How to build an Embroidery Shadow Box (Little Bear Edition)
At this point I’m sure you’ve seen various types of stumpwork, or perhaps you’ve created a 3D butterfly or two yourself… Well, fasten your seat belts, because you’re about to embark on a journey through what it takes to make your very own embroidery shadow box!
In this post I’ll cover supply recommendations, best practices for transferring your design, along with some of my very own cultivated techniques to ensure your embroidery makes people stop and say… “How did you do that?!”
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Inspired by the beautiful work of Mimi.embroidery, I recently set out to take one of the happiest memories from my childhood and achieve my dream of creating an embroidery shadow box.
Did I have a pattern? No.
Did I have tutorial videos? No.
Did I have guidance of any sort? Triple no.. BUT I wasn’t going to let that stop me!
Sometimes you get an idea in your head and you just gotta go for it, regardless of whether or not it’ll work. Creating Little Bear was exactly that, and I’m here to show you how it was done.
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**Please Note: I'm a participant in the Amazon affiliate program, and some of the links in this post are affiliate links. That means I might earn a small commission if you click them and buy something, but it doesn't cost you anything extra! It's just a way to help support me and my site as a small artist. Okay, now that that’s out of the way.. back to the content!
Supplies
Having the right supplies is important for any project, but how do you know which supplies are the best ones to bring your vision to life? …Normally that would involve lots of research, testing, and of course a huge investment of time. Thankfully I’ve already done it, so you don’t have to! Below you’ll find a list of all the essential supplies I used to complete this project, along with my reasons for choosing them. ^_^
The Must Haves:
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This cutting mat folds for easy storage and honestly has been one of the better investments I’ve made. It provides a clean, self-healing surface when cutting fabric, and is perfect for cutting out stumpwork pieces without scratching your furniture or ruining your blades. The ruler markings even make for great guidelines when putting together Evertite frames!
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I primarily used scissors when cutting out Little Bear’s vines, but for some of the tighter spaces this exacto knife was perfect for lightly tearing the chiffon without the fear of snipping threads.
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I’m sure there are much higher quality shadow boxes out there, but the vintage feel of this frame fit Little Bear’s theme so perfectly that I couldn’t pass it up! Initially I was disappointed that I couldn’t remove the back of the frame, as that would’ve made securing Little Bear a lot easier, but it came with real glass and small magnets to hold the door closed, which more than made up for any hurdles I experienced.
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It was truly a struggle to find a canvas small enough that would fit properly within the shadow box. It needed to allow extra room on all sides to accommodate the vines, as well as thin enough so that Little Bear sat behind the vines to create the shadow box effect. This 2/5 inch profile canvas proved to be the perfect match!
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I toyed around with all sorts of ideas on how to get the vines in the forefront of my scene, but ultimately these square wooden dowels seemed the most foolproof. Since they come in a 50 pack, it really gives you a lot of extras to test out ideas and/or find the best looking dowels for your work.
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If you use the square wooden dowel method to elevate your vines, then you’ll need some type of saw to cut them to the right length. This flexible woodworking hand saw allowed me to cut precise lines without breaking the dowels, which was an issue I ran into when attempting to use a more heavy-duty saw.
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Any white matte paint will do honestly, but I already had this on hand and the matte finish blended very nicely with the rest of the frame.
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I used this spray paint to seal my dowels after they were painted. If you use a clear cover spray be sure that it’s a matte finish, as a glossy finish will draw attention away from the rest of your scene.
☆ Rust-Oleum Painter's Touch 2X Ultra Cover Spray Paint, Matte Clear
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If you do stumpwork embroidery and you don’t already have jewelry making tools on hand, this is a must have! The tools are perfect for cutting/shaping your wire, and their smaller sizes make them a lot easier to work with on your embroidery than regular tools.
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The gauge of your wire is extremely important when creating stumpwork, as it needs to be thin enough to easily manipulate, but not so thin that it doesn’t hold its shape. The higher the gauge number, the thinner your wire will be. For Little Bear I used 26 gauge wire on the outer “ ] “ shape to help ensure it didn’t distort, and then used a thinner 28 gauge for the inner edge of the vines to allow for more flexibility.
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Since I couldn’t remove the back panel of the shadow box, glue seemed like the best option for adhering the canvas to the frame. This glue dries fully clear and has an extremely strong hold once set, which was perfect for getting Little Bear permanently settled in his new home.
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Ever snipped some threads you didn’t mean to when cutting out stumpwork? Then this is a MUST HAVE. Not only does it dry clear, but it’s flexible too! This was also my glue of choice when securing the vines to the wooden dowels, as it dried more clear on the chiffon than the E6000 Clear Craft Adhesive.
☆ LINECO Neutral pH Adhesive 8 Oz, Acid-Free, All-purpose Glue
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A key thing to creating shadow boxes is extremely precise measurements. If you transfer your design before the fabric is fully stretched out, then your measurements might change as the fabric moves and the entire piece could be ruined if it doesn’t fit in the box the way it’s supposed to.
One way to avoid this is by using the print on water soluble stabilizer method. These are perfect for any design 6.5” and under. You just put your water soluble stabilizer onto a sticker sheet, trim the edges, run it through your printer, peel the stabilizer away, and ta-da.. YOUR DESIGN IS TRANSFERED!
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This stabilizer is one of my favorite things I’ve found recently. Not only does it allow me to get great levels of detail, but it doesn’t leave my needle sticky or leave behind reside after rinsing like other types often can!
Vilene stabilizer isn’t adhesive, so you either need to put the the whole piece in your hoop with the fabric, or use couching stitches to secure it into place. Being able to transfer your design after your fabric is fully stretched out is crucial for any shadow box work, as this helps ensure your design cannot shift or change shape during stitching.
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I used to think all scissors were the same, but then I was introduced to Kai brand and now I can’t imagine doing stumpwork without them! Not only are they are razor sharp (seriously, I’ve accidentally snipped myself a couple times!), but they are bent at the perfect angle for cutting with absolute precision between the tiny curves of your embroidery.
I highly recommend investing in a pair of these if you have plans to do any stumpwork! (You’ll also be helping support another small artist when buying from this shop, which is always a perk ♡)
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For most of my projects I use 100% Kona Cotton fabric. I always recommend using two layers of fabric doubled up in your hoop, as this provides stability for your stitches, helps prevent puckering, hides your thread showing through, and will also make the color of your fabric more vibrant, giving your piece a more polished look overall.
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If you’ve ever embroidered on chiffon, then you know that it can warp, tear, and often leave giant gaps that can potentially ruin all your hard work.
One way to help avoid common chiffon problems is to ensure you have the best type for the job! When using chiffon for stumpwork, I recommend getting one that is tight weave, non-stretch, and 100% Polyester. This can be difficult to find in stores, so I’ve found a few shops online that offer black, white, and ivory chiffon that is perfect for stumpwork embroidery.
The Nice-to-Haves:
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The size of your needle is more important than the brand, but I’ve been using John James needles for a long time now and swear by them. Not only are they incredibly sharp, but their size 10 (my most used size for single strand work) comes in a convenient little 6 pack.
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Curved needles aren’t a requirement for this project, but it sure will make your life a lot easier! If you plan on securing your embroidery around a canvas or mounting board, then you’ll want to grab a pack of these. A curved needle will prevent the awkwardness and issues a straight needle can create when sewing your fabric into place around the canvas.
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For any detailed, fine linework, I strongly recommend using sewing thread. It is thinner than DMC’s #310, doesn’t have a fuzzy appearance, and will allow you to create extremely precise details in your embroidery. I used Gutermann brand for all of the black stitching on Little Bear.
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For Little Bear’s vines I used a single strand of DMC’s #310 and #3761 six strand embroidery floss. You can find DMC brand thread in almost every craft store, but I’ve also linked their shop below in case there isn’t a craft store near you!
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To secure your finished embroidery around a canvas or mounting board, I recommend using DMC’s Pearl Cotton Thread. This thread is a lot stronger than DMC’s six strand embroidery floss, and will allow you to pull the fabric tightly around the canvas without the thread breaking.
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I rarely stitch in a conventional hoop since I discovered Evertite Stretcher Bars (you can read a comprehensive review I made on them HERE). It is a bit more work to get your fabric setup and ready to stitch (about 30 minutes), but once it’s in place it will NOT move or shift while you work on your project, not to mention they provide some of the best tension I’ve ever experienced. I’ve spent over 200 hours on a project and only had to tighten my Evertite bars once, which requires just a few turns of the T-Tool in each corner.
They even work with other fabrics like chiffon - Highly recommend, especially if you plan on creating more shadow boxes or pieces that can’t shift during creation!
For choosing the correct size(s):
I recommend adding 2 inches to whatever size your project is. I ordered a pair of 6” and 11” bars, which gave me a working space of about 4” x 9”. Be sure to order 2 pairs of bars, as you’ll need 4 pieces total to create the stretcher bar frame. -
If you plan on stitching in Evertite Stretcher Bars, then I recommend getting a T-Tool to help tighten your frame. Technically any allen wrench/hex tool with the size “3/32” should work, but I find the handle on the Bondhus T-Tool to be the easiest and most comfortable tool to work with.
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When using Evertite Stretcher Bars you’ll also need tacks to secure your fabric into place. This set comes with a tack remover, which makes removing the tacks from your fabric a breeze!
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This table vise was perfect for holding my wooden dowels in place while I cut them to size. It’s definitely a “nice to have” item, but one that really made the task a lot easier and helped me get great precision!
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I’ve had these micro glue brushes for a few years now, and the uses I’ve found for them seem almost endless. Each brush has a flexible rubber tip end that you can use for applying and spreading your adhesive as needed, while the rigid plastic end is perfect for scraping and removing excess glue from your project.
Not only does it keep your glue contained in one place, but you can flip the lid over, place it on your work surface, and use the aligned notches to hold your glue brushes in place while any extra glue drips back into the lid!
☆ Sili Glue Pod and Brushes (with Multi Purpose Sealable Lid)
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If you haven’t experienced thread conditioner yet, then you’re missing out! It helps keep your threads from tangling and fraying, as well as smooth the surface of more fuzzy threads (DMC #310… I’m definitely talking about you!).
There are a lot of brands and types of thread conditioners, but if you’re able to swing for it I strongly recommend this Soy Knot Balm! Most thread conditioners are made of beewax, but I find the soy is a bit softer and only needs one pass over the thread to be effective.. Whereas beeswax might require a few passes. They come in a variety of scents and can be seen in Needle_OR_Thread’s shop a few times a year to help provide cheaper shipping for USA customers.
(You’ll also be helping support another small artist when buying from this shop, which is always a perk ♡)
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These watercolor pencils aren’t really advertised to be used with fabric, but they definitely should be! I did a few tests on some scrap fabric before coloring Little Bear himself to ensure I understood how the color would behave on the fabric when water was added.
I used a light amount of color, added water in small amounts, and a hairdryer to prevent the color from running where it wasn’t supposed to. The end result was great and I would highly recommend these watercolor pencils for anyone who is looking to combine watercolor with embroidery.
The Design Concept
If you happened to read my Create Whimsy interview a few months ago, then you know I start planning my projects months in advance. It can take a while for an idea to come to life, and since I usually spend over 100 hours on my pieces I need to ensure that it not only looks good, but that the concept will actually work as well!
When creating my designs I generally go through a series of steps:
Selecting a Frame
Most people think of selecting a frame as something that’s done at the end of a project, when in reality it actually makes more sense to select a frame before your project even begins!
I know, I know.. I can hear the uproar in the comments already, but before you protest, consider the following… If you select your frame first, not only can you cultivate a matching color palette, but you can customize your design to perfectly fit the frame as well.
Since I began selecting frames at the start of my projects, I’ve been able to create some truly magical scenes.
Choosing a Theme
I knew right away that I wanted to stitch Little Bear and his space helmet, but that image alone didn’t feel like enough for a shadow box. I wanted to make a scene; to tell a story and immerse myself in the beautiful world of Little Bear…
After browsing for inspiration, I could think of nothing more iconic than the blue vines themselves. I knew they would be instantly recognizable by any fans, and I could feel the wheels in my brain start to turn with ideas on how I might incorporate them.
At this point I wasn’t even sure if my idea would work, but I told myself if it failed, then I’d still have Little Bear without the vines and that would be wonderful too.
While it’s important for me to have a theme for my projects, it’s equally important for me to challenge myself and push my skills as an artist. Some of the best ideas I’ve had have been things that I’d never seen done before, and it really helps keep the creative burnout at bay!
Making the Pattern
Creating the pattern for this piece was a bit trickier than my other projects. Not only did it need to look good, but it needed to actually fit within the frame as well.
I started by tracing the upper portion of the vines with my iPad, making sure to stop at a point where it looked more like a circle than the oval on the book. Originally I had planned to trace the lower portion of the vines as well, but the more I thought about it the more it made sense to mirror and reverse the image, then modify where the ends of the vines meet instead.
This helped give me a nice, evenly rounded image and when I put Little Bear behind the vines to see how it would look I knew I was on the right track.
Picking the Color Palette
Creating a color palette can be an incredibly intimidating process for many. Normally I spend 2-3 hours carefully matching colors to my reference images, then cross reference all the colors to ensure they harmonize nicely, BUT thankfully for Little Bear the color palette was quite minimal!
Once the blue thread for my vines was selected, it only took a few quick fabric tests to determine which watercolor pencil shades would work best.
Creating Paper Models
OKAY, so I’d flushed out my concept, selected a frame, and created a color palette, but how was I going to execute it?
…cue the paper models!
This might seem like a silly step to some, but it’s probably one of the most important steps for me. Not only does it provide a more tangible visual of my design where I can change things that don’t look as intended, but it gives me a physical object to check measurements with.
I probably printed off 6-8 different sizes of these paper vines before I felt confident I had the correct size.
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My creation process often varies slightly from piece to piece, but going through these steps helps me visualize my design before I ever begin. Usually the first thing people will see is a fully flushed out pattern and color palette, but behind that is many months of planning, measuring, and collecting all the materials that help bring the concept to life.
Getting Started
With my design concept in place, it was finally time for the project to begin!
Transferring the Design
Vilene water soluble stabilizer isn’t adhesive, so you either need to put the the whole piece in your hoop with the fabric, or use couching stitches to secure it into place.
Since this pattern was so intricate, I determined the best method of transfer would be printing onto water soluble stabilizer. Being able to print the design directly onto the stabilizer meant that I would not only capture all the tiny details of the pattern flawlessly, but it would allow me to transfer the design after my fabric was secured to my Evertite stretcher bars.. ensuring that the image would not distort or warp during stitching. The downside to this was that I would not be able to paint with my watercolors until after Little Bear was fully embroidered, which meant that I would only get one chance to paint and if it didn’t go as planned I would either have to accept it as is or start all over again.
Despite the risk, and my own personal lack of painting experience, I decided that using water soluble stabilizer was still the best transfer method. I reassured myself that when it came time to paint I would practice on scrap fabric first and pace myself as needed to get the best outcome possible.
Creating Textures
The vast amount of texture you can create is probably one of my favorite things about embroidery. The options are almost limitless, but determining which textures to use and how to achieve them when creating your pattern can feel a little intimidating at times. The best way I’ve found to combat this daunting task is to begin embroidering in an area I feel confident in, letting the rest come to me as I work on the project.
For Little Bear I knew I wanted to capture as many fine details as possible, so to achieve this I decided to use a single strand of Gutermann Black sewing thread. It might not appear different at first glance, but sewing thread is actually much thinner than six-strand embroidery floss (and doesn’t have the fuzzy appearance that DMC’s #310 is notorious for). With that said, it can be a bit of a learning curve when switching from six-strand embroidery floss.
One thing I noticed was that even with a size 10 needle I found my sewing thread frequently slipped off, leaving me a bit frustrated with constantly having to re-thread the needle, but the more I worked with it the with it the easier it became to prevent this from happening. Another area I struggled with was creating curved lines and circles.. Sewing thread is so thin that you have to be very precise with your stitches if you want to create small curves like the antenna on Little Bear’s helmet. The best way I found to achieve this was to simply make small stitches… and I do mean EXTREMELY small, to the point of almost microscopic. Eventually your teeny tiny stitches do form a curve, and before you know it you’ve made a circle!
I began with the cluster of brush/grass to get the hang of the sewing thread, as this area would easily hide any mistakes, then I moved onto embroidering Little Bear himself. For areas like the helmet I followed my pattern almost exactly, but when it came to Little Bear’s fur I found that simply “thread sketching” more freely in the same directional lines as my pattern gave me a better outcome and the beautiful appearance you see on the finished piece.
Adding Color
Pushing myself to try something new worked out this time, but sometimes it doesn’t and that’s okay too.. Because at the end of the day I would’ve gained knowledge on what to do differently next time, and that’s always going to be worth the risk to me.
After Little Bear was fully stitched, I rinsed off the water soluble stabilizer and set out to begin the very intimidating task of painting the scene. I’d purchased watercolor pencils specifically for this project, as I felt more confident with them verses traditional watercolors, but that didn’t help the task feel any less daunting. I started by embroidering some random clusters of stitches on scrap fabric to mimic a few of the different areas I’d be painting My goal was to determine how the pencils behaved in the thicker embroidered parts, verses the more open spaces like the sky.. with my biggest area of focus being how on earth was I going to paint the sky with watercolors while simultaneously keeping his helmet pure white.
My tests proved to be extremely useful.. I learned that I needed to color softly with these specific pencils, as the lines don’t blend well on fabric if they’re too dark or sharp. This was especially true for the larger areas like the grass and sky. [ If you look closely you can still see some of the stroke lines of the pencil in the sky where I pressed a little too hard, but shhh.. that’s just between us. ;] As for Little Bear’s helmet, I learned that a hair dryer and incredibly small additions of water were going to be key in preventing the color from spreading.
Once I felt confident enough I began painting Little Bear, and to my surprise it turned out even better than I imagined!
The Art of Precision
When it comes to embroidery shadow boxes, precision can make or break your design if you’re not careful. For this project it was absolutely crucial that my embroidered vines did not change shape or distort in any way during stitching, as they needed to align perfectly with the inner edges of my shadow box frame. One way I found to help prevent this is by stitching in Evertite stretcher bars instead of a conventional embroidery hoop.
Evertite stretcher bars have a patented screw system that allows you to tighten the fabric with a hex tool after your fabric is tacted down to the bars. This process ensures that you not only get immaculate, even tension, but it helps prevent your fabric from loosening while you work as well. I’ve spent 200+ hours working with Evertite stretcher bars and only tightened the bars once throughout the entire project! I highly recommend investing in a pair if you’re wanting to create shadow boxes or any design that requires precision.
For the vines I chose black sheer chiffon to create the same cross-hatched effect as shown on the cover of the book, so the next step was to actually get my design onto the fabric. Since it was crucial that the vines did not change shape in any way, I double checked my paper model measurements, printed my design onto the Vilene stabilizer, couched the stabilizer into place, and then checked my measurements once more before I began embroidering.
Working with chiffon can be quite tricky, as it has a tendency to warp and tear when stitching, but using a stabilizer will actually help keep fabrics like chiffon/tulle/organza in place while you work. With that said, I knew I still had to be extremely careful when couching down my wire, as pulling my stitches too tightly could alter the shape. You can actually see in the image above that the top left outer edge of my design is a little crooked, as it took me a bit of practice to get the tension on my stitches just right.
Since I wanted it to appear as though you were looking through the vines to see Little Bear, I decided to take on the difficult task of couching down wire around the entire outer border, which included portions of detail on the vines themselves. For the outer “ ] “ shape I used a thicker 26 gauge wire to help prevent distortion, and then used a thinner 28 gauge for the inner edge of the vines to allow for more flexibility (all couched down with 1 strand of DMC’s #310).
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Now usually I don’t care how the back of my projects look, but in this case I had to care because the chiffon was sheer and any threads on the back that crossed over the empty spaces would show through the front and ruin the purpose of my fabric. To prevent this I took extra caution while stitching and tucked all my threads whenever possible instead of tying knots, in addition to ensuring I started a new thread anytime I crossed over to a new section.
This proved to be an incredibly tedious task, and required more re-threading of my needle than I’d normally do for a project.. But as a result, you can see the cross-hatch effect comes through perfectly!
Once the vines were fully stitched, it was time to rinse off the stabilizer and begin cutting. I knew that trimming the chiffon around the outer edge of the vine detailing was going to be tricky, but my tools actually made the process a lot easier than expected… AND, since chiffon is a more delicate fabric, it was actually much easier to trim away than other fabrics such as cotton.
I began by using my bent Kai scissors to cut away as much fabric as I could, then went back in between the vines with my exacto knife to carefully trim away the areas between the vines that my scissors were too large for. There were some areas that were just too small to cut without potentially snipping my thread, but since my thread and fabric were both black, any bit of fabric that couldn’t be cut away ended up blending seamlessly with the design.
Now there are a number of ways I was considering attaching the vines to my shadow box, but ultimately I decided the most foolproof way would be to build and paint stacks of wooden dowels for the vines to adhere to. Would it have looked more stunning not having the dowels behind my vines? …absolutely. But I just couldn’t guarantee that they would hold up on their own without some kind of support, and I didn’t want to take that risk.
I began by measuring how long each dowel would need to be to fit stacked up within the frame, then used a table vise and handsaw to carefully cut each one down to size. After they were all cut, I checked one more time to make sure the dowels fit as expected, then sanded, painted, and applied a thin coat of clear matte cover spray to seal them.
Overall the process of building out the vine support was pretty straight forward and worked exactly as I’d hoped!
Assembly
Mounting Little Bear to the frame was definitely one of the more stressful parts (..would the glue hold? ..would it be properly centered? ..who knows!), but before that I had to secure the fabric around the canvas. Honestly, I had to do a lot of searching to find a painting canvas that met the requirements of my shadow box, as it had to be shallow enough for the vines to rest slightly in front of the canvas, while still allowing the glass door to close.
At one point I considered gluing the vines to the glass door so I could use a thicker canvas, but ultimately decided that it was far too risky to put glue on the front of the vines rather than the back. Once I had the right size painting canvas, I carefully tacked Little Bear into place, trimmed away the excess fabric, and began sewing the ends of the fabric together with some Pearl Cotton Thread (size 12). To help ensure success with adhering Little Bear to the shadow box, I made sure to keep my fabric and stitching as flat as possible. Whenever I sew my projects around a canvas/mounting board it’s not the prettiest thing, but you can bet that fabric isn’t moving a smidge by the time I’m done!
It was finally time for the moment of truth.. would gluing Little Bear’s canvas to the shadow box actually hold up? ..Only one way to find out!
I’d worked with E6000 Craft Adhesive before, so I knew it would have a strong hold if I could get a flush surface and allow enough time for it to fully set. I started by placing the canvas inside the shadow box and made tiny pencil marks around each side once it was centered. Then I began generously applying glue not only on the back of the canvas, but onto the shadow box itself as well, making sure to not get too close to the edges of my marks/canvas to avoid excess glue from showing after it was dry.
Once everything felt fairly secure and centered, I carefully covered Little Bear with a ziplock and placed a number of random things around my office on top of him to apply as much pressure as possible while the glue set. A few days later I was happy to find Little Bear fully secure and at home within his new shadow box frame.
Gluing down the dowels and building out the inner frame was a pretty easy process. I started by covering Little Bear with a cut up piece of ziplock and a bit of tape, then began gluing each dowel into place using LINECO Neutral pH Adhesive and my Sili Glue brushes. I opted for this adhesive over the E6000 Craft Adhesive, as I wanted to have a bit more precision than the E6000 would allow. Since I chose to overlap the ends of my dowels within the frame, I felt confident the LINECO adhesive would have a strong enough hold to stay in place and support the vines.
When it came time to glue the vines into place I was a bit torn on which adhesive to use, so I took an unused dowel and tested out each one to see how it behaved when applied to the fabric. The E6000 Craft Adhesive seemed to show through the chiffon and looked a bit crusty once dry, whereas the Neutral pH Adhesive was nearly invisible.. so I went with that!
With Little Bear still fully protected in his ziplock shield, I began the tedious process of gluing the vines onto the dowels. Now since the Neutral pH Adhesive is not as quick to dry as the E6000 Adhesive (and because some of the edges of my vines were slightly crooked), I had to work in sections and hold the vines into place for a few minutes to ensure they’d dry flush with the inner edges of the frame.
My Sili Glue brushes proved to be the PERFECT tool for the job! I began by placing a small line of adhesive onto the dowels, then was able to apply a light amount of pressure against the vines using the firm end of my brush. After a few minutes the adhesive was set enough that I could move onto another section until the vines were fully secured to the frame.
The End Result
Overall I invested 114 hours of love into this project and had finally achieved my dream of creating an embroidery shadow box. I felt so happy and satisfied, that by the end of it all I couldn’t imagine selling such a nostalgic, beautiful piece… so I kept it for myself. ♡
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A Note from the Author:
I want to give a big thank you to everyone who cheered me on throughout this project, and of course for anyone reading this blog post now. Your support and encouragement truly inspires me to continue pushing the boundaries of my creations, and I’m eternally grateful. ^-^
If you found this information useful and you want to help support the blog, there’s a “Buy Me A Coffee” link below where you can donate, or you can find prints and stickers in the SHOP if you want to bring a piece of Little Bear home for yourself. Of course, any and all shares to social media are another a great way to help provide support and are immensely appreciated.
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Was this topic helpful to you? Did it inspire you to create a shadow box of your own? ..I’d love to know!
