When you are considering framing a needlework or tapestry you should discover the benefits of learning how to stretch a needlework, how to pin and lace a needlework and what the best techniques for framing needlework are.
In this article I explain the basic techniques for framing cross stitch and tapestries and what materials you need to get the best results.
It only makes sense that after you have spent many hours stitching and finishing your needlework that you learn the best ways to protect your picture and after the effort you put into crafting your stitchery you make the right choices when it comes to getting the best framing presentation.
For both custom picture framers and the avid DIY picture framer the journey to being a successful needlework framer start right here.
Fabrics and artwork on fabric are susceptible to damage by mishandling and careless choices made due to a lack of knowledge of conservation needlework framing.
The first consideration that is often overlooked is the surface you choose to work on when stretching your needlework.
The surface upon which you work when you are framing fabrics is of the utmost importance.
The cleanliness of the work surface and its construction will help you protect the fabric from damage.
The work surface should be constructed of a sheet of un-sized muslin or raw calico makes a good second choice.
The muslin should be stretched over a polyester or cotton batting to provide a padded surface to work on.
Over the padded and stretched muslin put another loose sheet of muslin.
The loose sheet of muslin enables easy machine washing to keep the fabric clean.
Muslin is used because it absorbs dust and dirt and thus prevents the dust in the air from soiling the fabric.
The open weave of the layer you are working on helps to keep your needlework clean.
The structure of the fabric layer allows dust from the air to be captured by the layer rather than the artwork.
If for example you were working on a hard kitchen table, your fabric artwork becomes the dusting or cleaning cloth that picks up every bit of dirt.
NOTE: If you don't have access to muslin you can substitute a clean towel, some calico or an old linen sheet.
I cannot stress enough that working on a hard surface, even when apparently clean, will make your needlework dirty.
The dust settles on the hard surface and your needlework picks up the dust by becoming the cleaning cloth.
The commonly used materials for framing needlework and other fabrics are: - Rust proof stainless steel pins and needles - Ballpoint Needles - Mercerised cotton - Linen threads - Silk thread - Polyester wadding - Polyester sheeting or Mylar - Polyester fabrics - 100% cotton rag boards - Seasoned stretcher bars - Rust proof or stainless steel staples - Velcro Hook and Loop fabric strips The tools you may require are: - Canvas stretching pliers - Dressmaking scissors - A Pneumatic, electric or spring-loaded stapler with stainless steel staples.
- A Household steam iron There are several techniques you can use for framing needlework and stretching fabrics.
The three most commonly used by picture framers are lacing to a board, stretching over a frame or full support sewing of the fabric to the backing.
Each of these techniques has its uses and only with experience and assessment of the work you are framing can an educated decision as to what method you use can be made.
Lacing is a technique that holds the needlework flat on a board by firstly pinning the needlework flat in position and then sewing the back of the piece together evenly with a suitable thread to hold it in place.
I you are framing delicate fabric be sure to use ball-point pins and needles.
the ball-points push apart the fabric rather than puncturing the artwork.
Each puncture causes long-term damage to the fabric's structure much like ladders in a pair of stockings.
One small puncture becomes a ladder as the structure is destroyed.
Stretching a fabric over a frame is commonly used with heavier weight tapestries or paintings on canvas or linen.
The stretcher is usually made from seasoned timber that is best sealed with acrylic varnish prior to applying the fabric.
The varnishing of the timber helps with both the protection from acidic leaching and warping due to moisture absorption.
The fabric or paining is positioned over the stretcher and then working from the centre the fabric is pulled using stretching pliers and stapled in place with stainless steel staples for archival work or galvanized staples for general work.
The trick is to get even tension and then to finish the corners off neatly so that the fabric has some room for give.
Usually the corners are finished using the Monroe Corner where the fabric is pulled in the middle and then the overlaps are stapled leaving a section that is able to expand if necessary.
Full support sewing is used for crochet work and on delicate fabric work where the piece requires special support to prevent tearing, sagging or other deformations.
Usually a weaker but compatible thread is chosen when full support sewing is used.
The basic principle involves having large stitches that do not pull on the fabric but provide adequate support.
There are several other techniques used depending on the longevity and protection required.
Some of these techniques involve modern materials like the hook and loop fabric known as Velcro.
We have often used Velcro for affixing war medals to the backing board.
It is particularly useful if the medals need to be removed and worn for special occasions and then be repositioned within the frame.
Remember, whichever technique you choose you should think of the long-term conservation of the thing you are framing and make an educated choice to protect heritage items.