Dear Reader,
I share here what I like and what works for me. If you've been following me, you know that I can change my mind from time to time, and feel free to comment that I'm completely wrong, you may be right. I'm not running a business. I'm not paid and have never received any compensation or facilitation for any review/brand/site here mentioned. In case one day we'll ever meet, I'll be the one offering you a cup of Italian coffee, too.

Wednesday, 20 January 2021

testing with grace

I've been test tatting another pattern for the "Endrucks 1920 Project".

That is a community project, we welcome you to join in! Please let us known where we can find your renditions and derivative tatting! We all enjoy sharing and the project is waiting every one of you! 

All infos and links are in the Endrucks 1920 Project Document, here:

I tried the pattern number 43, that has been already tatted by Maria Grazia, a friend from the Italian tatting group in Facebook, you can see her tatting in the Endrucks 1920 Project Document. "Grazia" is "grace" so I'd the idea to title this post like that! Also grace means elegance, that is what I think looking at this lovely pattern.

I started from the original diagram and stitch count. But I changed the starting point, in fact in the original, the edging starts with a chain in the point indicated by the white arrows. In this way, also the direction of the two chains under the big rings changes (they will face opposite direction and not the same direction as in block tatting).

 That in next picture it is the original diagram from the 1920 book:

It was my intention to draw it again and put it in Flickr, in time for this post, but lately I had little time. I hope to do it in a week, then I will put the link here too.

UPDATE: link to the drawing in Flickr:

The pattern asks to tat the inner part of the scallop with the block tatting with rings, then two "back and forward" chains follow  that trim the rings. That remembered me some old crochet patterns, a very clever escamotage to have an high border in only one pass.

At my first try, I followed the original instruction, joining a normal picot on the starting chain, but when you join in that way, you are forced to bend the picot, to put it on the same side of the double line of chains. I bent it on the back.

Maybe, that is a point where a face inward picot could be useful. Then, in the next repetition I wanted to try my idea. I like it better, but it's just a matter of personal preferences. I think that sometimes I'm too meticulous!

In the original, all chains face in the same direction, as in block tatting. But those chains are detached two by two, then they can be tatted facing opposite direction, as we normally do in a simple rings and chains pattern (that is how Maria Grazia tatted it in her sample). I tried both versions.


Another point to put on evidence is related to tatting tension. In the original, all surrounding chains are 6ds, then the big rings between scallops are all 8ds between joins or picots, look at the picture on the left:

I tat very tight, in spite of that I had to reduce the stitch count for the big ring in the section that has to be joined to the scallop. I like it better, and I noticed that the big rings are a wee bit out of shape also in the original picture. IMHO that was a designing solution to simplify the pattern, maybe they thought all the same stitch count between picots is simpler to memorise and in general, tension on rings is tighter than on chains.

Then, A and B in the next picture, are the points that I would change in respect to the original, if I'll tat this pattern again.

There's still space for another tip from my side, if you like. The two points where the scallop joins the big ring, they are the same points where at the same time you need to lock join the chain of previous round (that is like in block tatting).

I found easier to first do the lock join and after that, do the normal join to the ring.

I hope that you like this project like me, because I want to try more patterns from this old book. 

If you wish to participate at any stage, you can leave a comment here, or in Muskaan's blog ( or contact us on Facebook ( and



Wednesday, 13 January 2021

AOSJ for adding beads in split ring

Vintage patterns have always something to teach. I learned this join when tatting a pattern from 1923!

I love playing with techniques, just like in a jigsaw puzzle where pieces are all mixed up till someone puts one next to another and they perfectly match. Plus, there are many ways to do the same thing, we are spoiled for choice! 

This time I'd like sharing one more way to put a bead in a split ring, I adjusted the method that I explained here: Anne Orr's Slip Join (AOSJ) – pics 43 & 44

bracelets with beads put inside split rings with the AOSJ

Look at next pictures, follow the sequence of steps from left to right and up to down. Split rings are 10ds on both sides (red and yellow thread), that is: 10ds on the normal stitch side, then 10ds on the reversed stitch side.

I started the split ring. Then the side with normal stitches temporarily stops at the middle point (I tatted 5ds) and I tatted half of the second side (5rs, reverse order). 

At this point I added the bead, in this way: on the second side of the split ring, make the second half stitch unflipped (first pic on the upper left), pick a bead and put it on the loop formed by the leg of that half stitch.

(That is very similar to what I shared for normal rings in one drawing here: , but in that case the loop is joined to the core thread in a different way)

Then, I passed the core shuttle thread through the loop pulled from the bead, then I continued with the rest of the first side of the split ring. In that way the shuttle’s thread is trapped into the loop coming from the bead, but it is still free to slide.

Then look at the upper right picture of previous collage: pulling (not too tight) the second shuttle thread (yellow), the loop inside the bead disappears and you see from the other 2 pictures that I resumed the second side of the split ring and tatted the remaining stitches. 

Close the split ring and that's all.

I added one bead, but with the same method you can add many beads as you like, for example in the next pic I added 3 little beads. Of course, the stitch count in the split ring should be right to fit the size of the bead or the number of little beads you choose.

There isn't any difference between front and back: 
I hope that you like the AOSJ and I think that it has a lot of potential, still to be discovered.



Thursday, 7 January 2021

short december summary

Happy New Year! My last post was on the first day of December, so I owe you a little summary. Actually, I haven't tatted a lot, but I accomplished to finish one of my long term projects, that is the dining room box.

Sorry that the edging in the next picture is not very clear, because the thread is a light pink glued on a light grey frame. The pattern is the #30 in the "Schiffchen-Spitzen" book, by Eleonore Endrucks, from 1920, if you like, I have better pictures in one of my previous posts (

I had a lot of fun changing the chairs with a new fabric. The furniture is plastic stuff, except for the console table on the left, that is wood.
I folded some fabric for the cupboard and used the hot glue to fix all elements. I tatted two short edgings (rings only, all 3-3-3-3 rings) for the shelves.
The small "doilies" on the console table are snowflakes designed by Sharon Briggs (
(Well, an update for this post: actually I think that one is by Sharon Briggs and the other one is by Lene Bjorn)
The chandelier has been handmade by my aunt, with bugle beads and glass beads. The rosette in the ceiling is the tatted white motif with Venetian picots, that you can see in one of my old posts, here:
For the doily on the table, I started like in the Anne Orr's baby bootie, but then I made the rest up, finishing with the "hen and chicks" traditional edging. I made an error in the pattern, in the count of the number of rings, but I'm lucky that Mr Downplay was here visiting for the holidays. He is always nice and indulgent! In fact at the end I missed a ring, but the doily is so little that the mistake is not evident, I bet that you wouldn't have noticed it if I hadn't mentioned. So, that will be our secret!
Thread for the all the lace in the room is twisted silk, produced by "Tecnoseta srl". I've talked about the silk here:



Tuesday, 1 December 2020


It was a pleasure and an honour for me, testing and even writing a short foreword for the new book by Edda Guastalla. Many thanks to her for giving me this opportunity!

That one is a detail of my pochette, all tatted following one of her patterns. Sorry I cannot share other pictures of my tatting, that are all in the book.

I will buy a "paper" copy of the book as a self gift for Christmas! I love "real books", but I  know that in the near future it could be available also in pdf format. It is in Italian (actually I don't know if they are working for a translation too) but there are many clear drawings that are very easy to follow. It is a book for tatters at any level. It's a "big" book, 128 pages, it contains 15 patterns and instructions for tatting many variations. Also, there are diagrams for how using the method of the "magic square" to adapt it also for edgings and different shapes that only squares. That's something that you can't find elsewhere in the Tatternet!

The book is available here:



Tuesday, 24 November 2020

renewed on the third try

That is about another challenging pattern for the "Endrucks 1920 Project". 

It is a community project, we welcome you to join in! All infos and links are in the Endrucks 1920 Project Document, here:

The medallion in picture number 40 in the book drew my attention.

The original models, in the old book, were clearly tatted with a very thin thread (actually I've tatted mine with size 80 threads) but I've always thought that the thread's size doesn't affect the pattern. Anyway, in those patters there are elements very close to each other and the "heigth" of the double stitches could affect the final result. The tatter's tension looks very different from mine, it seems that they used to tat very loose, there are bare threads between chains and rings and picots are different in size, some are long and others are very small, without a clear schema/plan. Nowadays we are used to a more compact look. I also believe that the designer kept the stitch count regular in every pattern to help the tatter to easily memorise them.

On my first attempt, I followed the original pattern, but the centre looked distorted and the outer rounds cupped. The cupping disappeared after stretching it.

Thread is Lizbeth size 80, colour 154. Despite it looks almost fine, I was not happy with it, especially for the packed centre. 

Then, I reduced the stitch count for the inner rings and it was far better, all rings fitted well and was not squashed. Also the smaller centre should have helped me for the cupping problem in next rounds.

Thread for the second sample is DMC Special Dentelles, size 80, colour 818 (pink). I didn't change the stitch count in the outer rounds. The centre is a wee bit smaller than the original one, but that was not sufficient, the outer round was still cupping:

I don't like stretching my tatting because I am afraid that it will break! Then I needed a third try!

Note that in the original there are floating rings in the centre, but I didn't tat the inner floating rings in the second sample and I didn't tat any of them in the third sample. 

Eventually there was a simple solution, that was to "enlarge" the edge of last round and to reduce a little more the second last round. To make that, the ring&chain elements in the second last round have been substituted with split rings...

...and then the block tatting in the last round has been changed a little too, adding a couple of ds for each block at the outer border of the block tatting (2ds x 8repetitions means adding 16ds to the outer border):

I'm happy with the result, I didn't need to stretch it and it is almost flat even just off the shuttles!

Thread for that last sample is DMC Special Dentelles size 80, colours 3778 and 368.

I'll put in Flickr the drawing for the medallion, within few days, with notes for tatting both the original and the last modified sample.

UPDATE: Pattern is in Flickr

endrucks n.40


Tuesday, 10 November 2020

derivatives welcome

My post this week is for the "Endrucks 1920 Project" again. It is a collective project, started by Muskaan (read her last post about it here: ), and I enthusiastically joined in. 

We welcome you to join in, too! All infos and links are in the Endrucks 1920 Project Document, here:

The pattern of that square is just 4 repetitions of the corner that I designed for the frame showed last week (see previous post), a derivative from pattern #30 in the old book. Then, in the centre, I added a flower, one-shuttle pattern, all rings are 6 double stitches between each picot/join.

The centre of the flower was very open, so I thought that it could have helped the technique learned from a very old rosette, that I showed in my very first YouTube video, here:

About YouTube, one more time I send all my heartfelt thanks to all my subscribers! After the age-restrictions, they deleted all old comments and I lost the infos like the date posted, but videos are still there! I started the channel just to share few unassuming videos, sporadically, so I'm glad they are still public and visible!

For tatting the square, I used Lizbeth size 80 thread,  colour 184.


In the next picture, I'm very proud to show you the Swirling Butterflies doily tatted by a Master tatter, Paola Bevilacqua. Thank you very much for letting me post your picture here! You are very welcome in my blog!  

She is well know in Facebook for her beautiful tatting, she showed us her bedspreads (more than one, king-size) and jackets and many classical doilies. Also, she has had solo exhibitions with her tatting,  she can fill up rooms!

I am honoured that two Master tatters accepted to help me, testing the pattern. The other lady is Muskaan, she shared her version in her blog (

Paola used white Ancora size 50 thread and and green is Freccia, size 16 thread.


Tuesday, 3 November 2020

tatted frame

The next is pattern #30 in the "Schiffchen-Spitzen" book, by Eleonore Endrucks, from 1920, it is available here:

There are two files for that book, one is with photos of the actual tatting and another contains simple diagrams and short text written in German, but with an additional page in English with some description of symbols used.

For the #30, the tatted model and the diagram differ a little, so we eventually have two variants. Also, in the original diagram, those little rings on the sides of the central big ring are different from that I'm tatting, in fact the original are rings: 6ds, join to central big ring, 6ds. But in my first sample those rings popped up and I couldn't make the edging lay flat. Then, I've changed the stitch count.

In my version I tatted little rings in this way: 4ds, join to central big ring, 4ds.

The central element in each repetition has been tatted like an onion ring, same as in the chapter "2.2 Inner true ring with second shuttle, mock ring with first shuttle", the tutorial is here:

I started an edging that I will use to frame a ... well that will be a surprise... And I needed to design a corner! 

The pattern is completed by two rows, but I'm tatting them at the same time with 4 shuttles. That is a trick because in that way the edging is progressively completed and I can measure my progress on the frame. The elongated big rings are tatted alternatively with the two pairs of shuttles.

I started also a short sample for the second version, with a lovely multicoloured thread. I'll make it longer and use it as a bookmark.

Thread is DMC Special Dentelles size 80, colour 818, for the frame and Lzbeth size 80, colour 184, for the short sample.

I've uploaded my diagram in Flickr with both versions and the corner (click to see a better image):

endrucks n.30


Tuesday, 27 October 2020

Eleonore, that's difficult!

Despite the name of my blog, it happens that a pattern can be difficult, for many reasons: the stitch count is not easy to memorize, the direction of work changes often, tension is an issue, switch shuttles is needed but not clear where... Or all these together!

Eleonore put me on test. I'm not yet sure that I gave it justice. The red and ocher is already finished, I added a tail and it's about to go live alone, in one of my mum's book. You can start CTM, all one colour, but I chose to tat it in two colours to better follow the pattern. Thread is DMC Special Dentelles size 80. The pattern is the #24 in the "Schiffchen-Spitzen" book, by Eleonore Endrucks, from 1920, it is available here:

I've uploaded my diagram in Flickr (click to see a better image):

endrucks n.24

As in previous two edgings, there is block tatting and thrown off rings, that makes it a 2-shuttles pattern. In the original, as far as I understood and tatted, the first corner of the block tatting is done simply switching shuttles, then tat 1 ds, leave a very small picot and go on. The whole pattern is completed after a finishing external round, only chains, and I regret not having left another very small picot after the point where I switched shuttles, becouse I could have better joined the outer round.

In next picture, one of those corners is pointed by the blue arrow:

Next is a bracelet, with metallic Sanbest thread, 3 strands, color is a gold-pink hue, number 133. The coloured swarovski beads, that you can see in the first picture above, are only laid on top. I still don't know how to add a clasp, I think that I need a wide type of clasp, but at the moment I haven't any at home.


Tuesday, 20 October 2020

unusual scalloped edge

Another post for the "Endrucks 1920" project.

That is my tatting for the pattern #14 in the "Schiffchen-Spitzen" book, by E.Endrucks, from 1920, it is available here:

I think that I'll go on tatting that, at least about one meter, for a nice linen towel's edging. I like this scalloped edging a lot, a very unusual and original shape for tatting, it makes me forget that the pattern it's turning 100!

You can start CTM, all one colour, but I chose to tat it in two colours to better follow the pattern. Thread is DMC Special Dentelles size 80. 

As in previous pattern (the n.8, read previous post: vintage trees), the bottom part is the side of the edging that should be attached to the fabric.

In the pattern there are true thrown off (floating) rings, that makes it a 2 shuttles pattern. There are tatters who prefer tatting with shuttle and ball and transform all floating rings in mock rings. The difference is minimal but it can be spotted, because of the different effect on the chain, it changes the curve. The next is a narrow edging with mock rings on chains, that I've tatted some years ago:

I've uploaded my diagram in Flickr (click to see a better image):

endrucks n.14

The pattern starts with the little ring 6-6 on the left, but, alternatively, you can start directly with the block tatting part, omitting the first ring and the chain 6-6-6. In that case, the pattern would start with a picot, then a chain 4-4-4-4, something like in previous pattern n.8, that started directly with a chain. They usually call it the “dead end” start, but in this case it is with a starting picot. There are some links to various tutorials in Muskaan's page, if some links there don't work, in the URL you should change with

The original instruction in previous Eldrucks' pattern number 8 was to start CTM with one double stitch, then leave a very small picot, then tat the first row of the block tatting. That is only one way to start the "dead end" chain without a clip. I think that it may be helpful to figure this method as if they started CTM in the "Diag.1" drawing in this photo: (Block Tatting how to by Julie Patterson: .


Tuesday, 13 October 2020

vintage trees

My tatting today is for the "Endrucks 1920" project. It is a collective project. It all started here:

That is only a short sample for the pattern #8 in the "Schiffchen-Spitzen" book, by E.Endrucks, from 1920, it is available here:

(direct link:

It is an edging and in the book's picture it is shown upside down, that is the bottom part is the side that should be attached to the fabric. It's lovely, it looks like trees, maybe the single tree can be used in greeting cards, just an idea.

It could have been one shuttle and ball pattern but there's one thrown off (floating) ring, that makes it a 2 shuttles pattern. You can start CTM, all one colour, but I chose to tat it in two colours to better follow the pattern. Thread is DMC Special Dentelles size 80.

The dense trunk is block tatting, you can follow your favourite method to do it. I tatted the rows in a way similar to that explained in Julie Patterson's drawing (2006):

Each row is connected to the previous row with lock joins. But that is not the only way to join. I have a video in my channel in YouTube, comparing the Patterson's joining method to Jane Eborall's method (2007, amended in 2013: ). This is the link to the video in YouTube: I think that if you use the J.Eborall's way of joining, you would need to leave very small picots in all rows for the trunk, just after each join, but I haven't tried that.

About YouTube, I'd like sending you all my heartfelt thanks, for I reached 1K subscribers on my channel! That is amazing, I can't believe it! Thank you, thank you! It's a long time since my last video, I don't know when I will post another one. With the "kids' restrictions" they deleted all comments and I lost the infos like the date posted, but I hope that it's not a problem! Videos are still there!

I've uploaded my diagram in Flickr (click to see a better image):

endrucks n.8

You have already noticed that in the diagram and in my tatting the first row was tatted, then I reversed work and tatted the first ring, then I didn't reverse work and switched shuttle, tatting the second row for the trunk. On the second row, there's no need to leave small picots because the lock joins itself let a very small space.

If you tat only one "tree" and attach the last ring to the first, a little tube will pop up. Sometimes it happens that you find things by chance, so... That are the earrings that sprung up from the tree:

The bottom part is a separated element, 4 rings flower (all 6-6-6-6 rings joined at the first picot), that contains the 8mm pearl, topped by a 6mm bicone swarovski; the "leaves" below are two rings, (21ds-3ds, and 3ds+21ds). I put 2mm bicone swarovski on picots, added one onion ring at the base of the "vintage tree" and finished with an SSSR, like in Miranda's tutorial -


Thank you very much for all your nice comments.