A second Jewels of Summer tea box

 I've now finished the fifth tea box, using Anna Scott's Jewels of Summer pattern  for the second time.

Even the second time, it was a joy to stitch. Each section uses different stitches and demands precision.

It was going well, until I noticed I had stitched (right) the feather stitch leaf fronds either side of the central flower facing the wrong way.

(pattern left)

It seemed easier to extend the "fronds" into trailing vines than to undo them.

I enjoyed the exercise of working out the path of the vine. I also like the effect.

 

I debated which colour to use for the signature, settling on the palest green.

 

It washed and blocked well, removing pencil mark lines I used to keep lines straight.

The fabric piece was larger than than those for the other boxes, which, interestingly, made it easier to tighten. 

The completed piece fitted tightly into the box, so I only used double-sided tape on the corners.

It is now in the hands of the happy recipient. I've enjoyed making these lids and feel I've learnt a great deal.

Ripe Picking (or thoughts) tea box.

One of my granddaughters chose Ripe for Picking, Anna Scott's design of a galah on the branch of a vine for her tea box lid. I was aware, when I offered it, that it involved stumpwork. I was also aware that it was a small design and would require enlargement to do justice to a box lid.

I managed the enlargement by photographing the template, then printing it on to an A4 sheet. In the kit, the design appeared to be drawn on to a generous piece of pale green slk in archival ink. I turned the silk over and copied the enlarged design on the reverse side, mounting it, with it's calico backing, into a 10" hoop.

So far so good.

The branch embroidery was slow and meticulous. I could see the effect intended, which made it easier.

The felt padding was fun to add before the tricky bit began, the needle-lace body of the galah.

This is where I felt the impact of having doubled the size of the design! It took me quite a while to fill the whole body, and it was a relief to be able to move on to the crest.

My favourite bit, however, was the leaves.  I really enjoyed stitching them.

I had difficulty deciding which of the two shades of green was which from the illustration but settled for using the more vibrant shade in what I decided were the bits getting more sun (the top of the leaves above the vine and the bottom of the leaves below the vine). For the sides closer to the vine I used the more muted green.

Because I didn't want to hold a very small hoop in my hand to create the stumpwork wing, tail and head, I attached the linen fabric to a piece of sheeting so it would fit in an 8" hoop and worked from there.

That worked out well.

Placement and attachment of the wing and tail was relatively straightforward. 

The head took a little more adjustment.

By this point I was having doubts about the appropriateness of stumpwork grapes - 10 thread-covered beads - on the lid of a tea box. It seemed to me that these would likely be a nuisance on a box lid, likely to get caught and damaged in use. The recipient agreed, so I omitted them. The design (if not its name!) is fine without them.

I had a moment of fright when I blocked it. Rather than wash it, I attached it tightly to the board and sprayed it with water. Immediately the archival ink on the other side of the silk showed through! I went to bed planning how I would create more leaves and vine to cover it. Miraculously, in the morning, when I plucked up courage to look, the ink had disappeared!

By now I have improved my mounting skills! The new wadding I have bought is thick enough to require only one layer and I secured it with multiple pins before slowly tightening and securing the lashing. I have also given in entirely on the use of double-sided tape. It shouldn't be used with archival material, but without it an embroidery will not stay on the lid.

Again, I am very pleased with this result, which is now with its owner. The colours are  complementary. It is, I think, elegant, and thoughtful,

I hope it brings pleasure.

Stars of Winter Tea Box

This was the last of these designs Create in Stitch had in stock when I was choosing a range to offer as lids to the Tea Boxes I was preparing for family members. It was a quieter, softer design than the others I found. It didn't leap out, but I liked its subtlety. 

I was pleased when one granddaughter chose it ahead of other designs on offer. 

It was very enjoyable to stitch. As usual, there was a variety of stitches. 

Additionally, the colour contrasts and blends were a delight, especially in the central flower.

Each addition of sprig  or stem added both stitching and design interest and pleasure.

While the red lifted it, there was gentleness and perfection in the soft, pastels.

 

Rather than the small red bird (robin?) on the top branch, I decided to add a Superb Fairy Wren. This tiny Australian bird seemed more appropriate, defined and special.

I am very pleased with the result - and glad I made the switch.

It blocked well, and I padded it with two layers of some newly-purchased acid-free wadding. 

It probably didn't need the second layer, but it lifts the section behind the design.

I'd be hard-pressed to pick a favourite amongst these boxes, but this one fills me with joy.

Jewels of Summer Tea Box

Eighteen months ago I bought two of these boxes when they appeared at Create in Stitch, along with two Anna Scott kits for embroidered panels to fit in the top of the boxes. I finished one which my Adelaide daughter has in her office. The second was promised to my eldest granddaughter when she too gets an office or decent work space of her own. The boxes take up too much bench space for an average kitchen. 

Recently it occurred to me that the time may have come to see if my Canberra daughter would like one. Affirmative!

I bought another box and checked out suitable available designs for the lid. When I consulted with younger granddaughters, they too wanted one (for their glory boxes, which have nothing to do with marriage!) 

So back for more boxes while  they were in stock. 

The Canberra one was immediate, so I set to work on the chosen design, Anna Scott’s Jewels of Summer. It is a pleasure to stitch. Anna’s instructions are both concise and precise. The stitches are nicely varied and there is a logic to the sequence. I usually use up thread from a finished section elsewhere to avoid wastage, but didn’t with this, feeling compelled to obey instructions to get the best possible result. 

Each time I finished a section I really wanted to move on, to see how the next one emerged. The combinations of stitches and colours are ingenious.

It was a lot of fun and very hard to stop. I worked in a 10" hoop on a sitting stand, so minimised strain on my hands.

 I finished it around 10pm one night, and blocked it straight away, in the hope it would be dry in the morning. It took a few hours into the morning, but I had a piece of acid-free backboard and wadding, so, after a lot of checking, was able to mount it later that day.

I stitched the corners down first, with cotton thread, then laced it using a waxed thread from a reel that has survived from my childhood.

There were many jobs for which my mother would tell me "Go and get the black thread". I'm pretty sure I have some cream waxed thread somewhere, but I don't think the black will shed colour. It certainly won't give way.

I did use double-sided tape to hold it on to the lid. I can't guarantee it is archival quality, but as far as I could ascertain, it should be OK.

I'm very happy with the result. I can see why one of my granddaughters has also chosen this design, and stitching it again will be enjoyable. Another has chose a Galah - which will need a bit of adapting, and the third chose Stars of Winter, to which I am also partial.

It's an uplifting mission to be on.