different things.

You might ask me WHY?

Undoubtedly, proper terminology helps to fully understand specific topics.

It helps people to communicate more efficiently.

It increases clarity of the topic of conversation.

It stops from bringing false statements about a subject of discussion.

For a long time, since the 16th century, Petit Point has been identified as a separate type of Needlework. Many historic needlework pieces are done in Petit Point.

I do not know any other types of needlework that has so many controversial opinions than Petit Point.

People are giving different definitions to Petit Point, its stitches, ground fabric and use.

The art of Petit Point is sometimes wrongly referred to as Needlepoint. Someone calls it Embroidery, someone says that Petit Point is Needlepoint, someone simply refer Petit Point to small stitches of needlepoint. Another opinion is that Petit Point could be done only on silk gauze and it is another wrong statement; or that Petit Point is used only for stitching miniature pillows, carpets, etc. for a doll house. Petit Point is not a name of a stitch either, as many are confused.

So, what is Petit Point?

Petit Point is one of the types of counted needlework.


Needlework term covers counted thread (needlepoint, petit point, cross stitch, black work, etc.), and surface embroidery techniques (for instance, stumpwork, ribbon work, bead work, crewelwork, needle painting, etc.). 

Then what is the difference between Needlepoint and Petit Point?, you will ask me.

Let me tell you it is not a type of canvas that determines a type of needlework.

It is the stitches and techniques that tell us what type of work it is.

The difference between Needlepoint and Petit Point lays in stitches that are used in these 2 related to each other but different types of needlework.

Needlepoint is the common name for the technique of covering a canvas ground with counted or decorative stitches. Therefore, there is a counted needlepoint and needlepoint on canvas.

The counted technique is also used in Petit Point. However, historically correct to say that Petit Point is done with Tent Continental stitch, a stitch that belongs to the family of Tent stitches (Basketweave, also called Tent Diagonal; Tent Continental; and Half Cross Stitch), stitches that are used in Needlepoint as well.

All confusion arises when it comes to the family of Tent stitches now.

The family of Tent stitches are:

Basketweave stitch (also referred to as Tent Diagonal)

Tent Continental stitch

Half Cross Stitch

All 3 stitches look the same on the surface ground,

but due to the different techniques they are executed, the backside of a stitched piece with a different stitch from the Family of Tent stitches does look different.

Now let us go back to terminology. Why is the group of these stitches called “Tent”?

It derives its name from the old word “tenture”, or “tenter”, the frame on which the material was stretched.

Why is Basketweave stitch called so?

Basketweave stitch is called so, because due to its technique and a stitch executed diagonally, the backside of a stitched piece with basketweave stitch resembles a woven basket.

Why is a Tent stitch for Petit Point given Continental name? Based on entomology of an old French word continent (adj.) the word “continental” referring to a needlework stitch means “holding together, continuous” due to the technique of a Tent Continental stitch when a stitch is taken across the intersection of each warp and weft thread on canvas (that is different from executing a half cross stitch). In this way of laying the stitches the closest rows of small stitches thus formed conceal completely material and produce short slanted stitches on the surface and long slanted stitches on the back side.

Happy petit pointing!


I Don’t Do Mondays…

How many times through my life I have heard this expression! Today like never before I feel the true meaning of it. Today I am completely lost. I have not touched a needle, I have not opened a book, I have not been outside… I can blame it on over stitching last week, on the weather that brings humidity that makes hard to enjoy being outside, on the fact that I am out of my favorite coffee! I am glad this unproductive day is almost over…

Sitting comfortably in my chair, I am going through “the pages” of the very talented stitchers on the Some of these people are not with us anymore and it is a wonderful way to remember them and their little masterpieces. Just look at this miniature Gold work (Daphne’s quilt) by Daphne Turner.

King Charles Spaniel by Juliet Blake, original design from a Staffordshire pottery stitched on 140 count silk gauze. The dog measures just 2cm (13/16″) high. I have 136 count silk gauze and have never heard or seen of anything higher than that.

Floral design on a red circle ground by Eric Burke, stitched on 112 count silk gauze, actual size: 3.2cm (1 1/4″) diam.

Quilt by Dora Lockyer, Hexagonal patchwork quilt

1/8th. inch hexagons, 1/12th scale

I find their work very inspiring and on this note I will end my Monday today.

I wish a wonderful and creative the rest of week to everyone!


Manage your Attention, not your Time

or, my new organizational strategy.

I admire people who are strong enough to stick to one project till it is finished. It is different in my little world of consciousness. I must try each idea that comes across my mind RIGHT NOW! This is how I do accumulate the projects that are screaming at me due to me missing a color and waiting for it to arrive, giving attention, and spending more time on a new design, or being busy with real life issues. 

Due to some personal reasons, I took time off to regain the energy for my obsession with Petit Point and other needlework. It is a fact that I have a lot of projects have been started and have not been finished. Particularly there are about 20 framed projects that need my attention. They include Petit Point, Cross Stitch, Goldwork. I have put a lot of thoughts into organizing all stitching projects giving a priority to the most important. I have searched on Google different ideas other stitchers are sharing on how to catch up with all UFO’s and concluded that none of them are working for me to reach my goal.

The expression “Manage your attention, not your time” makes more sense for me. Know your priorities, right?

I put on the list 16 prioritized designs that need my urgent attention and must be finished within a year. You can see them all below

Four of them, marked in red, are the ones that I am planning to work daily on, excluding the weekends.

Another four in green are smaller works and I am thinking about devoting an hour to each daily.

Those on the list in blue color are on a “waiting list” and each of them will be merged to the list above in green as soon as any project on the green list will be finished.

It means that each week this ladder will be changed with finished projects moving out of the list. I am exceptionally good at planning than at following the plan. However, at the end of the month, I will gladly report about how productive I will be and if this system works for me.

Happy new creative week to you!


House on the Rocks, WI Part 2

The display model of Buckingham Palace was created by a British architect for the coronation of Queen Elizabeth 2 in February 1952.

The tour of the House on the Rock took more than 3 hours. It was worth to see the World’s largest Carousel in history. It contains over 20,000 lights, 182 chandeliers, 269 animals on the carousel. The carousel is 80 feet wide, 35 feet tall, weights 36 tons and was premiered on Easter 1981, and there is NOT one horse on the carousel. The carousel was moving and it was impossible to take a nice static picture, :).

Full size sleighs, it is one of them

There was another carousel-display with hundreds of dolls.

In 1979 President Jimmy Carter and his family cruised on the upper Mississippi aboard the steamboat Delta Queen. They travelled south from St. Paul, Minnesota so St. Louis stopping along the way to greet the crowds who lined the banks. While in Dubuque, Iowa the President signed this model of the Delta Queen.

There is still much more to show left, but I encourage you to visit this place if you are in the area.

House on the Rocks, WI Part 1

Visiting the House on the Rocks, Wisconsin was an amazing, one of a kind and at the same time overwhelming experience.

It all began in 1940s when Alex Jordan returned to Deer Shelter Rock where he had picnicked with his family years before. Over the years, he dreamed of creating a wonderful house, an artist’s refuge where he could pursue his interests in music, literature, and sculpture. What took shape on and around the Deer Shelter Rock is a truly remarkable achievement.

He couldn’t keep his retreat secret for long and in 1960 he gave in to public demand and opened the House to visitors. Soon this man-made wonder became the most popular attraction.

The House has a massive collection of music boxes, the World’s Largest Carousel, The Secrets of Yesterday (a recreation of a 19th century American street), the mysterious Organ room, guns, armor, lamps… and of course, dollhouses.

In the late 1970’s Alex Jordan bought his first collectible dollhouse.

After he realized that buying a few dollhouses was not going to be enough if he wanted to build a world-class collection. He hired a staff headed by Virginia Reynolds for this project and soon dollhouses of every shape and description were being created in the workshop.

Alex visited the workshop every day and took a special interest in the design, building, and installation of each house. The houses are designed to represent early American style through the first part of the 20th century. The collection also includes a series of small shops and even a gas station in miniature. The work lasted years and filled the workshop to the rafters. The Jordan’s dollhouse collection contains more than 250 structures. To my huge regret it was not possible to see the interior of each house due to how they are displayed, also the pictures do not make justice because of the lack of lighting. Enjoy it!

This house is a replica of the Grunow Estate Lake Geneva Home. It is made to 1/12th scale and is 4,5 feet high, 12,5 feet long and 5 feet wide. The house weighs more than 800 pounds and took more than a year to complete.

meet an artist annelies de kort

Today in the series MEET AN ARTIST I would like to introduce Annelies De Kort to you.

Meet an Artist. Annelies de Kort

– What are you specializing in?

My specialization is bobbin lace, knitting and embroidery. But I also do crochet, macramé, sewing, etc.

– What made you decide to focus on Needlework in miniature? Did you know instantaneously that this was what you wanted to do (and do extraordinarily well), or did it develop over time?

As long as I can remember I did needlework and all kind of other crafts. And I always was attracted by little things and tried to make everything as small as I could. Not because I wanted them in a dolls house but just for fun.

– Creating miniatures is a very niche form of art. How did you get started designing and creating your own patterns/miniatures?

I started as a bobbin lace maker. There are a lot of different kind of laces. I studied most of them and always made my own patterns. Making patterns is what I love to do. One day I thought: I made so many patterns, what will I do with them? Then I started to make them as small as I could. I did that for 2 years, every day about 5 hours. And because of all the practice I managed to do it smaller and smaller. I used old linen thread I had bought in Bruges (Belgium). It was as fine as Egyptian cotton # 450. As thin as a hair. After I made a lot of lace, I wanted to put it in a shop like I had seen in Bruges. A friend of mine said: “You’d better make it in 1/12 scale”. That is the dollhouse scale. That seemed to me a good advice and that is what I did. And after that I discovered the miniature fairs and shops and so on. I did not know it existed beforehand.

– What is the process of creating a new pattern or product? How much research goes into a pattern, and what inspires you to create a new one?

Sometimes I just have an idea and make it. Sometimes I make things in miniature I once made full size (like the jumpers of my children). But if I make a Norwegian or a Fair Isle jumper or cardigan then I start to look in books and magazines etc., because I like to make them as authentic as I can. The same as I make something from a certain period. Then I start with looking in my costume books first.
Or when I am in a museum and see a piece I love to make in miniature. Then I make lots of pictures. I did that when I made embroidery patterns. I have made a cabinet with embroidered doors and sides from the 17th century. I saw them in The Rijksmuseum in Amsterdam. And I made 2 wall hangings after the full-size wall hangings I saw in the Burrell collection in Glasgow.

 – What other forms (i.e., different fabrics, materials, needles, etc.) do you work with?

I did needlework and crafts as long as I can remember. I have so many materials and fabrics. I like to use them all. I like to work with wood too. I am not so good at it, but I love doing it.

And I loved to make films. Here on you tube you can see what I made:

– Do you feature your work at specific festivals or shows, competitions? What are those experiences like?

My work has been in several museums in The Netherlands. The little lace shop with over 200 pieces of handmade bobbin lace has been in museums in The Netherlands, Belgium, Germany, Spain and France.

I go to fairs in The Netherlands, Germany ( Rheda) and England (Kensington). In 2020 I entered my work in PIMA for the first time.

– How are you preparing for the shows?

I knit a lot of miniatures, I have all my patterns and pattern books, and most of the time all my yarns and materials (but not in Kensington).

– Can we see your studio? 

No, not really. But there are a few times a year when I hold workshops in our house. Then the students can see my work.

– If someone is just starting out with Needlework in miniature and thinking about creating miniatures, how and what would you advise them?

I would advise to start with an easy pattern, especially when they start miniature knitting.

– What is the best piece of advice you’ve been given?

My needlework teacher at school always looked at the back of my work first. I hated that. She always said: “You are so creative; I know the front looks good. But what about the back?”

– What advice would you give to your younger self?

Be proud of what you make. Don’t take your talent for granted.

– Who/What are your biggest influences?

I love to go to a museum. Museums and architecture inspire me a lot.

– How have other artists/designers/miniaturists or art genres have influenced your sense of creativity?

I love the Arts and Crafts and I love folk art. In periods I love the Middle ages, The twenties and the sixties of the last century.

– What keeps you up at night?

All my ideas. I have more than I will ever be able to make.

– How would you describe your current project to someone at a dinner party that is never heard of you and your work?

That is so difficult. I normally do not talk about it.

– What does your Artwork represent? Does your Artwork represent something about you?

I cannot tell. There are so many things I like to do. I made miniature books as well with my own stories. I love to write fantasy stories. For years I made patterns for the Dutch miniature magazine.

– What/How did you have to develop, try, or learn to create your Artwork?

 Most things I learned by experience. And by throwing away and start again before I am satisfied.

– What does your Art mean to you? 

I could not live without it because my head keeps given me ideas. It never stops.

What gives you the most joy?

When a pattern which took me a long time to make, turns out to be as beautiful as I hoped it would.

– Is there anything you dislike about your Artwork? 

Things I don’t like I never show to anyone.

– Professionally, what is your goal?

To go on as long as I can.

– What is/are your weakness/es?

I am very disorganised. My room is a mess and I spend lot of time looking for things. And I do not always reply my emails, especially when I am in the middle of creating new patterns.

– What is one thing you are not getting credit for that you absolutely should? Is there such thing? 

Most of the people do not realize that I design all my patterns. When they buy a jumper, they often think it is from a book. They do not realize it is unique.

– What is the best thing about being an artist?

That you have no boundaries or restrictions in your designs.

– What is your strongest memory of your childhood?

 I had a great childhood.

– What is your favorite dish/recipe/food?

I love baking, cakes, and biscuits. I make my own bread.

– What superpower would you have and why?

I don’t know. I don’t think I like to have superpower.

– Who/What does challenge you? What is challenge for you?

I love challenges. Making an entry for PIMA was a challenge for me.

– What is your dream project? 

The things I do because I can do whatever I like. During COVID I made an Animal Home. I wanted to do that for many years but never found the time to do it. During Covid I suddenly had time and I loved it. I even made a whole story about it and its inhabitants.

– Favorite or most inspirational place? 

I loved Florence in Italy.

– Do you listen to music when you are working on a project? If yes, what are you listening to? 

When designing I often listen to an opera.

– What are you most proud of to date? 

My Bobbin Lace shop is of museum quality. I often think it is a pity that it is here in my room and not in a museum or in a place where more people can enjoy it.

– If you were completely start over again, what would you do differently? 

I regret that I have not became an IGMA artisan. I always was so busy making and designing miniatures that I did not take the time to do so. Now that I am 70 years old, I think I should have done that.

My new web shop is :
My website is:   This website works the best in Explorer.
Facebook: Annelies de Kort-Miniaturen

April Installment SAL 2021

Here is my stitching progress on Stitch-A-Long 2021 Colorful Amalgam. The pattern for an April Installment (as other installments as well) could be found HERE.

I am using 48 count silk gauze and stitching this rug with over dyed Gloriana silk floss. I am spending minimum an hour daily on this carpet since I have other projects on my hands that requires more time.

I think that these squares stitched separately could make nice pillows, especially if stitched on 56 count silk gauze. Being stitched on 48 count the size of each square measures 1 1/2″ and on 56 count as pillows they will look even better. I would use Tudor Gloriana silk floss for the pillows. Hopefully, I’ll have enough time and desire to finish these 9 pillows (there will be 9 squares in the carpet).

Happy stitching!

Natalia Frank